MANIC MOSH METAL #09
July / August / September / October 2018
July / August / September / October 2018
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Above left and right. Model Amy / Mayme Mouse. Photos by Manic Mosh.
NEW, FULL COLOUR PRINTED MAGAZINE OUT SOON!
featuring: 100+ music reviews, 80's Metal special, Hot Rockin Models, Ruskin Arms special pt II, links to labels, distros, Metal venues / pubs and much more. Packed with cool stuff as always!
all of the entries and publicity in Manic Mosh Metal is non-profit
featuring: 100+ music reviews, 80's Metal special, Hot Rockin Models, Ruskin Arms special pt II, links to labels, distros, Metal venues / pubs and much more. Packed with cool stuff as always!
all of the entries and publicity in Manic Mosh Metal is non-profit
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GATEKEEPER – 2018 "East Of Sun"
label: Cruz Del Sur Music
songs: Blade Of Cimmeria / North Wolves / Warrior Without Fear / Ninefold Muse / Bell Of Tarantia / East of Sun / Swan Road Saga / Oncoming Ice //
web: https://gatekeeper.bandcamp.com/
Starting out as a solo-project by guitarist Geoff Blackwell, Canada's Gatekeeper morphed into a full-band in more recent years. “East Of Sun” is the band's newest work and holds high the 80's Barbaric / Epic (Power) Metal tradition. The album opens with the fastest track of the set, “Blade Of Cimmeria” that has 80's U.S. SpeedMetal all over it. The band goes into full Epic Metal modus with the dramatic, Manowar styled “North Wolves” and the galloping, mid-paced 'anthem' that is “Warrior Without Fear”. On it goes with the dramatic, slow-grinding Epic Metal outing “Ninefold Muse” and the galloping mid / up-tempo “Bell Of Tarantia”. The album dips down a bit with the rather generic and non-Epic styled PowerMetaler “East Of Sun” but is back in form with another, anthemic song in the shape of “Swan Road Saga”. Focal point throughout is the variable vocalage of Jan Pierre Abboud, delivering a muscular and 'raised', mid-range vocal roar (reminiscent of Glen Coates / Fist), alternated with narrative Epic modes / chants and the occasional siren yells. The album goes through various moods, complimenting its Epic nature, and comes with a solid, allround performance. Proper.
Paul van der Burght
specs: Gatefold vinyl edition with 2 bonus tracks (“Omen’s “Death Rider” and Savatage's “Hall Of The Mountain King”), A2 poster and digital.
label: Cruz Del Sur Music
songs: Blade Of Cimmeria / North Wolves / Warrior Without Fear / Ninefold Muse / Bell Of Tarantia / East of Sun / Swan Road Saga / Oncoming Ice //
web: https://gatekeeper.bandcamp.com/
Starting out as a solo-project by guitarist Geoff Blackwell, Canada's Gatekeeper morphed into a full-band in more recent years. “East Of Sun” is the band's newest work and holds high the 80's Barbaric / Epic (Power) Metal tradition. The album opens with the fastest track of the set, “Blade Of Cimmeria” that has 80's U.S. SpeedMetal all over it. The band goes into full Epic Metal modus with the dramatic, Manowar styled “North Wolves” and the galloping, mid-paced 'anthem' that is “Warrior Without Fear”. On it goes with the dramatic, slow-grinding Epic Metal outing “Ninefold Muse” and the galloping mid / up-tempo “Bell Of Tarantia”. The album dips down a bit with the rather generic and non-Epic styled PowerMetaler “East Of Sun” but is back in form with another, anthemic song in the shape of “Swan Road Saga”. Focal point throughout is the variable vocalage of Jan Pierre Abboud, delivering a muscular and 'raised', mid-range vocal roar (reminiscent of Glen Coates / Fist), alternated with narrative Epic modes / chants and the occasional siren yells. The album goes through various moods, complimenting its Epic nature, and comes with a solid, allround performance. Proper.
Paul van der Burght
specs: Gatefold vinyl edition with 2 bonus tracks (“Omen’s “Death Rider” and Savatage's “Hall Of The Mountain King”), A2 poster and digital.
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LEATHURBITCH – 2018 “Leathur And Lies”
label: Divebomb records (CD) / Rapidfire records (cassette)
songs: Leathur And Lies / Streetwise / Nasty Reputation / The Calling / Hard Ride //
web: https://leathurbitch.bandcamp.com/releases
Out of Portland, Oregon / U.S.A comes Leathurbitch; a 5-piece unit that are 'on a mission to bring the decadence, sleaze, and speed from the dark alleyways of Detroit and slimy street corners of Los Angeles back to the forefront with their self-described “Sleaze Speed Metal.” That description pretty much nails it, and the band rips it up right from the opening tunes of “Leathur And Lies”, spinning off with a barrage of all out 80's styled siren yells and flashy guitar duelling as it morphs into a heavily Priest / Surgical Steel tinged early 80's U.S SpeedMetaler in the vein of the Shrapnel U.S. Metal compilation series. This one has the old-school Metal tradition high up there with a lot of guitar and a vocal style that combines the roar of Jag Panzer with the peaks of Priest / Surgical Steel. The rhythm riffed speedster “Streetwise” sounds much like early Anthrax (“Deathrider”), phased with Savage Grace's “The Dominatrix” and the guitar agility and vocalage of Deuce / Tension. The Sleaze thing is pushed forward on follow-up tune “Nasty Reputation”; a rather generic, mid-paced offering in the all-American styles with matching lead vocals and shout along chorus. The disc continues with the driven, mid-paced U.S Metaler “The Calling” that comes with SpeedMetal accelerations and double bass drummage. The final blow is delivered with “Hard Ride”; a crunching, rhythm rifed SpeedMetaler (with slower, rhythmic passages) that collects the sounds of Liege Lord and Tension. Great!
Paul van der Burght
LEATHURBITCH INTERVIEW with guitarist Patrick Sandiford
Manic Mosh Metal: How and when did the band get together
Patrick / Leathürbitch: Leathürbitch got together in 2015. We formed in Portland Oregon but originally I tried to form it in Seattle Washington. That didn't work out. Fortunately I met Meshach (drums) and we both shared the same idea in starting a 80's based Speed/Sleaze band. The singer Joel I met in Olympia joined us a few weeks later. He was the perfect dude from looks and talent. Got very lucky finding him. Then Sebastian (guitar) and Andrew (bass), who are good friends of Meshach's, joined to help form the Leathürbitch we got today.
MMM: Then, out of nowhere, there is this debut E.P rocketing the band well up in recognition, and being released in various formats by different labels... did you guys expect such a promising start?
Patrick: Actually no! Haha! We were very shocked things picked up so fast. It really blew our minds and kinda caught us off guard.
MMM: Leathürbitch sounds a lot like the bands on the Shrapnel “U.S.Metal” compilations from back in the early 80's... any coincidence?
Patrick: We definitely have a lot of influences from those compilations and the 'Metal Massacre' ones. That's kinda what we aimed for. That old school U.S Metal sound that was simple, tough, sleazy and full of attitude.
MMM: What have been the inspirational sources of the band; I can spot early Anthrax (“Fistful Of Metal” era), Surgical Steel, Priest, Savage Grace and Deuce.
Patrick: Yeah, you pretty much nailed it! Our biggest influences are Anthrax (“Fistful Of Metal” era), Loudness, Seduce, Halloween and Savage Grace. The list can go on forever, but in a nutshell, mostly bands from the L.A Sunset Strip days and Detroit.
MMM: The Sleaze thing is pretty much a one-off happening on the E.P in the shape of “Nasty Reputation”. Is there more similar styled songs in the repertoire that did not make it onto the E.P and don't you think it is quite a tricky combination, hooked up with the more Speed oriented tunes?
Patrick: Right now we have more songs that have more of that Sleaze vibe like “Nasty Reputation”, but at the moment of the E.P we didn't. We all come from Speed / Thrash backgrounds so it was tricky at first to write songs that had the best of both worlds but we eventually found that perfect balance.
MMM: How has the feedback on the E.P been so far, and is there a full-lenghter in the works?
Patrick: It's been nothing but good as far as we know. Everyone has been giving us nothing but compliments; from friends to strangers. I think one dude said the demo was better but there's always gotta be one dude like that, am I right? Haha. We are working our full length right now for High Roller records and so far it's going great. Personally I think it's some of the best stuff we have written so far. It probably won't be out until sometime next year but I think the wait will be worth it.
MMM: The E.P cover could not be more 80's minded, where did that idea come from?
Patrick: The idea came from Ratt album covers. We figured having a girl on the cover was a really cool and an old school thing to do. I also think the model on the cover stands out compared to someone's artwork. I mean the cover alone got a lot of attention and compliments. People were buying it before they even heard us so that's pretty cool.
MMM: Anything else you'd like to add?
Patrick: Yeah, I had a lot of people telling me in the beginning when I was trying to start this band that it was a dumb idea and it would never happen with the standards I set but I never gave up. It took a while, and it was hard work but I'm happy where things are going. We have really supportive people in Portland and personally think it has one of the best Metal / Punk scenes in the U.S.
label: Divebomb records (CD) / Rapidfire records (cassette)
songs: Leathur And Lies / Streetwise / Nasty Reputation / The Calling / Hard Ride //
web: https://leathurbitch.bandcamp.com/releases
Out of Portland, Oregon / U.S.A comes Leathurbitch; a 5-piece unit that are 'on a mission to bring the decadence, sleaze, and speed from the dark alleyways of Detroit and slimy street corners of Los Angeles back to the forefront with their self-described “Sleaze Speed Metal.” That description pretty much nails it, and the band rips it up right from the opening tunes of “Leathur And Lies”, spinning off with a barrage of all out 80's styled siren yells and flashy guitar duelling as it morphs into a heavily Priest / Surgical Steel tinged early 80's U.S SpeedMetaler in the vein of the Shrapnel U.S. Metal compilation series. This one has the old-school Metal tradition high up there with a lot of guitar and a vocal style that combines the roar of Jag Panzer with the peaks of Priest / Surgical Steel. The rhythm riffed speedster “Streetwise” sounds much like early Anthrax (“Deathrider”), phased with Savage Grace's “The Dominatrix” and the guitar agility and vocalage of Deuce / Tension. The Sleaze thing is pushed forward on follow-up tune “Nasty Reputation”; a rather generic, mid-paced offering in the all-American styles with matching lead vocals and shout along chorus. The disc continues with the driven, mid-paced U.S Metaler “The Calling” that comes with SpeedMetal accelerations and double bass drummage. The final blow is delivered with “Hard Ride”; a crunching, rhythm rifed SpeedMetaler (with slower, rhythmic passages) that collects the sounds of Liege Lord and Tension. Great!
Paul van der Burght
LEATHURBITCH INTERVIEW with guitarist Patrick Sandiford
Manic Mosh Metal: How and when did the band get together
Patrick / Leathürbitch: Leathürbitch got together in 2015. We formed in Portland Oregon but originally I tried to form it in Seattle Washington. That didn't work out. Fortunately I met Meshach (drums) and we both shared the same idea in starting a 80's based Speed/Sleaze band. The singer Joel I met in Olympia joined us a few weeks later. He was the perfect dude from looks and talent. Got very lucky finding him. Then Sebastian (guitar) and Andrew (bass), who are good friends of Meshach's, joined to help form the Leathürbitch we got today.
MMM: Then, out of nowhere, there is this debut E.P rocketing the band well up in recognition, and being released in various formats by different labels... did you guys expect such a promising start?
Patrick: Actually no! Haha! We were very shocked things picked up so fast. It really blew our minds and kinda caught us off guard.
MMM: Leathürbitch sounds a lot like the bands on the Shrapnel “U.S.Metal” compilations from back in the early 80's... any coincidence?
Patrick: We definitely have a lot of influences from those compilations and the 'Metal Massacre' ones. That's kinda what we aimed for. That old school U.S Metal sound that was simple, tough, sleazy and full of attitude.
MMM: What have been the inspirational sources of the band; I can spot early Anthrax (“Fistful Of Metal” era), Surgical Steel, Priest, Savage Grace and Deuce.
Patrick: Yeah, you pretty much nailed it! Our biggest influences are Anthrax (“Fistful Of Metal” era), Loudness, Seduce, Halloween and Savage Grace. The list can go on forever, but in a nutshell, mostly bands from the L.A Sunset Strip days and Detroit.
MMM: The Sleaze thing is pretty much a one-off happening on the E.P in the shape of “Nasty Reputation”. Is there more similar styled songs in the repertoire that did not make it onto the E.P and don't you think it is quite a tricky combination, hooked up with the more Speed oriented tunes?
Patrick: Right now we have more songs that have more of that Sleaze vibe like “Nasty Reputation”, but at the moment of the E.P we didn't. We all come from Speed / Thrash backgrounds so it was tricky at first to write songs that had the best of both worlds but we eventually found that perfect balance.
MMM: How has the feedback on the E.P been so far, and is there a full-lenghter in the works?
Patrick: It's been nothing but good as far as we know. Everyone has been giving us nothing but compliments; from friends to strangers. I think one dude said the demo was better but there's always gotta be one dude like that, am I right? Haha. We are working our full length right now for High Roller records and so far it's going great. Personally I think it's some of the best stuff we have written so far. It probably won't be out until sometime next year but I think the wait will be worth it.
MMM: The E.P cover could not be more 80's minded, where did that idea come from?
Patrick: The idea came from Ratt album covers. We figured having a girl on the cover was a really cool and an old school thing to do. I also think the model on the cover stands out compared to someone's artwork. I mean the cover alone got a lot of attention and compliments. People were buying it before they even heard us so that's pretty cool.
MMM: Anything else you'd like to add?
Patrick: Yeah, I had a lot of people telling me in the beginning when I was trying to start this band that it was a dumb idea and it would never happen with the standards I set but I never gave up. It took a while, and it was hard work but I'm happy where things are going. We have really supportive people in Portland and personally think it has one of the best Metal / Punk scenes in the U.S.
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MIDNIGHT FORCE – 2018 “Dunsinane”
label: Pure Steel records
songs: Killer / The Scarlet Citadel / Down With The King / Witchfinder / Alesia Falls / Crystal Talon / Warlord Eternal / Dunsinane//
web: www.midnightforce.bandcamp.com
Four piece unit from Glasgow, Scotland, tagged as an 'Old School Heavy Metal band somewhere in between U.S and Epic Metal, NOWBHM and early German Metal. With that comes a solid sourcing from bands such as Manilla Road, Cirith Ungol, Virgin Steele, Accept and The Scorpions. With that also comes a strong Maiden flavour that is high up in the first three songs, and phased with early NWOBHM a la Avenger on the up-tempo”Killer”. The multi-paced “The Scarlet Citadel” turns more towards the Epic Metal thing, meshing the likes of Maiden, Manowar, Warlord and Manilla Road, sauced with light, Epic synths usage and an anthemic shout along theme. The moderately fast Metaler “Witchfinder” sports similar features with darker,Doom oriented twists, as does the Hyksos esque “Crystal Talon”. The vocalage of John Gunn is roughened and grainy in a talk type fashion, reminiscent of Demon Pact. In addition to the lower mid-toneis a scala of siren yells, falsetto peaks, and chants In the refrains. The delivery is not always pitch perfect but somehow seems to compliment the atmosphere and feel of it all. Most in-depth tune comes in the shape of “Dunsinane”, blending 70's Folk-ish / Progressive Rock with gained guitars and hammond synths. Interesting!
Paul van der Burght
label: Pure Steel records
songs: Killer / The Scarlet Citadel / Down With The King / Witchfinder / Alesia Falls / Crystal Talon / Warlord Eternal / Dunsinane//
web: www.midnightforce.bandcamp.com
Four piece unit from Glasgow, Scotland, tagged as an 'Old School Heavy Metal band somewhere in between U.S and Epic Metal, NOWBHM and early German Metal. With that comes a solid sourcing from bands such as Manilla Road, Cirith Ungol, Virgin Steele, Accept and The Scorpions. With that also comes a strong Maiden flavour that is high up in the first three songs, and phased with early NWOBHM a la Avenger on the up-tempo”Killer”. The multi-paced “The Scarlet Citadel” turns more towards the Epic Metal thing, meshing the likes of Maiden, Manowar, Warlord and Manilla Road, sauced with light, Epic synths usage and an anthemic shout along theme. The moderately fast Metaler “Witchfinder” sports similar features with darker,Doom oriented twists, as does the Hyksos esque “Crystal Talon”. The vocalage of John Gunn is roughened and grainy in a talk type fashion, reminiscent of Demon Pact. In addition to the lower mid-toneis a scala of siren yells, falsetto peaks, and chants In the refrains. The delivery is not always pitch perfect but somehow seems to compliment the atmosphere and feel of it all. Most in-depth tune comes in the shape of “Dunsinane”, blending 70's Folk-ish / Progressive Rock with gained guitars and hammond synths. Interesting!
Paul van der Burght
ALLAGASH – 2018 “Canadian Encounters”
label: private
songs: They Follow You / Almond Eyes / Hybrid Child / Canadian Encounters //
web: https://allagash.bandcamp.com/
Follow-up to the selftitled 2016 album. As on the debut, this Canadian 5-piece, have created another set of concept songs that related to alien abduction. By definition, Canadian bands are musically well up there with a keen sense for technicality, balance and Progressive thing. Same applies to Allagash without getting too technical or Progressive like. This E.P offers quite a diverse palette of songs that spins off with the Megadeth / Cyclone Temple tinged slow-fast semi-headbanger “They Follow You”, that is given this rough edge by the muscular vocal roar of singer 'Mooncrawler'. “Almond Eyes” sort of blends the HardCore / Punk thing with NWOBHM and Agent Steel alike riffage. “Hybrid Child” phases 90's Power / SpeedMetal with HardRock over 2 tempos. The disc concludes with the atmospheric, almost Ambient like instrumental that mainly is a collection of tranquil guitar melodies, and in a far distance reminds of 80's Canadian Metalers Rapid Tears. Overall, this E.P is largely guitar / instrumentally oriented with a lot of twin hooks, semi-acoustic passages and some nice solo-actions. Allagash certainly are band to watch for, if only for their slightly unconventional and intergalactic sound. Original!
Paul van der Burght
specs: limited edition vinyl E.P of 200 copies
label: private
songs: They Follow You / Almond Eyes / Hybrid Child / Canadian Encounters //
web: https://allagash.bandcamp.com/
Follow-up to the selftitled 2016 album. As on the debut, this Canadian 5-piece, have created another set of concept songs that related to alien abduction. By definition, Canadian bands are musically well up there with a keen sense for technicality, balance and Progressive thing. Same applies to Allagash without getting too technical or Progressive like. This E.P offers quite a diverse palette of songs that spins off with the Megadeth / Cyclone Temple tinged slow-fast semi-headbanger “They Follow You”, that is given this rough edge by the muscular vocal roar of singer 'Mooncrawler'. “Almond Eyes” sort of blends the HardCore / Punk thing with NWOBHM and Agent Steel alike riffage. “Hybrid Child” phases 90's Power / SpeedMetal with HardRock over 2 tempos. The disc concludes with the atmospheric, almost Ambient like instrumental that mainly is a collection of tranquil guitar melodies, and in a far distance reminds of 80's Canadian Metalers Rapid Tears. Overall, this E.P is largely guitar / instrumentally oriented with a lot of twin hooks, semi-acoustic passages and some nice solo-actions. Allagash certainly are band to watch for, if only for their slightly unconventional and intergalactic sound. Original!
Paul van der Burght
specs: limited edition vinyl E.P of 200 copies
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ROAD WARRIOR – 2018 “Power”
label: Gates Of Hell records
songs: Don't Fight Fate / On Iron Wing / Devils In Waiting / I Am The Hunger / Tease n' Torture / Sweating Out The Poison / Back Alley Tokyo Woman / The Future Is Passed //
web: https://www.facebook.com/RoadWarrior1986
First full-lenghter by this Australian three-piece. With its band members going by names such as 'Denimal', 'Overdryve' and 'Villon' you know you are in for a classic Metal treat. Road Warrior does just that, delivering a most versatile melange of 80's U.S styled Metal with an Euro-Metal backbone. Shades of Judas Priest pop up on the opening tune “Don't Fight Fate” and the Euro Metal thing comes resurfacing in full on the multi-riff infused “Devils In Waiting”. A hint of Epic U.S Metal is witnessed on the slightly Omen-esque “On Iron Wing” and via an almost Jazzy tinged twist down “I Am The Hunger” the versatility continues with the Lizzy Borden styled “Tease n' Torture” and the band goes up the technical route with the driven up-tempo Metaler “Sweating Out The Poison” moving somewhere in between WatchTower and Flotsam & Jetsam. Music is mainly mid to up-tempo driven and voiced in a mid-range tone. The band works a lot with driven, staccato riffage that roll on various drum layers and structural twists. A clean and clear production crowns this original, and highly entertaining slab of old-school Metal. Solid.
Paul van der Burght
label: Gates Of Hell records
songs: Don't Fight Fate / On Iron Wing / Devils In Waiting / I Am The Hunger / Tease n' Torture / Sweating Out The Poison / Back Alley Tokyo Woman / The Future Is Passed //
web: https://www.facebook.com/RoadWarrior1986
First full-lenghter by this Australian three-piece. With its band members going by names such as 'Denimal', 'Overdryve' and 'Villon' you know you are in for a classic Metal treat. Road Warrior does just that, delivering a most versatile melange of 80's U.S styled Metal with an Euro-Metal backbone. Shades of Judas Priest pop up on the opening tune “Don't Fight Fate” and the Euro Metal thing comes resurfacing in full on the multi-riff infused “Devils In Waiting”. A hint of Epic U.S Metal is witnessed on the slightly Omen-esque “On Iron Wing” and via an almost Jazzy tinged twist down “I Am The Hunger” the versatility continues with the Lizzy Borden styled “Tease n' Torture” and the band goes up the technical route with the driven up-tempo Metaler “Sweating Out The Poison” moving somewhere in between WatchTower and Flotsam & Jetsam. Music is mainly mid to up-tempo driven and voiced in a mid-range tone. The band works a lot with driven, staccato riffage that roll on various drum layers and structural twists. A clean and clear production crowns this original, and highly entertaining slab of old-school Metal. Solid.
Paul van der Burght
CRUSHING NOTES Entertainment
web: http://www.crushingnotes.com/
U.S.A based independent label and distributor of Heavy Metal music; from Progressive Metal and Thrash to Black Metal and guitar shredders.
web: http://www.crushingnotes.com/
U.S.A based independent label and distributor of Heavy Metal music; from Progressive Metal and Thrash to Black Metal and guitar shredders.
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DEATHSTORM – 2018 “Reaping What Is Left”
label: High Rolller records
songs: The Reaping / Agent Of Dismay / Predatory Kill / Ossuary Darkness / Hallowed Ground / By Sword, By Pick, By Axe / Unholy Lamentations / G.R.L. / Dying Insane //
web: https://www.facebook.com/deathstormthrash
These Austrian Deathsters may not score top points in originality, incorporating a strong Slayer taste - that is most evidently on the “South Of Heaven” esque “Ossuary Darkness”, and the fast, snare drummed “Unholy Lamentations” - however, the band makes up for it in its delivery, squeezing the maximum out of the 90's DeathThrash thing on the album's heaviest and best picks “Hallowed Ground” (a double bass-drummed Thrash frenzy), and the equally intense “By Sword, By Pick, By Axe” with its gripping chorus. There's the occasional hint of Exodus popping up on certain tunes, and concept as a whole comes with a razor sharp guitar sound, hard as nails vocals and a K.O production. Cool.
Paul van der Burght
label: High Rolller records
songs: The Reaping / Agent Of Dismay / Predatory Kill / Ossuary Darkness / Hallowed Ground / By Sword, By Pick, By Axe / Unholy Lamentations / G.R.L. / Dying Insane //
web: https://www.facebook.com/deathstormthrash
These Austrian Deathsters may not score top points in originality, incorporating a strong Slayer taste - that is most evidently on the “South Of Heaven” esque “Ossuary Darkness”, and the fast, snare drummed “Unholy Lamentations” - however, the band makes up for it in its delivery, squeezing the maximum out of the 90's DeathThrash thing on the album's heaviest and best picks “Hallowed Ground” (a double bass-drummed Thrash frenzy), and the equally intense “By Sword, By Pick, By Axe” with its gripping chorus. There's the occasional hint of Exodus popping up on certain tunes, and concept as a whole comes with a razor sharp guitar sound, hard as nails vocals and a K.O production. Cool.
Paul van der Burght
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TRAITOR'S GATE – “Fallen”
label: No Remorse records
songs: Retribution / Homeland / Deceiver / Mean Streets / Edge Of Destruction / Solar Plains / Fall From Grace / Sign Of The Cross / Only The Strong / Fallen //
web: https://www.facebook.com/TraitorsGateOfficial
NWOBHM veterans Traitor's Gate materialized their comeback in 2017 with the “Only The Strong” EP, and they have now followed it up with a full-lengther, “Fallen”. Many re-formed NWOBHM bands do no longer related to the genre, and Traitor's Gate are no exception. There is not a trace of NWOBHM on this 10-songer that is mainly geared towards U.S. Mainstream / HardRock that takes turns with Metal that occasionally borders on melodic U.S. PowerMetal, as evidenced on the up-tempo “Homeland”, the chunky, As Darkness Dies tinged “Deceiver”, the chunky “Solar Plains” and the Power Ballad – turns – Headbanger “Edge Of Destruction” incorporating shades of Judas Priest, as does the opening tune, with added blends of MF Fate and Queensryche. Songs are fairly static with little to no variation in the drum department. There's some nice guitar actions throughout but star of the show is singer Sy Davies, delivering a broad, muscular voice with a melodic edge and a solid vibrato. The guitar riffage is remarkably heavy for the musical style and is further upped by the beefy, yet well proportioned production. The album listens away easily which kind of compensates for the absence of a structural flow. Neat.
Paul van der Burght
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WOLFTOOTH – 2018 “Wolftooth”
label: Blackseed records (CD) / Cursed Tongue records (vinyl)
songs: Blackbirds Call / Aegaeon / Sword Of My Father / White Mountain / Frost Lord / The Huntress / Season Of The Witch / Forged In Fire //
web: https://wolftooth.bandcamp.com
Midwest (U.S.A) based 4-piece that sticker themselves as 'Stoner Metal Riff Worshippers' with a sound that is said to 'combine influences from the 70's and early 80's NWOBHM with Bay Area Thrash and Doom laden riffery'. The band does just that on this 6-song debut with the 70's Doom thing all over the catchy, Sabbath esque HardRocker “Sword Of My Father” with this bobbing riff over a mid-paced drive. Overall, the Doom element has been given a lighter, melodic laden appearance, as evidenced on the moderately paced “The Huntress” and the driving “Blackbirds Call”, featuring these ambient / melancholic moods and vocal layers a la Katatonia. That very same, melodic melancholy also pops up on the slow-paced, Stoner esque “Aegaeon”. The band takes on yet another set of variations to the theme with the more psychedelic / Stoner laden “White Mountain” and the staccato Thrash style riffed, melancholid powerMetaler that is “Frost Lord”. Focal point throughout the set are the vocals, delivering a crisp, upper mid-range with some nice, double sung / dubbed lead vocal lines, and those melancholy modes a la Katatonia in the refrains. Overall, this album sounds very neat and 'humble' which gives the music this certain charm that makes it sound really easy on the ear. Entertaining and nicely done.
Paul van der Burght
label: Blackseed records (CD) / Cursed Tongue records (vinyl)
songs: Blackbirds Call / Aegaeon / Sword Of My Father / White Mountain / Frost Lord / The Huntress / Season Of The Witch / Forged In Fire //
web: https://wolftooth.bandcamp.com
Midwest (U.S.A) based 4-piece that sticker themselves as 'Stoner Metal Riff Worshippers' with a sound that is said to 'combine influences from the 70's and early 80's NWOBHM with Bay Area Thrash and Doom laden riffery'. The band does just that on this 6-song debut with the 70's Doom thing all over the catchy, Sabbath esque HardRocker “Sword Of My Father” with this bobbing riff over a mid-paced drive. Overall, the Doom element has been given a lighter, melodic laden appearance, as evidenced on the moderately paced “The Huntress” and the driving “Blackbirds Call”, featuring these ambient / melancholic moods and vocal layers a la Katatonia. That very same, melodic melancholy also pops up on the slow-paced, Stoner esque “Aegaeon”. The band takes on yet another set of variations to the theme with the more psychedelic / Stoner laden “White Mountain” and the staccato Thrash style riffed, melancholid powerMetaler that is “Frost Lord”. Focal point throughout the set are the vocals, delivering a crisp, upper mid-range with some nice, double sung / dubbed lead vocal lines, and those melancholy modes a la Katatonia in the refrains. Overall, this album sounds very neat and 'humble' which gives the music this certain charm that makes it sound really easy on the ear. Entertaining and nicely done.
Paul van der Burght
ALEGNA DEKADENS
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Alegna Dekadens photos above left and right by Janus Photography & Art.
ALEGNA DEKADENS links:
https://www.facebook.com/alegnadekadens https://www.instagram.com/alegna_dekadens
photographer link: Janus Photography & Art https://www.facebook.com/janusphotoART/
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WEAPONLORD – 2018 “Hail The Victorious”
label: private
songs: Requiem... Dies Irae / Drawn And Quartered / Life Of Crime (Going Downtown) / March Of The Weaponlord / Mission 25 / Witch Hunt / Hail The Victorious Dead / Dagon / Throne Room Masquerade / Whisper In Darkness //
web: https://weaponlord.bandcamp.com/
U.S outfit Weaponlord present some mobility, Progressive laden Metal / Speed that is dominated by the guitar and breathes true Metal throughout. These guys are all over it in an old-school fashion, alternating intelligent, in-depth compositions with more tempered, catchy U.S. Metal, showcased on the mid-paced, double-bass drummed “Life Of Crime”, and dramatic PowerMetal ozzing from the pounding slow grinder “March Of The Weaponlord” that starts off with an instrumental interlude that slightly hints at Anvil's “March Of The Crabs”. Material is thick with timing and melody changes, right there from the start with “Dies Irae” that has this theatrical like appearance that is further complimented by the falsetto vocalage in the King Diamon / MF Fate styles. A comparison that comes resurfacing on the rhythmic, Progressive laden PowerMetaler “Hail The Victorious Dead”, and the energetic, Megadeth – meets – Liege Lord like “Mission 25”, if only for the vocalage. There is a lot happening within the music with some great guitar flash and impressive drumming throughout but peaking on the titletrack in both departments. Excellent!
Paul van der Burght
label: private
songs: Requiem... Dies Irae / Drawn And Quartered / Life Of Crime (Going Downtown) / March Of The Weaponlord / Mission 25 / Witch Hunt / Hail The Victorious Dead / Dagon / Throne Room Masquerade / Whisper In Darkness //
web: https://weaponlord.bandcamp.com/
U.S outfit Weaponlord present some mobility, Progressive laden Metal / Speed that is dominated by the guitar and breathes true Metal throughout. These guys are all over it in an old-school fashion, alternating intelligent, in-depth compositions with more tempered, catchy U.S. Metal, showcased on the mid-paced, double-bass drummed “Life Of Crime”, and dramatic PowerMetal ozzing from the pounding slow grinder “March Of The Weaponlord” that starts off with an instrumental interlude that slightly hints at Anvil's “March Of The Crabs”. Material is thick with timing and melody changes, right there from the start with “Dies Irae” that has this theatrical like appearance that is further complimented by the falsetto vocalage in the King Diamon / MF Fate styles. A comparison that comes resurfacing on the rhythmic, Progressive laden PowerMetaler “Hail The Victorious Dead”, and the energetic, Megadeth – meets – Liege Lord like “Mission 25”, if only for the vocalage. There is a lot happening within the music with some great guitar flash and impressive drumming throughout but peaking on the titletrack in both departments. Excellent!
Paul van der Burght
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AXE STEELER – 2018 “On The Run”
label: Iron Shield records
songs: Back To The Stage / Hellrider / Axe Of Steel / Beyond The Stars / On The Run / Storm / Over The Top / Battlefield //
web: www.facebook.com/Axesteeler
Follow-up to the band's 2016 debut that materialized in the shape of the “Back To The Stage” E.P. Axe Steeler are entirely sourced by the traditional Metal sound including Euro Metal and NWOBHM. This reflects through the entire set and in particularly down “Hellrider”, combining both, and the NWOBHM riffed “Storm” and “Over The Top”. The vocals are variable with snappy, talk type modes and falsetto siren yells, and overall remind of Loudness in both tone, delivery and accent. They may not always be 100% pitch perfect with a few mishaps on “Axe Of Steel” but somehow this adds to the retro charm of it all. There's some nice guitarwork throughout, highlighted on “Back To The Stage” and “On The Run”. There's quite a few twists concept wise including Epic Metal (“Axe Of Steel”), balladry (“Beyond The Stars”), and a surprising turn towards some classic ProgRock a la Asia that morphs into an old Scorpion styled number. The band certainly has a way about them, and even though it may not be fully matured yet, the concept is there. O.K
Paul van der Burght
label: Iron Shield records
songs: Back To The Stage / Hellrider / Axe Of Steel / Beyond The Stars / On The Run / Storm / Over The Top / Battlefield //
web: www.facebook.com/Axesteeler
Follow-up to the band's 2016 debut that materialized in the shape of the “Back To The Stage” E.P. Axe Steeler are entirely sourced by the traditional Metal sound including Euro Metal and NWOBHM. This reflects through the entire set and in particularly down “Hellrider”, combining both, and the NWOBHM riffed “Storm” and “Over The Top”. The vocals are variable with snappy, talk type modes and falsetto siren yells, and overall remind of Loudness in both tone, delivery and accent. They may not always be 100% pitch perfect with a few mishaps on “Axe Of Steel” but somehow this adds to the retro charm of it all. There's some nice guitarwork throughout, highlighted on “Back To The Stage” and “On The Run”. There's quite a few twists concept wise including Epic Metal (“Axe Of Steel”), balladry (“Beyond The Stars”), and a surprising turn towards some classic ProgRock a la Asia that morphs into an old Scorpion styled number. The band certainly has a way about them, and even though it may not be fully matured yet, the concept is there. O.K
Paul van der Burght
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UADA – 2018 “Cult Of A Dying Sun”
label: Eisenwald productions
songs: The Purging Fire / Snakes & Vultures / Cult Of A Dying Sun / The Wanderer / Blood And Ash / . Sphere (Imprisonment) / Mirrors //
web: https://uada.bandcamp.com
Follow-up to the 2016 “Devoid Of Light” debut by this U.S based 4-piece engaging a blend of 90's Black / DeathMetal with a modernized edge and hints of HardCore Metal. This makes for quite an interesting sound that is mainly given value by Nordic style rhythm / melody guitars, twin melodies, chunky blast beats and variable vocals. It is here that the music gets its 'new' make-over, sporting screamy (HardCore) modes, alongside deep, gurgling grunts and a raspy BlackMetal voice which is the lesser of all three. There's a lot of double-bassdrum action going down the material, pulsing the chorus, and most of the twin harmonies on the Metal – meets – BlackMetal esque “The Purging Fire”. This one also has a slight hint of Fear Factory, fragments of which come resurfacing in a more prominent fashion on its title-track in both the riff / guitar and vocal department, be it in a BlackMetal styled appearance. The double-bass drum attack goes on throughout the entire set, and adds to the impact of the whole, cloaked in a thick, power-punch production. This is one highly entertaining and potent Black / DeathMetal offering with a refreshing twist that makes this band stand out. Strong.
Paul van der Burght
label: Eisenwald productions
songs: The Purging Fire / Snakes & Vultures / Cult Of A Dying Sun / The Wanderer / Blood And Ash / . Sphere (Imprisonment) / Mirrors //
web: https://uada.bandcamp.com
Follow-up to the 2016 “Devoid Of Light” debut by this U.S based 4-piece engaging a blend of 90's Black / DeathMetal with a modernized edge and hints of HardCore Metal. This makes for quite an interesting sound that is mainly given value by Nordic style rhythm / melody guitars, twin melodies, chunky blast beats and variable vocals. It is here that the music gets its 'new' make-over, sporting screamy (HardCore) modes, alongside deep, gurgling grunts and a raspy BlackMetal voice which is the lesser of all three. There's a lot of double-bassdrum action going down the material, pulsing the chorus, and most of the twin harmonies on the Metal – meets – BlackMetal esque “The Purging Fire”. This one also has a slight hint of Fear Factory, fragments of which come resurfacing in a more prominent fashion on its title-track in both the riff / guitar and vocal department, be it in a BlackMetal styled appearance. The double-bass drum attack goes on throughout the entire set, and adds to the impact of the whole, cloaked in a thick, power-punch production. This is one highly entertaining and potent Black / DeathMetal offering with a refreshing twist that makes this band stand out. Strong.
Paul van der Burght
Sanhedrin photos above and below by Suzanne Abramson
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Brooklyn / USA based three piece Sanhedrin are an old-school inspired band that does not shy away from experimenting with the genre or crossing its borders implementing blends of Doom and Stoner Metal whilst maintaining this swing that is very much their own. Their debut album, “A Funeral For The World” testifies to this, catapulting the band into international recognition. Manic Mosh Meta had a chat with Sanhedrin guitarist Jeremy Sosville.
MANIC MOSH METAL: How and when did the band get together, and is the band still in the original line-up?
Jeremy: The band came together in 2015. Nathan and I are long time friends musically and otherwise, and we had been jamming for a while trying to get something going. He introduced Erica to the band as they worked together as audio technicians for many years and shared musical interests. Things really took off creatively from there. The line-up has been the same since day 1 of Sanhedrin.
MMM: It took the band two independent releases to get picked up by a label; surely there must have been interest of some sort knowing the quality of both releases?
Jeremy: We released a 4-song demo in 2015 and self-released our album “A Funeral For The World’ last year. Before releasing the album, we did ask some labels if they were interested but wound up doing it all ourselves when no real offers came in. We weren't going to wait for a label to figure it out so we took action on our own. It turned out to be a blessing to have it work out that way; we were able to control our own destiny and bring our music straight to the people with no interference from the music-industry machinery
MMM: How did the deal with Cruz Del Sur come about?
Jeremy: For whatever reason, our album got quite a bit of traction in Europe just from word of mouth. We realized we needed help over there, since being in the U.S creates a lot of challenges when you’re DIY and trying to develop your international reach. We were introduced to Enrico (CDS owner) through a mutual contact and we worked out a deal where Cruz Del Sur repressed ‘A Funeral For The World’ and will also be releasing our next album early next year.
MMM: The sound of the band is like being catapulted straight back to the 80's without the 'forced' retro thing many present bands employ; the music of Sanhedrin just oozes genuine classic Metal.
Jeremy: Thanks. We’re not trying to be an exhibit in a museum with what we do musically. Though we are rooted in classic sounds, the music we are making is sincere and honest. Classic Metal and Hard Rock are our foundation, but we don’t operate with restrictions when it comes to songwriting.
MMM: With regards to the old-school sound, is there any bands in particular that may have sourced the concept... At a second glance, I felt there is a certain likeness to early Queensryche and Armored Saint referring to “Riding On The Dawn”
Jeremy: I could name bands that inspire us all day, but our sound ultimately comes from the three of us getting in a room and trying to get the most out of each other. That said, I’ll never turn down comparisons to bands like Queensryche and Armored Saint. We could certainly be compared to worse!
MMM: Then, there's also blends of light Stoner / Doom on its title track and “No Religion”; quite a risky move in terms of classic Metal, but it works really well.. is there more unreleased songs of this nature?
Jeremy: Again, we have no restrictions when it comes to our songwriting. We love a lot of different music and we take influence from a wide variety of sources. There will be more displays like this on our next record, as well as a few other surprises. We are really proud and excited about what we’ll be unleashing next.
MMM: How has the response to the new album been in comparison to the debut E.P and how did it accelerate the recognition of the band?
Jeremy: The EP was basically a cassette demo. We tracked that quickly so we had something we could put on-line to represent ourselves and to sell at shows. Three of the songs on it wound up on the LP. The album was a grander task and I think the sonic quality and the performances captured on it did a lot for us. We went from a relatively unknown new band to a band that people are starting to take seriously. That’s incredibly gratifying.
MMM: How many songs does the whole of the repertoire count at the moment and are there already songs 'reserved' for the next release?
Jeremy: We have a whole album written that we’re intensely rehearsing now, as we will be entering the studio in September. There are also some other ideas kicking around that we will begin working on as soon as this record is in the can.
MMM: Anything else you'd like to add?
Jeremy: We would just like to thank everyone who has supported the band to this point, and we really look forward to starting the next chapter with our next record coming out in early 2019!
MANIC MOSH METAL: How and when did the band get together, and is the band still in the original line-up?
Jeremy: The band came together in 2015. Nathan and I are long time friends musically and otherwise, and we had been jamming for a while trying to get something going. He introduced Erica to the band as they worked together as audio technicians for many years and shared musical interests. Things really took off creatively from there. The line-up has been the same since day 1 of Sanhedrin.
MMM: It took the band two independent releases to get picked up by a label; surely there must have been interest of some sort knowing the quality of both releases?
Jeremy: We released a 4-song demo in 2015 and self-released our album “A Funeral For The World’ last year. Before releasing the album, we did ask some labels if they were interested but wound up doing it all ourselves when no real offers came in. We weren't going to wait for a label to figure it out so we took action on our own. It turned out to be a blessing to have it work out that way; we were able to control our own destiny and bring our music straight to the people with no interference from the music-industry machinery
MMM: How did the deal with Cruz Del Sur come about?
Jeremy: For whatever reason, our album got quite a bit of traction in Europe just from word of mouth. We realized we needed help over there, since being in the U.S creates a lot of challenges when you’re DIY and trying to develop your international reach. We were introduced to Enrico (CDS owner) through a mutual contact and we worked out a deal where Cruz Del Sur repressed ‘A Funeral For The World’ and will also be releasing our next album early next year.
MMM: The sound of the band is like being catapulted straight back to the 80's without the 'forced' retro thing many present bands employ; the music of Sanhedrin just oozes genuine classic Metal.
Jeremy: Thanks. We’re not trying to be an exhibit in a museum with what we do musically. Though we are rooted in classic sounds, the music we are making is sincere and honest. Classic Metal and Hard Rock are our foundation, but we don’t operate with restrictions when it comes to songwriting.
MMM: With regards to the old-school sound, is there any bands in particular that may have sourced the concept... At a second glance, I felt there is a certain likeness to early Queensryche and Armored Saint referring to “Riding On The Dawn”
Jeremy: I could name bands that inspire us all day, but our sound ultimately comes from the three of us getting in a room and trying to get the most out of each other. That said, I’ll never turn down comparisons to bands like Queensryche and Armored Saint. We could certainly be compared to worse!
MMM: Then, there's also blends of light Stoner / Doom on its title track and “No Religion”; quite a risky move in terms of classic Metal, but it works really well.. is there more unreleased songs of this nature?
Jeremy: Again, we have no restrictions when it comes to our songwriting. We love a lot of different music and we take influence from a wide variety of sources. There will be more displays like this on our next record, as well as a few other surprises. We are really proud and excited about what we’ll be unleashing next.
MMM: How has the response to the new album been in comparison to the debut E.P and how did it accelerate the recognition of the band?
Jeremy: The EP was basically a cassette demo. We tracked that quickly so we had something we could put on-line to represent ourselves and to sell at shows. Three of the songs on it wound up on the LP. The album was a grander task and I think the sonic quality and the performances captured on it did a lot for us. We went from a relatively unknown new band to a band that people are starting to take seriously. That’s incredibly gratifying.
MMM: How many songs does the whole of the repertoire count at the moment and are there already songs 'reserved' for the next release?
Jeremy: We have a whole album written that we’re intensely rehearsing now, as we will be entering the studio in September. There are also some other ideas kicking around that we will begin working on as soon as this record is in the can.
MMM: Anything else you'd like to add?
Jeremy: We would just like to thank everyone who has supported the band to this point, and we really look forward to starting the next chapter with our next record coming out in early 2019!
SANHEDRIN – LP 2018 “A Funeral For The Dying World” (re-issue)
label: Cruz Del Sur Music (vinyl
songs: Riding On The Dawn / A Funeral For The World / Demoness / Collateral Damage / Faith Healers / No Religion / Massive Deceiver / Die Trying //
web: https://www.facebook.com/sanhedrinband/
Initially released as a private press, the 2017 debut album of Brooklyn's, female fronted three-piece Sanhedrin, got picked up by Cruz Del Sur Music and released in vinyl format. Sanhedrin tap into the old-school Metal thing and don't miss a trick. This is one quality, retro-styled affair that comes with in-depth programming, a diverse palette of songs and great, roughened female vocals with a bite provided by singer / bassist Erica Stoltz. The set goes through a whole batch of old-school tracks; from the catchy, mid-tempo HardRock / Metal merged “Riding On The Dawn”, the fist pumpin riff Rocker “Massive Deceiver” and the slightly Doom / Stoner infused grinders “A Funeral For The World” and “No Religion” onto the toe-tapping, riff-laden speedster “Demoness” (with a slow-burning, multi-structured mid-section) and over to the dramatic HardRock balladry of “Collateral Damage” (that is being upped to a fist-pumping U.S. PowerMetaler towards the end of the song). Whichever adaptation the band employs, it is all done textbook and beyond with a swing that gives it this genuine appearance and feel. Sanhedrin have this natural old-school sound that is very much their own, without trying to replicate anything, band or concept wise. In all, a very complete and well-considered classic retro HardRock / Metal album that listens away really easy in a head bobbing modus. Excellent! 9/10
Paul van der Burght
label: Cruz Del Sur Music (vinyl
songs: Riding On The Dawn / A Funeral For The World / Demoness / Collateral Damage / Faith Healers / No Religion / Massive Deceiver / Die Trying //
web: https://www.facebook.com/sanhedrinband/
Initially released as a private press, the 2017 debut album of Brooklyn's, female fronted three-piece Sanhedrin, got picked up by Cruz Del Sur Music and released in vinyl format. Sanhedrin tap into the old-school Metal thing and don't miss a trick. This is one quality, retro-styled affair that comes with in-depth programming, a diverse palette of songs and great, roughened female vocals with a bite provided by singer / bassist Erica Stoltz. The set goes through a whole batch of old-school tracks; from the catchy, mid-tempo HardRock / Metal merged “Riding On The Dawn”, the fist pumpin riff Rocker “Massive Deceiver” and the slightly Doom / Stoner infused grinders “A Funeral For The World” and “No Religion” onto the toe-tapping, riff-laden speedster “Demoness” (with a slow-burning, multi-structured mid-section) and over to the dramatic HardRock balladry of “Collateral Damage” (that is being upped to a fist-pumping U.S. PowerMetaler towards the end of the song). Whichever adaptation the band employs, it is all done textbook and beyond with a swing that gives it this genuine appearance and feel. Sanhedrin have this natural old-school sound that is very much their own, without trying to replicate anything, band or concept wise. In all, a very complete and well-considered classic retro HardRock / Metal album that listens away really easy in a head bobbing modus. Excellent! 9/10
Paul van der Burght
SAFFIRE ROXX
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Saffire Roxx photo above left by Steve Candi. Photo right selfie by Saffire Roxx
SAFFIRE ROXX - Tattoed, Alternative and Latex Model from Yorkshire, UK
SAFFIRE ROXX links: https://www.facebook.com/saffireroxx/ https://www.instagram.com/saffireroxx
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RUNESPELL – 2018 “Order Of Vengeance”
label: Iron Bonehead productions
songs: Retribution In Iron / Destiny Over Discord / Claws Of Fate / Night's Gate / Wolf Axis / Blood Martyr / Pray For Redemption - Redemption for Prey //
web:https://shop.ironbonehead.de
Australian one man act belting out some Pagan Black Metal with variations. The main theme throughout reminds of the 90's interpretation of the genre be it with a much deeper, bass-oriented production. This whole thing sound really authentic with some great mobility drummage, opposed to many studio generated BlackMetal projects. Music is quite dramatic and emotive laden without sounding too melodic.There's times, Runespell turns towards the Ambient side of things, as is the case on “Retribution In Iron” and the Medieval / Epic sphered “Destiny Over Discord” that also features a mild blend of Doom that comes resurfacing on the slow-paced “Wolf Axis”. There is a good balance in speed and feel throughout, although the main chunk of the set rather slow / moderately paced, with the subtlety pushed up on the soundtrack-like Epic instrumental interlude “Night's Gate” that is given this added, ancient atmosphere through its Gregorian chants and acoustic guitar. The set takes a turn towards primitive BlackMetal of old down “Claws of Fate” with gruff, raspy vocalage, thundering blast beat drums and a lot of guitar riffage. “Order Of Vengeance” simply nails it on all accounts, making this one convincing, solid delivery from start to finish.
Paul van der Burght
label: Iron Bonehead productions
songs: Retribution In Iron / Destiny Over Discord / Claws Of Fate / Night's Gate / Wolf Axis / Blood Martyr / Pray For Redemption - Redemption for Prey //
web:https://shop.ironbonehead.de
Australian one man act belting out some Pagan Black Metal with variations. The main theme throughout reminds of the 90's interpretation of the genre be it with a much deeper, bass-oriented production. This whole thing sound really authentic with some great mobility drummage, opposed to many studio generated BlackMetal projects. Music is quite dramatic and emotive laden without sounding too melodic.There's times, Runespell turns towards the Ambient side of things, as is the case on “Retribution In Iron” and the Medieval / Epic sphered “Destiny Over Discord” that also features a mild blend of Doom that comes resurfacing on the slow-paced “Wolf Axis”. There is a good balance in speed and feel throughout, although the main chunk of the set rather slow / moderately paced, with the subtlety pushed up on the soundtrack-like Epic instrumental interlude “Night's Gate” that is given this added, ancient atmosphere through its Gregorian chants and acoustic guitar. The set takes a turn towards primitive BlackMetal of old down “Claws of Fate” with gruff, raspy vocalage, thundering blast beat drums and a lot of guitar riffage. “Order Of Vengeance” simply nails it on all accounts, making this one convincing, solid delivery from start to finish.
Paul van der Burght
NWOTHM FULL ALBUMS
web: https://www.youtube.com/channel/UCCGbKiCJjph8Grazqmo7z4w
NWOTHM Full Albums is a YouTube channel that is entirely dedicated to bring the best of Old School heavy Metal albums by the bands of the new generation, also known as the NWOTHM. This channel is a perfect way to find out about new bands and releases, and helps artist and bands to get worldwide exposure through uploads and links to their pages. A great source for any NWOTHM fan and Metalheads in general. NWOTHM Full Albums also has a FB page with updates, links, news etc. here: https://www.facebook.com/nwothmfullalbums/
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DESOLATION ANGELS – 2018 “King”
label: Dissonance records
songs: Doomsday / Another Turn Of The Screw / Devil Sent / Rotten To The Core / Your Blackened Heart / Find Your Life / Hellfire / Sky Of Pain / My Demon Inside //
web: https://www.desolationangels.co.uk/
If there is a NWOTHM album that nails the modern adaptation of the NWOBHM thing, then it is Desolation Angles. Not much of a surprise coming from a band that actually were part of the NWOBHM machine; they've just powered up the whole thing, including some really heavy, grainy guitars. This makes the band tend to PowerMetal down the up-tempo cruncher “Another Turn Of The Screw”, and the dark-edged “Your Blackened Heart”. The album spins off in an all-out NWOBHM fashion though, with the characteristic, riff-based – mid-tempo combi of the gripping “Doomsday”, sporting a lead and drive redolent of Sledgehammer (“Sledgehammer”). Matters slow down a tad with the Saxon esque “Devil Sent”, the slow grinder “My Demon Inside”, and the heavy, semi-balladry of “Find Your Life”. This is also the moment where the vocalage of Paul Taylor peaks, delivering a muscular roar and lots of volume. For most of the time, the vocals operate in a deserving, melodic edged mid-tone that on more than one occasion clicks with Biff Byford (Saxon). There's a good allround diversity within the repertoire that does really well in terms of accessibility and entertainment value. This album rocks song after song, and dips down just once with the rather static, mid-paced thumper “Sky Of Pain” which is still an OK offering. Overall, “King” is a powerpacked outing that is further upped by the quality musicianship and its beefy production. Great!
Paul van der Burght
label: Dissonance records
songs: Doomsday / Another Turn Of The Screw / Devil Sent / Rotten To The Core / Your Blackened Heart / Find Your Life / Hellfire / Sky Of Pain / My Demon Inside //
web: https://www.desolationangels.co.uk/
If there is a NWOTHM album that nails the modern adaptation of the NWOBHM thing, then it is Desolation Angles. Not much of a surprise coming from a band that actually were part of the NWOBHM machine; they've just powered up the whole thing, including some really heavy, grainy guitars. This makes the band tend to PowerMetal down the up-tempo cruncher “Another Turn Of The Screw”, and the dark-edged “Your Blackened Heart”. The album spins off in an all-out NWOBHM fashion though, with the characteristic, riff-based – mid-tempo combi of the gripping “Doomsday”, sporting a lead and drive redolent of Sledgehammer (“Sledgehammer”). Matters slow down a tad with the Saxon esque “Devil Sent”, the slow grinder “My Demon Inside”, and the heavy, semi-balladry of “Find Your Life”. This is also the moment where the vocalage of Paul Taylor peaks, delivering a muscular roar and lots of volume. For most of the time, the vocals operate in a deserving, melodic edged mid-tone that on more than one occasion clicks with Biff Byford (Saxon). There's a good allround diversity within the repertoire that does really well in terms of accessibility and entertainment value. This album rocks song after song, and dips down just once with the rather static, mid-paced thumper “Sky Of Pain” which is still an OK offering. Overall, “King” is a powerpacked outing that is further upped by the quality musicianship and its beefy production. Great!
Paul van der Burght
DUNGEON – 2018 “Purifying Fire”
label: Me Saco Un Ojo (vinyl) / Dying Victims productions (cassette)
songs: Death From Above / Queen Of Sin / Traitors gate / Spectral Blitz / Innocent Evil / Purifying Fire //
web: https://www.facebook.com/DungeonLondon/
Debut album by London's Dungeon, featuring a brand of largely riff oriented (Death)Thrash the way it was done in the 80's. Think of a Thrashed up early Venom, phased with Possessed and Sodom. Dungeon's music is fast and raw with the gruff, talk type vocalage a la Cronos (Venom) thickening this unpolished appearance. There's a good, allround shape-shifting within the songs, and not just the full-throttle Thrash thing. A good example of this is the 7+ minute “Traitors Gate” that features rhythmic up-tempos and speedy parts and has the vocalage hinting at Tom Warrior (Celtic Frost). There's not a lot of double bass-drummage going down the set , mostly this is in the shape of the occasional chop, but does not affect the music as a whole. The band has slipped in some nifty Metal hooks, materialized through asome guitar melodies on “Death From Above” and a whole section down “Innocent Evil”. Cool.
Paul van der Burght
label: Me Saco Un Ojo (vinyl) / Dying Victims productions (cassette)
songs: Death From Above / Queen Of Sin / Traitors gate / Spectral Blitz / Innocent Evil / Purifying Fire //
web: https://www.facebook.com/DungeonLondon/
Debut album by London's Dungeon, featuring a brand of largely riff oriented (Death)Thrash the way it was done in the 80's. Think of a Thrashed up early Venom, phased with Possessed and Sodom. Dungeon's music is fast and raw with the gruff, talk type vocalage a la Cronos (Venom) thickening this unpolished appearance. There's a good, allround shape-shifting within the songs, and not just the full-throttle Thrash thing. A good example of this is the 7+ minute “Traitors Gate” that features rhythmic up-tempos and speedy parts and has the vocalage hinting at Tom Warrior (Celtic Frost). There's not a lot of double bass-drummage going down the set , mostly this is in the shape of the occasional chop, but does not affect the music as a whole. The band has slipped in some nifty Metal hooks, materialized through asome guitar melodies on “Death From Above” and a whole section down “Innocent Evil”. Cool.
Paul van der Burght
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FOREBODING ETHER – 2018 “Dunamis”
label: private
songs: Subconscious Subliminal / Plagued Skies / Abhorrent Affairs / Education & Catastophe / Hostilis / Obscene Machinery / Coming In Contact / Pillars Of Thought / Meliorate / Yabo / Murdering The Universe //
web: https://forebodingether.bandcamp.com/album/dunamis
Intense and technically dazzling, 90's styled U.S Progressive DeathMetal by this U.K based band that previously popped out a few releases. This is one largely guitar / riff oriented affair that is caked with timing and melody changes that run parallel with a mobility instrumentation, and rolls on over the top hyperspeed double bass drummage, as evidenced on “Yabo”. The vocals are of the extreme kind, channelled either in a deep grunt or via those raspy DeathThrash shrieks, alongside this HardCore Metal esque provocation. Guitar wise there's the occasional neo-classical (speed) hooks, popping up on “Murdering The Universe” that also holds some subtle, almost Friedman / Cacophony esque guitar melodies. Impossible to keep up with this thing at a first spin, leaving lots to discover for future plays. “Dunamis” sticks together really well, a shame though that it sort of suffers from this 'plastic' drum sound. Nonetheless, one very impressive commodity! Strong.
Paul van der Burght
label: private
songs: Subconscious Subliminal / Plagued Skies / Abhorrent Affairs / Education & Catastophe / Hostilis / Obscene Machinery / Coming In Contact / Pillars Of Thought / Meliorate / Yabo / Murdering The Universe //
web: https://forebodingether.bandcamp.com/album/dunamis
Intense and technically dazzling, 90's styled U.S Progressive DeathMetal by this U.K based band that previously popped out a few releases. This is one largely guitar / riff oriented affair that is caked with timing and melody changes that run parallel with a mobility instrumentation, and rolls on over the top hyperspeed double bass drummage, as evidenced on “Yabo”. The vocals are of the extreme kind, channelled either in a deep grunt or via those raspy DeathThrash shrieks, alongside this HardCore Metal esque provocation. Guitar wise there's the occasional neo-classical (speed) hooks, popping up on “Murdering The Universe” that also holds some subtle, almost Friedman / Cacophony esque guitar melodies. Impossible to keep up with this thing at a first spin, leaving lots to discover for future plays. “Dunamis” sticks together really well, a shame though that it sort of suffers from this 'plastic' drum sound. Nonetheless, one very impressive commodity! Strong.
Paul van der Burght
FERAL VICE
Above: Model Feral Vice photo by FetPhotoman / Gary Cotter
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Above left and right: Model Feral Vice photos by Greg Cleaver
Model FERAL VICE
https://www.facebook.com/feral6913/
http://www.modelmayhem.com/portfolio/2816683/viewall
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RûR – 2018 “Rûr”
label: Northern Silence productions
songs: I / II / III / IV //
web: https://rurdomain.bandcamp.com/
Debut album by Norwegian one-man band Rûr, featuring the previously (independently) released 2016 E.P (lifting the pieces I, II and III) and follow-up single IV. The collective running time of these four songs is well over 45 minutes, spawning a blend of Atmospheric / Nordic Black Metal with a dramatic feel and this Epic / Medieval undertone that is triggered by deep, Gregorian chant like key notes. These are all over opening piece “I”; a bone-chilling, emotive laden song that perfectly captures the Nordic element. The dark, Medieval thing is pushed forward on follow-up track “II”,(if only for its intro) and goes full-blast in old-school BlackMetal tradition, alternated with slow and tempered, melodic laden sections and a brilliant, all Nordic riff that brings the song to an emotive finale. “III” holds high the Nordic BlackMetal tradition with raspy vocals and the characteristic high-low-and-reversed riffage over blast beat drums with added, Gregorian chants in the back to thicken the Medieval / Epic thing. More of the same down “IV” that features a good mobility in drum patterns. Rûr makes you experience the bitter cold of the North on a moonlit night with all its mystique and will leave you wanting more! Excellent!
Paul van der Burght
label: Northern Silence productions
songs: I / II / III / IV //
web: https://rurdomain.bandcamp.com/
Debut album by Norwegian one-man band Rûr, featuring the previously (independently) released 2016 E.P (lifting the pieces I, II and III) and follow-up single IV. The collective running time of these four songs is well over 45 minutes, spawning a blend of Atmospheric / Nordic Black Metal with a dramatic feel and this Epic / Medieval undertone that is triggered by deep, Gregorian chant like key notes. These are all over opening piece “I”; a bone-chilling, emotive laden song that perfectly captures the Nordic element. The dark, Medieval thing is pushed forward on follow-up track “II”,(if only for its intro) and goes full-blast in old-school BlackMetal tradition, alternated with slow and tempered, melodic laden sections and a brilliant, all Nordic riff that brings the song to an emotive finale. “III” holds high the Nordic BlackMetal tradition with raspy vocals and the characteristic high-low-and-reversed riffage over blast beat drums with added, Gregorian chants in the back to thicken the Medieval / Epic thing. More of the same down “IV” that features a good mobility in drum patterns. Rûr makes you experience the bitter cold of the North on a moonlit night with all its mystique and will leave you wanting more! Excellent!
Paul van der Burght
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WILD – 2018 “Sin Piedad”
label: private
songs: Sin Piedad / Todo O Nada / Acorralado / Circo Virtual / Vuela Alto / Venganza / Bajo Un Cielo De Cristal (Rapture I) / Pesadilla (Rapture II) / Madre Tierra / Luna De Sangre //
web: http://wearewild.net/
Spanish outfit Wild sound exactly the way HardRock / Metal was played in the early 80's. This instantly sparks off the opening theme of the up-tempo riff monster “Sin Piedad”. The disc continues with two, Accept alike tracks; the riff-based up-tempo Rocker “Todo O Nada” and the chunky, mid-tempo pounder “Acorralado”. The tempo picks up on the double bass drummed semi-Headbanger “Circo Virtual” and the Loudness esque “Venganza”, radiating additional fragments of Vicious Rumors. This is a thing that comes resurfacing on the double-bass drummed, up-tempo PowerMetaler “Luna De Sangre”. The whole deal is well played and well structured with some good drummage and a muscular vocal roar with a raised, mid-range tone reminiscent of classic Spanish Rock act Obus. “Sin Piedad” simply is one sticky affair with a solid delivery, some nice guitarwork and a high entertainment value over a good spread of songs, Strong
Paul van der Burght
label: private
songs: Sin Piedad / Todo O Nada / Acorralado / Circo Virtual / Vuela Alto / Venganza / Bajo Un Cielo De Cristal (Rapture I) / Pesadilla (Rapture II) / Madre Tierra / Luna De Sangre //
web: http://wearewild.net/
Spanish outfit Wild sound exactly the way HardRock / Metal was played in the early 80's. This instantly sparks off the opening theme of the up-tempo riff monster “Sin Piedad”. The disc continues with two, Accept alike tracks; the riff-based up-tempo Rocker “Todo O Nada” and the chunky, mid-tempo pounder “Acorralado”. The tempo picks up on the double bass drummed semi-Headbanger “Circo Virtual” and the Loudness esque “Venganza”, radiating additional fragments of Vicious Rumors. This is a thing that comes resurfacing on the double-bass drummed, up-tempo PowerMetaler “Luna De Sangre”. The whole deal is well played and well structured with some good drummage and a muscular vocal roar with a raised, mid-range tone reminiscent of classic Spanish Rock act Obus. “Sin Piedad” simply is one sticky affair with a solid delivery, some nice guitarwork and a high entertainment value over a good spread of songs, Strong
Paul van der Burght
KRULL – 2018 “The Black Coast”
label: Iron Shield records
songs: In the Woods (intro) / The Witch / By Steel / Marching To Mountains / Valhalla / The King And The Sword / Immortals / Stand Fight To Kill / The Black Coast //
web: https://krullofficial.bandcamp.com/
Brazilian act that have been around since '98; first by the name of Suprema, and later 'Eternal Fate'. In 2015 the band continued as Krull with a modified line up, and a year onwards an E.P, “Metal Swords And Fire” was produced. The “Black Coast” album is their second registration and basically is a modern take on classic rooted PowerMetal that is said to be influenced by bands such as Maiden, Priest, Accept, MF Fate, Manowar and Exciter. The result is a concept laden with Epic / Anthemic modes and shout along themes over a mobility instrumentation and lots of double bassdrum action. Added to this is a variable, all Metal vocal style that moves somewhere in between Udo (Accept), Iron Cross and Gravedigger when operating in raised shriek modus, alongside a deeper sounding, talk-type roar and Judas Priest like siren yells. There is a lot happening in the guitar department with lots of sweep picking, 'fillers' and solo-action. The tempo varies from mid / up-tempo to accommodate the more Epic / atmospsheric oriented tunes such as the Anthemic Ballad “Valhalla” and the more HardRock / Metal esque fist pumper “Stand Fight To Kill”, to a fast pace fuelling “Marching To Mountains” and the Judas Priest “Painkiller” tinged titletrack. The overall concept works and the all round delivery is good making “The Black Coast” an album that sits comfortably in the NWOTHM territories, but unfortunately suffers from the 'plastic' drum sound. OK
Paul van der Burght
label: Iron Shield records
songs: In the Woods (intro) / The Witch / By Steel / Marching To Mountains / Valhalla / The King And The Sword / Immortals / Stand Fight To Kill / The Black Coast //
web: https://krullofficial.bandcamp.com/
Brazilian act that have been around since '98; first by the name of Suprema, and later 'Eternal Fate'. In 2015 the band continued as Krull with a modified line up, and a year onwards an E.P, “Metal Swords And Fire” was produced. The “Black Coast” album is their second registration and basically is a modern take on classic rooted PowerMetal that is said to be influenced by bands such as Maiden, Priest, Accept, MF Fate, Manowar and Exciter. The result is a concept laden with Epic / Anthemic modes and shout along themes over a mobility instrumentation and lots of double bassdrum action. Added to this is a variable, all Metal vocal style that moves somewhere in between Udo (Accept), Iron Cross and Gravedigger when operating in raised shriek modus, alongside a deeper sounding, talk-type roar and Judas Priest like siren yells. There is a lot happening in the guitar department with lots of sweep picking, 'fillers' and solo-action. The tempo varies from mid / up-tempo to accommodate the more Epic / atmospsheric oriented tunes such as the Anthemic Ballad “Valhalla” and the more HardRock / Metal esque fist pumper “Stand Fight To Kill”, to a fast pace fuelling “Marching To Mountains” and the Judas Priest “Painkiller” tinged titletrack. The overall concept works and the all round delivery is good making “The Black Coast” an album that sits comfortably in the NWOTHM territories, but unfortunately suffers from the 'plastic' drum sound. OK
Paul van der Burght
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CHEVALIER – 2018 “A Call To Arms”
label: Gates Of Hell records (vinyl LP version)
songs: Under The Sceptre / The Sorcerer / The Awakening / Chevalier / Ride For Revenge / Defenestration //
web: Bandcamp: https://chevalier.bandcamp.com/
Vinyl re-issue of this 2017 released 6-songer by Finland based 4-piece Chevalier. Stickered as 'raw Speed Metal' with a strong liking for the classic French adaptation of the genre, Chevalier offer a melange of all out 80's Metal / Speed that sounds pretty much like a Brocas Helm / MF Fate get-together. The French thing is pushed forward by the melodic melody guitar lines that run through the material. The majority of tunes is fast in an early 80's Euro-Headbanger style with slower moments in the shape of the the mid-paced, rhythmic driven Euro-Metaler “The Sorcerer”, and the moderately paced, HardRock riffed “Ride For Revenge” that 'climaxes' into an upbeat / fast number MF Fate style. The whole deal was recorded in the rehearsal roiom, adding this raw, unpolished like demo appearance. Drawback of this though is that the vocals by female singer Emma are buried in the mix, aside the fact that they are not 100% steady in delivering those 'falsetto' siren yells. The band certainly has the sound and the potential that could have so much more with just a few modifications here and there. OK
Paul van der Burght
specs: 2017 version is original, private press. 2018 edition by Gates Of Hell is a vinyl re-issue
label: Gates Of Hell records (vinyl LP version)
songs: Under The Sceptre / The Sorcerer / The Awakening / Chevalier / Ride For Revenge / Defenestration //
web: Bandcamp: https://chevalier.bandcamp.com/
Vinyl re-issue of this 2017 released 6-songer by Finland based 4-piece Chevalier. Stickered as 'raw Speed Metal' with a strong liking for the classic French adaptation of the genre, Chevalier offer a melange of all out 80's Metal / Speed that sounds pretty much like a Brocas Helm / MF Fate get-together. The French thing is pushed forward by the melodic melody guitar lines that run through the material. The majority of tunes is fast in an early 80's Euro-Headbanger style with slower moments in the shape of the the mid-paced, rhythmic driven Euro-Metaler “The Sorcerer”, and the moderately paced, HardRock riffed “Ride For Revenge” that 'climaxes' into an upbeat / fast number MF Fate style. The whole deal was recorded in the rehearsal roiom, adding this raw, unpolished like demo appearance. Drawback of this though is that the vocals by female singer Emma are buried in the mix, aside the fact that they are not 100% steady in delivering those 'falsetto' siren yells. The band certainly has the sound and the potential that could have so much more with just a few modifications here and there. OK
Paul van der Burght
specs: 2017 version is original, private press. 2018 edition by Gates Of Hell is a vinyl re-issue
CHEVALIER – 2018 “Chapitre II”
label: private / Gates Of Hell records (vinyl version + 1 song)songs: The Messenger / Wrath Of Steel / The Curse Of The Dead Star / Fly High //
web: https://www.facebook.com/Chevalier-FIN-1642584236048636/
Latest outing by female fronted act Chevalier that has the demerits of the previous work, the “Call To Arms” EP polished up, now sporting a proper old-school sound / production with a clear, well proportioned mix, and the vocals of Emma delivering the deal. The EP starts off in a high gear with the energetic, and multi structured “The Messenger” that shows more than one similarity to MF Fate with hints of Belgium Speedsters Acid, rolling on thundering double bass drums. Some cool, high pitched siren yells a la King Diamond in there as well. Next one up, the mid / up-tempo “Wrath Of Steel” has bit of an Agent Steel sidekick, particularly with regards to its rhythmic drive of propelling guitars and double bass drummage. The song is showered with timing and melody changes that would be a technical overdose if it was not for its roomy, 6+ minute running time with a 'grand finale' in the vocal department by topping the upper range with those ultra high pitched yells. The riff-oriented, mid-tempo driven “The Curse Of The Dead Star” has the Agent Steel thing re-appearing, and goes in full octane boost speed with thumping bassdrums halfway down. The Gates Of Hell records version features an additional song, the Brocas Helm cover “Fly High”; a moderately fast U.S Metaler with a Progressive edge and a lot of guitar.s is the kind of stuff that back in the 80's would make your ears ring, and your neck hurt for days, delivering an atmospheric Headbang attack the old-school way! Great!
Paul van der Burght
label: private / Gates Of Hell records (vinyl version + 1 song)songs: The Messenger / Wrath Of Steel / The Curse Of The Dead Star / Fly High //
web: https://www.facebook.com/Chevalier-FIN-1642584236048636/
Latest outing by female fronted act Chevalier that has the demerits of the previous work, the “Call To Arms” EP polished up, now sporting a proper old-school sound / production with a clear, well proportioned mix, and the vocals of Emma delivering the deal. The EP starts off in a high gear with the energetic, and multi structured “The Messenger” that shows more than one similarity to MF Fate with hints of Belgium Speedsters Acid, rolling on thundering double bass drums. Some cool, high pitched siren yells a la King Diamond in there as well. Next one up, the mid / up-tempo “Wrath Of Steel” has bit of an Agent Steel sidekick, particularly with regards to its rhythmic drive of propelling guitars and double bass drummage. The song is showered with timing and melody changes that would be a technical overdose if it was not for its roomy, 6+ minute running time with a 'grand finale' in the vocal department by topping the upper range with those ultra high pitched yells. The riff-oriented, mid-tempo driven “The Curse Of The Dead Star” has the Agent Steel thing re-appearing, and goes in full octane boost speed with thumping bassdrums halfway down. The Gates Of Hell records version features an additional song, the Brocas Helm cover “Fly High”; a moderately fast U.S Metaler with a Progressive edge and a lot of guitar.s is the kind of stuff that back in the 80's would make your ears ring, and your neck hurt for days, delivering an atmospheric Headbang attack the old-school way! Great!
Paul van der Burght
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Q5 – 2018 “Steel The Light” ('84 re-issue)
label: No Remorse records
songs: Missing In Action / Lonely Lady / Steel The Light / Pull The Trigger / Ain't No Way To Treat A Lady / In The Night / Come And Gone / Rock On / Teenage Runaway // Disc II: That's Alright With You (Steel The Light 12" Single B-side) / Nothing Ventured - Nothing Gained / She's A Dancer / Ain't No Way To Treat A Lady / In The Night / Waiting For Your Love / Teenage Runaway / Our Love Has Come And Gone (all from the 1984 demo) / Your Love Is The Best Love (unreleased demo 1983) / Ain't No Way To Treat A Lady (live Seattle 1983) / That's Alright With You (live Seattle 1983) / Steel The Light (live Radio Broadcast Seattle 1984)
web: https://www.facebook.com/q5official
U.S act that returned to the scene with the 2016 “New World Order” album. As this triggered a fresh interest in the band, the band's rather overlooked '84 debut album “Steel The Light” has been re-released, along with unreleased demo tracks and live takes. Running through this album, it becomes evident that this is one experienced unit, which all makes sense knowing most of its members already were active in T.K.O before teaming up with initiator, guitarist Floyd Rose. Although the band has quite a variations to the theme, the main chunk here sounds like a mix of melodic HardRock / Metal and U.S. Mainstream Rock. This goes from Dokken esque Rockers (such as “Lonely Lady”, “Steel The Light” and “In The Night” to the AC/DC sourced groovsters; “Ain't No Way To Treat A Lady” and “Teenage Runaway” at the other end of the spectrum. The latter also sort of illuminates a resemblance to U.S Rockers Loosely Tight, whilst the mid-paced HardRocker “Pull The Trigger” hints at Y&T. Versatility of the set is further complimented by a slow, atmospheric Semi Ballad, “In The Night”, the more Mainstream oriented Ballad, “Come And Gone”, and the variable lead vocalage that clicks with Tesla on more than one occasion, delivering a rough and raised, roar, alternated with melodic edged modes and a good vibrato. The second part of this re-issue holds live-takes and (unreleased) demo tracks, including the groovster “That's Alright With You”, the demo classic “Nothing Ventured, Nothing Gained”, and the Tesla esque “She's A Dancer”. In all, a nice documentation of a potent HardRock band U.S style with some tasty guitar action throughout.
Paul van der Burght
specs: originally released on Albatross in '84. Re-released on Roadrunner/MFN in '85 with a different cover. "Steel The Light" was also released in EP format including a full & short-cut version of the titletrack + another track, "That's Alright With You". Newest, 2018 re-release by No Remorse with a bonus CD including demo, live and unreleased tracks
label: No Remorse records
songs: Missing In Action / Lonely Lady / Steel The Light / Pull The Trigger / Ain't No Way To Treat A Lady / In The Night / Come And Gone / Rock On / Teenage Runaway // Disc II: That's Alright With You (Steel The Light 12" Single B-side) / Nothing Ventured - Nothing Gained / She's A Dancer / Ain't No Way To Treat A Lady / In The Night / Waiting For Your Love / Teenage Runaway / Our Love Has Come And Gone (all from the 1984 demo) / Your Love Is The Best Love (unreleased demo 1983) / Ain't No Way To Treat A Lady (live Seattle 1983) / That's Alright With You (live Seattle 1983) / Steel The Light (live Radio Broadcast Seattle 1984)
web: https://www.facebook.com/q5official
U.S act that returned to the scene with the 2016 “New World Order” album. As this triggered a fresh interest in the band, the band's rather overlooked '84 debut album “Steel The Light” has been re-released, along with unreleased demo tracks and live takes. Running through this album, it becomes evident that this is one experienced unit, which all makes sense knowing most of its members already were active in T.K.O before teaming up with initiator, guitarist Floyd Rose. Although the band has quite a variations to the theme, the main chunk here sounds like a mix of melodic HardRock / Metal and U.S. Mainstream Rock. This goes from Dokken esque Rockers (such as “Lonely Lady”, “Steel The Light” and “In The Night” to the AC/DC sourced groovsters; “Ain't No Way To Treat A Lady” and “Teenage Runaway” at the other end of the spectrum. The latter also sort of illuminates a resemblance to U.S Rockers Loosely Tight, whilst the mid-paced HardRocker “Pull The Trigger” hints at Y&T. Versatility of the set is further complimented by a slow, atmospheric Semi Ballad, “In The Night”, the more Mainstream oriented Ballad, “Come And Gone”, and the variable lead vocalage that clicks with Tesla on more than one occasion, delivering a rough and raised, roar, alternated with melodic edged modes and a good vibrato. The second part of this re-issue holds live-takes and (unreleased) demo tracks, including the groovster “That's Alright With You”, the demo classic “Nothing Ventured, Nothing Gained”, and the Tesla esque “She's A Dancer”. In all, a nice documentation of a potent HardRock band U.S style with some tasty guitar action throughout.
Paul van der Burght
specs: originally released on Albatross in '84. Re-released on Roadrunner/MFN in '85 with a different cover. "Steel The Light" was also released in EP format including a full & short-cut version of the titletrack + another track, "That's Alright With You". Newest, 2018 re-release by No Remorse with a bonus CD including demo, live and unreleased tracks
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AGAINST EVIL – 2018 “All Hail The King”
label: private
songs: Enemy At The Gates / The Army Of Four / All Hail The King / Stand Up And Fight! / Sentenced To Death / Bad Luck / We Won't Stop / Gods Of Metal / Mean Machine //
web: https://againstevil.bandcamp.com/
From India hails 4-piece unit Against Evil, and though this part of the planet is not exactly known for its Metal, these guys are cut above most retro Metal bands, delivering a mix of HardRock / Metal / PowerMetal and Thrash that just oozes this genuine 80's Metal character and style with a strong, anthemic / barbaric Metal feel a la Manowar. This comes with a bobbing, moderately / mid-paced drive and shout along refrains, as evidenced on the “Battle Hymns” (Manowar) infused fist pumpers “The Army Of Four” and “Gods Of Metal”. Completely different but pleasantly surprising is this twist in concept, turning towards to a modest adaptation of classic (NWOBHM inspired) Thrash with the seemingly “Seek & Destroy” (Metallica) tinged “Mean Machine”, and intensifies with the Fear Factory - meets - modern Metal esque and “Sentenced To Death”. Another change in style and approach is presented on the rather linear, mid-tempo driven Mainstream Rocker “Bad Luck”, making this bit of an mismatch compared to the quality and style of the other songs in the set. Things are put right with the pounding PowerMetaler “We Won't Stop”, rolling on propelling bassdrum – rhythm riff tandem with some chunky Powergrooves thrown in there. Throughout the disc, the vocalage features two styles; hoarse and rough for the heavier outings and and more melodic edged to accommodate the Epic Metal minded tracks. The whole deal is mainly mid / up-tempo driven with guitar oriented themes, tasty solo actions (peaking on the Bay Area riffed “Sentenced To Death” featuring some cool sweep picking and flashy speed chops) and a good, all round differentiation. Add to this a clean production, and a neat, balanced performance, and the outcome is a potent and highly entertaining slab of manly Metal. Solid!
Paul van der Burght
label: private
songs: Enemy At The Gates / The Army Of Four / All Hail The King / Stand Up And Fight! / Sentenced To Death / Bad Luck / We Won't Stop / Gods Of Metal / Mean Machine //
web: https://againstevil.bandcamp.com/
From India hails 4-piece unit Against Evil, and though this part of the planet is not exactly known for its Metal, these guys are cut above most retro Metal bands, delivering a mix of HardRock / Metal / PowerMetal and Thrash that just oozes this genuine 80's Metal character and style with a strong, anthemic / barbaric Metal feel a la Manowar. This comes with a bobbing, moderately / mid-paced drive and shout along refrains, as evidenced on the “Battle Hymns” (Manowar) infused fist pumpers “The Army Of Four” and “Gods Of Metal”. Completely different but pleasantly surprising is this twist in concept, turning towards to a modest adaptation of classic (NWOBHM inspired) Thrash with the seemingly “Seek & Destroy” (Metallica) tinged “Mean Machine”, and intensifies with the Fear Factory - meets - modern Metal esque and “Sentenced To Death”. Another change in style and approach is presented on the rather linear, mid-tempo driven Mainstream Rocker “Bad Luck”, making this bit of an mismatch compared to the quality and style of the other songs in the set. Things are put right with the pounding PowerMetaler “We Won't Stop”, rolling on propelling bassdrum – rhythm riff tandem with some chunky Powergrooves thrown in there. Throughout the disc, the vocalage features two styles; hoarse and rough for the heavier outings and and more melodic edged to accommodate the Epic Metal minded tracks. The whole deal is mainly mid / up-tempo driven with guitar oriented themes, tasty solo actions (peaking on the Bay Area riffed “Sentenced To Death” featuring some cool sweep picking and flashy speed chops) and a good, all round differentiation. Add to this a clean production, and a neat, balanced performance, and the outcome is a potent and highly entertaining slab of manly Metal. Solid!
Paul van der Burght
BLONDIES
address: 205A Lower Clapton Rd, Clapton, London, E5 8EG, United KIngdom
web:https://blondiesbar.co.uk/
opening times: Tue – Thu: 18:00 – 23:00, Fri, Sat: 18:00 – 00:00
Blondies is an East London based Rock, Metal and Blues bar. Live bands on every Thursday and DJ's every Friday and Saturday.
address: 205A Lower Clapton Rd, Clapton, London, E5 8EG, United KIngdom
web:https://blondiesbar.co.uk/
opening times: Tue – Thu: 18:00 – 23:00, Fri, Sat: 18:00 – 00:00
Blondies is an East London based Rock, Metal and Blues bar. Live bands on every Thursday and DJ's every Friday and Saturday.
SINDRYM ANATHEMA
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Sindrym Anathema photo above left by Precious Remains. Photo right by Chris Alexander / CA Photo
Model SINDRYM ANATHEMA
links: https://www.facebook.com/SindrymAnathema/ https://www.facebook.com/preciousremainsdesigns/
Photographer links:
Precious Remains: https://www.facebook.com/preciousremainsdesigns/
Chris Alexander: (https://www.facebook.com/mbeachphotochris/
NIGHTBEARER – EP 2018 “Stories From Beyond”
label: Unholy Fire records
songs: Wicked Signs and Symbols / Ferocious Sorcery / World To A Pyre / Voracious And Grim / Entranced by Blackest Rites //
web: https://www.facebook.com/nightbearer
Two man act doing some brutal, old-school DeathMetal that comes with all the trimmings. The disc opens with a blow to the head from the sounds of “Wicked Signs And Symbols” radiating this thick wall of powered up crunch guitars and a beefy production that lay the basis for the deep, gurgling gruntage; a combination that has 90's DeathMetal written all over. This is not just the snare-drummed speed thing, but a multitude of tempos and melody changes; from slow and thumping to blast-beat driven with a solid, instrumental mobility. The tempo is up on follow-up tune “Ferocious Sorcery” incorporating the BlackMetal combo of blast beats and up/down rhythm riffage and slower DeathMetal chunks. “World To A Pyre” is predominantly slow and grinding, layered with the occasional blast beat. The bobbing, and semi-atmospheric “Voracious And Grim” continues on the slow-tempo and goes really deep in sound and tone with a one-off double-bass drummed acceleration thrown in there. The disc concludes with “Entranced by Blackest Rites” rolling on a propelling, mid-tempo drive of double-bass drums and rhythm riffs, alternated with faster, snare-drummed hooks. Overall, this is one well played and properly proportioned affair, both in songs and concept as a whole that moves somewhere in between the classic DeathMetal produced by Gorefest and Emtombed. Solid.
Paul van der Burght
label: Unholy Fire records
songs: Wicked Signs and Symbols / Ferocious Sorcery / World To A Pyre / Voracious And Grim / Entranced by Blackest Rites //
web: https://www.facebook.com/nightbearer
Two man act doing some brutal, old-school DeathMetal that comes with all the trimmings. The disc opens with a blow to the head from the sounds of “Wicked Signs And Symbols” radiating this thick wall of powered up crunch guitars and a beefy production that lay the basis for the deep, gurgling gruntage; a combination that has 90's DeathMetal written all over. This is not just the snare-drummed speed thing, but a multitude of tempos and melody changes; from slow and thumping to blast-beat driven with a solid, instrumental mobility. The tempo is up on follow-up tune “Ferocious Sorcery” incorporating the BlackMetal combo of blast beats and up/down rhythm riffage and slower DeathMetal chunks. “World To A Pyre” is predominantly slow and grinding, layered with the occasional blast beat. The bobbing, and semi-atmospheric “Voracious And Grim” continues on the slow-tempo and goes really deep in sound and tone with a one-off double-bass drummed acceleration thrown in there. The disc concludes with “Entranced by Blackest Rites” rolling on a propelling, mid-tempo drive of double-bass drums and rhythm riffs, alternated with faster, snare-drummed hooks. Overall, this is one well played and properly proportioned affair, both in songs and concept as a whole that moves somewhere in between the classic DeathMetal produced by Gorefest and Emtombed. Solid.
Paul van der Burght
INTERVIEW NIGHTBEARER
Manic Mosh Metal: When and how did the band come into existence?
Dome: First you have to know that Micha and myself are also playing together in DESPISED where we are the main songwriters. As we started writing for the second DESPISED record, we realized that we had a couple of ideas that sounded really cool but didn't fit the style we were playing in DESPISED. As a result,we discussed what we should do with those riffs and came up with a side project that is now NIGHTBEARER...
Micha: Yeah that's right. but we also talked as Metal fans about new and then unknown releases, newly discovered bands, brutal guitar sounds etc. At one point, I came up with the idea of a straight, old school Death Metal band in the vein of the old Boss Hm-2 swedeath gang. That was before Dome and I talked about taking our riffs for another project. I came up with the name NIGHTBEARER without a specific idea of a band whatsoever. but I saved a facebook page with this name in 2015 already! In early 2017 everything came together and we started to focus on a serious output which is our recent EP „Stories From Beyond“. And to make things clear: NIGHTBEARER isn't any longer a side project. It's a full-value band with lots of blood, sweat and tears!
MMM: Nightbearer basically is you, Micha doing the vocals and programming, and Dominick Hellmuth doing all instruments. Since you are having guest musicians to play live shows, have you guys ever given it thought to make Nightbearer a full band, or do you prefer remain a two-man studio project.
Dome: We briefly thought about adding 'full' members, but we are very happy with the current situation. The benefits of a two-man project are, that you just have two people who have to give their O.K's. The more people you have, the more arguments, and opinions. Now we can go the full 'no compromise' route.
Micha: No compromises, exactly! Both of us are playing in bands for about 15 years and over and ever since I can remember there have been compromises and vetos and stuff, which, in essence is fine. don't get me wrong; I love being a singer and / or songwriter for my other bands, especially if this is with close friends, but NIGHTBEARER is something special; a new way to express myself lyric and music wise. But for our upcoming live massacres we recruited really nice companions which triggers the feeling of a full-member-band. Concerning the forthcoming album; our live-drummer Manu is going to record all the drum parts (which - however - have been written before by Dome and myself).
MMM: Listening to the E.P, there's shades of Gorefest and Entombed; would you rank these as influential sources, and what other bands have inspired the sound of Nightbearer.
Dome: Entombed is in fact a big musical influence. I'm personally not so much into Gorefest, but I know they slay, so I take that as a compliment. But much greater influences are Dismember and of course Bloodbath. We like the pure brutality paired with eerie melodies and of course the trademark buzzsaw-sound. All three bands mentioned have perfected this approach and that's what we are up to.
Micha: As a little addition to what Dome said: A further inspiration were Vallenfyre regarding their dirty, filthy production with those massive feedbacks and stuff and – regarding the upcoming album - maybe the resurrected Paradise Lost for the gloomy, doomy atmosphere. And concerning the direction of the lyrics in general and the overall concept I have to mention Blind Guardian. Yes, you've got it: The german Prog / Power and formally Speed Metal band! They were the first 'real' Metal band I listened to back in the day, so I can't deny their influence. But yeah, when it comes to our music, the sound and the eerie yet brutal feeling there's basically Dismember and Bloodbath; our stars.
MMM: There's also a slight swing towards BlackMetal referring to fragments of “Ferocious Sorcery” in the instrumental department; is this a thing that may be furthered in future works or do you opt strictly for the DeathMetal sound?
Dome: I'm not as much into Black Metal as Micha is, but I quite enjoy a good blast beat here and there. I think Naglfar did a very good mix of Death and Black. While we are definitely a Death Metal band, our focus will always be Death, but as long as an idea is good, it will be considered, regardless of its musical origin.
Micha: I can emphasize what Dome said. And yes, I'm very much into Black Metal (nearly all sub-genres!), but mainly NIGHTBEARER will be wandering the classical old school Death Metal path. But never say never. Concerning the album you can expect more Doom / Death tunes on the one and some dirty Crust influences on the other hand...
MMM: How did the signing with Unholy Fire Records come about?
Dome: That's actually a funny story. We weren't really looking for any label as we contacted Timon Kokott for the EP's artwork. He requested some songs to get a better insight and was so blown away by what he heard, that he sent those songs over to Mike (founder of UFR) who just waited for us to call and ask him, if he's interested...
MMM: Back in the 90's the DeathMetal scene in Germany, and Europe as a whole was booming; is there still a good liking for the genre at present?
Micha: Definitely! Even the big labels start to sign smaller bands from the underground again. Surely, you could say the German scene is particularly booming (but maybe this is due to my German perspective). You've got a quite a lot of new bands that deliver brutal old school Death Metal like Revel In Flesh, Slaughterday, Endseeker, Deathrite, Sulphur Aeon, Venenum or Deserted Fear - all from Germany (just mentioning some of the biggest ones; if you don't know them: check them out!!) – and to get a more European view there are of course a lot of great bands from sweden like Lik, Demonical, Entrails, Bombs Of Hades, Feral … or Graveyard from Spain, Funest from italy, Grave Miasma and Cruciamentum from the UK.... or Carnation from Belgium or...well, I could go on and on with this...there's so much going on at the moment! Marvellous times to be a Death Metal maniac!
MMM: When is the debut album scheduled and what can we expect for the future?
Dome: We're planning to release the album mid 2019. Currently, all songs have been written and the pre-production is finished. We're hitting my studio in October. I hope to finish the mixing by the end of the year / 1st quarter of 2019. For the very near future you can buy some really awesome shirts to prepare yourselves for NIGHTBEARERs first ever live gig. It's on December 1st and we will even play some new tunes. The first gigs for 2019 are also in the making so expect relentless live action!!
MMM: Anything else you'd like to add.
Micha: Yeah, first of all: Thanks for your questions, your interest and your support! DEATH METAL PREVAILS!
And as a last point, two small but important things: Though we're living in 2018 with all its streaming platforms and blogspots and whatever, go and support the bands you like. They put their energy, their blood, sweat and tears into the music. So be one of the real Metal maniacs and buy physical copies of the EP's, LPs, CDs, tapes, merchandise! It is quite simple. If you really like a band, support them the old school way: Buy their stuff, grab your battle vest and go to shows, have whopping fun thrashing your head and tell your friends about the bands you're diggin'!
And secondly: NIGHTBEARER is all about celebrating putrid and filthy old school Death Metal and good old fantasy lyrics about summoning evil demons, occult sorcery and clandestine cults and definitely not about politics. But to sort things out: We all are one big bloody metal family and it doesn't matter if you're male or female, it doesn't matter where you're from, what the colour of your skin is and what the hell you believe in! And if you disagree, just f*ck off!
Manic Mosh Metal: When and how did the band come into existence?
Dome: First you have to know that Micha and myself are also playing together in DESPISED where we are the main songwriters. As we started writing for the second DESPISED record, we realized that we had a couple of ideas that sounded really cool but didn't fit the style we were playing in DESPISED. As a result,we discussed what we should do with those riffs and came up with a side project that is now NIGHTBEARER...
Micha: Yeah that's right. but we also talked as Metal fans about new and then unknown releases, newly discovered bands, brutal guitar sounds etc. At one point, I came up with the idea of a straight, old school Death Metal band in the vein of the old Boss Hm-2 swedeath gang. That was before Dome and I talked about taking our riffs for another project. I came up with the name NIGHTBEARER without a specific idea of a band whatsoever. but I saved a facebook page with this name in 2015 already! In early 2017 everything came together and we started to focus on a serious output which is our recent EP „Stories From Beyond“. And to make things clear: NIGHTBEARER isn't any longer a side project. It's a full-value band with lots of blood, sweat and tears!
MMM: Nightbearer basically is you, Micha doing the vocals and programming, and Dominick Hellmuth doing all instruments. Since you are having guest musicians to play live shows, have you guys ever given it thought to make Nightbearer a full band, or do you prefer remain a two-man studio project.
Dome: We briefly thought about adding 'full' members, but we are very happy with the current situation. The benefits of a two-man project are, that you just have two people who have to give their O.K's. The more people you have, the more arguments, and opinions. Now we can go the full 'no compromise' route.
Micha: No compromises, exactly! Both of us are playing in bands for about 15 years and over and ever since I can remember there have been compromises and vetos and stuff, which, in essence is fine. don't get me wrong; I love being a singer and / or songwriter for my other bands, especially if this is with close friends, but NIGHTBEARER is something special; a new way to express myself lyric and music wise. But for our upcoming live massacres we recruited really nice companions which triggers the feeling of a full-member-band. Concerning the forthcoming album; our live-drummer Manu is going to record all the drum parts (which - however - have been written before by Dome and myself).
MMM: Listening to the E.P, there's shades of Gorefest and Entombed; would you rank these as influential sources, and what other bands have inspired the sound of Nightbearer.
Dome: Entombed is in fact a big musical influence. I'm personally not so much into Gorefest, but I know they slay, so I take that as a compliment. But much greater influences are Dismember and of course Bloodbath. We like the pure brutality paired with eerie melodies and of course the trademark buzzsaw-sound. All three bands mentioned have perfected this approach and that's what we are up to.
Micha: As a little addition to what Dome said: A further inspiration were Vallenfyre regarding their dirty, filthy production with those massive feedbacks and stuff and – regarding the upcoming album - maybe the resurrected Paradise Lost for the gloomy, doomy atmosphere. And concerning the direction of the lyrics in general and the overall concept I have to mention Blind Guardian. Yes, you've got it: The german Prog / Power and formally Speed Metal band! They were the first 'real' Metal band I listened to back in the day, so I can't deny their influence. But yeah, when it comes to our music, the sound and the eerie yet brutal feeling there's basically Dismember and Bloodbath; our stars.
MMM: There's also a slight swing towards BlackMetal referring to fragments of “Ferocious Sorcery” in the instrumental department; is this a thing that may be furthered in future works or do you opt strictly for the DeathMetal sound?
Dome: I'm not as much into Black Metal as Micha is, but I quite enjoy a good blast beat here and there. I think Naglfar did a very good mix of Death and Black. While we are definitely a Death Metal band, our focus will always be Death, but as long as an idea is good, it will be considered, regardless of its musical origin.
Micha: I can emphasize what Dome said. And yes, I'm very much into Black Metal (nearly all sub-genres!), but mainly NIGHTBEARER will be wandering the classical old school Death Metal path. But never say never. Concerning the album you can expect more Doom / Death tunes on the one and some dirty Crust influences on the other hand...
MMM: How did the signing with Unholy Fire Records come about?
Dome: That's actually a funny story. We weren't really looking for any label as we contacted Timon Kokott for the EP's artwork. He requested some songs to get a better insight and was so blown away by what he heard, that he sent those songs over to Mike (founder of UFR) who just waited for us to call and ask him, if he's interested...
MMM: Back in the 90's the DeathMetal scene in Germany, and Europe as a whole was booming; is there still a good liking for the genre at present?
Micha: Definitely! Even the big labels start to sign smaller bands from the underground again. Surely, you could say the German scene is particularly booming (but maybe this is due to my German perspective). You've got a quite a lot of new bands that deliver brutal old school Death Metal like Revel In Flesh, Slaughterday, Endseeker, Deathrite, Sulphur Aeon, Venenum or Deserted Fear - all from Germany (just mentioning some of the biggest ones; if you don't know them: check them out!!) – and to get a more European view there are of course a lot of great bands from sweden like Lik, Demonical, Entrails, Bombs Of Hades, Feral … or Graveyard from Spain, Funest from italy, Grave Miasma and Cruciamentum from the UK.... or Carnation from Belgium or...well, I could go on and on with this...there's so much going on at the moment! Marvellous times to be a Death Metal maniac!
MMM: When is the debut album scheduled and what can we expect for the future?
Dome: We're planning to release the album mid 2019. Currently, all songs have been written and the pre-production is finished. We're hitting my studio in October. I hope to finish the mixing by the end of the year / 1st quarter of 2019. For the very near future you can buy some really awesome shirts to prepare yourselves for NIGHTBEARERs first ever live gig. It's on December 1st and we will even play some new tunes. The first gigs for 2019 are also in the making so expect relentless live action!!
MMM: Anything else you'd like to add.
Micha: Yeah, first of all: Thanks for your questions, your interest and your support! DEATH METAL PREVAILS!
And as a last point, two small but important things: Though we're living in 2018 with all its streaming platforms and blogspots and whatever, go and support the bands you like. They put their energy, their blood, sweat and tears into the music. So be one of the real Metal maniacs and buy physical copies of the EP's, LPs, CDs, tapes, merchandise! It is quite simple. If you really like a band, support them the old school way: Buy their stuff, grab your battle vest and go to shows, have whopping fun thrashing your head and tell your friends about the bands you're diggin'!
And secondly: NIGHTBEARER is all about celebrating putrid and filthy old school Death Metal and good old fantasy lyrics about summoning evil demons, occult sorcery and clandestine cults and definitely not about politics. But to sort things out: We all are one big bloody metal family and it doesn't matter if you're male or female, it doesn't matter where you're from, what the colour of your skin is and what the hell you believe in! And if you disagree, just f*ck off!
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Mexican act Thunderslave are sourced from the classic Metal sound produced by bands such as Iron Maiden, Grimreaper and Oz and their selftitled debut E.P testifies to this, showcasing a fine blend of 80's Metal / Speed with the retro Euro-Metal thing high up there. Manic Mosh had a chat with the band about the Mexican Metal scene, the E.P and its influences
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When did the band get together and did you guys have any other band experience prior to Thunderslave?
Thunderslave: It all started In 2015, but not as Thunderslave; we had a different name, 'Monterrey Rock Band'. Alan and Me (Carlos)started to play some songs and after a couple of months we recruited new members for the band. After a few changed the definite line-up was comprised of: Carlos Cantu (vocals & guitar), Ranzing Mendoza (lead guitar), Dany Rodriguez (bass) and Alan Ayala (drums). Ranzing and Dany used to play with a local band called Skullcrusher. By the way, Ranzing is the leader and founder of Skullcrusher and right now they are working on a new album
MMM: The selftitled E.P first circulated the scene as a 4-song outing in 2017 that was supposed to be released through Hoove Child records. It seemed this actual release was postponed and eventually released as a 6-song E.P?
Thunderslave: Actually, it did come out, and was released in 2017 by Hoove Child records on cassette. Apparently the tape sold very well and Hoove Child records proposed us to relaunch it but now in a different format; CD and vinyl. We had a couple of songs recorded after the release of the E.P that we were hoping to include in the full-length. We were very excited about the new work and wanted to give something extra to the fans, so we decided to include those 2 songs. "After Midnight" and "Trial By Fire". Knowing that Hoove Child has good relations with Underground Power records, they decided to launch these new formats.
MMM: How did the signing with Hoove Child records come about?
Thunderslave: It was something quick, I mean, a few years ago I went on a trip to Chicago and met many people. One of them was Patrick (drummer from Satan's Hallow) and we made good friends. Then, when I returned to Mexico, I started Thunderslave and the idea of the band seemed great to him, so he decided to sign us and well... one thing led to the other; several labels showwed interest and launched many proposals, but really, we decided to stay with Hoove Child records more than anything, for the trust, respect and friendship we have.
MMM: How is the local Mexico scene; are there any opportunities to play live?
Thunderslave: The good thing about Mexico is that we have a lot of different representatives of the multiple genres of Metal. In Mexico you can find Thrash and Heavy Metal, in the South you will be able to find Black and Death metal. On CDMX we have a big wave of Punk and classic Rock 'n Roll but the bad thing is in the local scene it sometimes is difficult to find places to play. I mean, in bars it's hard because they prefer cover bands you know. Bands with original songs need to create their own shows and invite other local band to expose their music, and sometimes you need to pay to play in certain places.. that sucks but well... it is what it is.
MMM: The E.P holds a mix of European and U.S Speed / Metal; which one would you say is favoured most by the band sourcing / influence wise?
Thunderslave: Its is a very good question but I think that depends on how you feel when you create your music. For example, if you are listening to Slayer you will feel the demon inside of you, and all you want to do is play asfast as you can. Everything depends on the mood that you are in but we have a strong influence from bands such as Stormwitch, Riot, Universe, Ozzy, Tank and Dokken... pure 80's haha
The song “Edge Of The Road” shows similarities to classic HardRock acts Thin Lizzy and Trust, is this purely coincidental or have these bands indeed been an inspiration source for the song?
Thunderslave: Haha, I think it has been just a coincidence... they are great bands but it is not something that we listen to very often. I say today all the bands are trying to have an original sound but no matter how hard you try, your influences will always come out in some way...we do what we feel and we play what we feel and I think that is the best way to make Rock 'n Roll.
MMM: How has the response to the EP been so far and where does most of its feedback come from?
Thunderslave: People have responded very well to the EP. I think it's great how much we have achieved in such a short time, and the feedback has come from all over the world. We have seen many reviews coming from France, Germany, Greece, Japan, Brazil and Mexico... maybe there are some people that follow us, and thanks to all of them we continue in the battle!
MMM: Anything else you'd like to add?
Thunderslave: We want to thank you for this space that you have given us, and only to comment that this is just the beginning” We will soon release the full-length and hope you are ready. Thank you very much Maniac Mosh magazine for the interview and we hope to continue working together! See you in Hell.
Thunderslave links: https://thunderslave.bandcamp.com/ https://www.facebook.com/Thunderslave/
Thunderslave: It all started In 2015, but not as Thunderslave; we had a different name, 'Monterrey Rock Band'. Alan and Me (Carlos)started to play some songs and after a couple of months we recruited new members for the band. After a few changed the definite line-up was comprised of: Carlos Cantu (vocals & guitar), Ranzing Mendoza (lead guitar), Dany Rodriguez (bass) and Alan Ayala (drums). Ranzing and Dany used to play with a local band called Skullcrusher. By the way, Ranzing is the leader and founder of Skullcrusher and right now they are working on a new album
MMM: The selftitled E.P first circulated the scene as a 4-song outing in 2017 that was supposed to be released through Hoove Child records. It seemed this actual release was postponed and eventually released as a 6-song E.P?
Thunderslave: Actually, it did come out, and was released in 2017 by Hoove Child records on cassette. Apparently the tape sold very well and Hoove Child records proposed us to relaunch it but now in a different format; CD and vinyl. We had a couple of songs recorded after the release of the E.P that we were hoping to include in the full-length. We were very excited about the new work and wanted to give something extra to the fans, so we decided to include those 2 songs. "After Midnight" and "Trial By Fire". Knowing that Hoove Child has good relations with Underground Power records, they decided to launch these new formats.
MMM: How did the signing with Hoove Child records come about?
Thunderslave: It was something quick, I mean, a few years ago I went on a trip to Chicago and met many people. One of them was Patrick (drummer from Satan's Hallow) and we made good friends. Then, when I returned to Mexico, I started Thunderslave and the idea of the band seemed great to him, so he decided to sign us and well... one thing led to the other; several labels showwed interest and launched many proposals, but really, we decided to stay with Hoove Child records more than anything, for the trust, respect and friendship we have.
MMM: How is the local Mexico scene; are there any opportunities to play live?
Thunderslave: The good thing about Mexico is that we have a lot of different representatives of the multiple genres of Metal. In Mexico you can find Thrash and Heavy Metal, in the South you will be able to find Black and Death metal. On CDMX we have a big wave of Punk and classic Rock 'n Roll but the bad thing is in the local scene it sometimes is difficult to find places to play. I mean, in bars it's hard because they prefer cover bands you know. Bands with original songs need to create their own shows and invite other local band to expose their music, and sometimes you need to pay to play in certain places.. that sucks but well... it is what it is.
MMM: The E.P holds a mix of European and U.S Speed / Metal; which one would you say is favoured most by the band sourcing / influence wise?
Thunderslave: Its is a very good question but I think that depends on how you feel when you create your music. For example, if you are listening to Slayer you will feel the demon inside of you, and all you want to do is play asfast as you can. Everything depends on the mood that you are in but we have a strong influence from bands such as Stormwitch, Riot, Universe, Ozzy, Tank and Dokken... pure 80's haha
The song “Edge Of The Road” shows similarities to classic HardRock acts Thin Lizzy and Trust, is this purely coincidental or have these bands indeed been an inspiration source for the song?
Thunderslave: Haha, I think it has been just a coincidence... they are great bands but it is not something that we listen to very often. I say today all the bands are trying to have an original sound but no matter how hard you try, your influences will always come out in some way...we do what we feel and we play what we feel and I think that is the best way to make Rock 'n Roll.
MMM: How has the response to the EP been so far and where does most of its feedback come from?
Thunderslave: People have responded very well to the EP. I think it's great how much we have achieved in such a short time, and the feedback has come from all over the world. We have seen many reviews coming from France, Germany, Greece, Japan, Brazil and Mexico... maybe there are some people that follow us, and thanks to all of them we continue in the battle!
MMM: Anything else you'd like to add?
Thunderslave: We want to thank you for this space that you have given us, and only to comment that this is just the beginning” We will soon release the full-length and hope you are ready. Thank you very much Maniac Mosh magazine for the interview and we hope to continue working together! See you in Hell.
Thunderslave links: https://thunderslave.bandcamp.com/ https://www.facebook.com/Thunderslave/
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POWER FROM HELL – 2018 “Blood 'n Spikes”
label: Dying Victims productions (vinyl version)
songs: Hell's GangBang / Swallowed By Darkness / Obscure Creation / Altars Of The Black Rites / Into The Void Of Death / Freewheel Burning (Judas Priest cover) //
web: https://powerfromhell.bandcamp.com/
Brazil's Blackened Thrashers Power From Hell are at it again with another set of catchy, traditional styled songs that essentially merge the sounds of early Venom and Bathory. “Swallowed By Darkness” is th emost BlackMetal oriented happening here, whilst “Into The Void Of Death” - one of the most intense tracks of the set – has the Blackened Thrash thing high up, and, in places clickes with the modern, adaptation of the old-school thing a la Aura Noir. The gruff and grainy, Cronos (Venom) esque vocalage compliments the raw and pure sound that surrounds the material that includes a cool, blackened version of Judas Priest's “Freewheel Burning”. Solid.
Paul van der Burght
FIST – 2018 “Back With A Vengeance, The Fist Anthology” (re-issue)
label: Dissonance productions
songs: CD 1: S.S. Giro (Original Axe Version) / Name Rank And Serial Number / You’ll Never Get Me Up (In One Of Those) / Throwing In The Towel / Turn The Hell On / S.S. Giro / Too Hot / Lost And Found / The Feeling’s Right / Dog Soldier / All I Can Do / Devil Rise / Going Wild Tonight / The Wanderer //
CD 2: Brain Damage / One Percent / Vamp / Hole In The Wall Gang / Axeman / Forever / Amber / Watcher / Terminus / Gone Without A Trace / Collision Course / Same Time Same Place / Roll It / Pumping Iron / Give It All Back / Left Standing Again / Where They Are / Dog Soldier (Rough Version) / See The Devil Rise / Law Of The Jungle //
U.K's Fist really do not need any introduction with a whole catalogue of 7” singles, two albums and numerous compilation appearances with a double set on the '81 “Lead Weight” sampler (Neat records),both as Fist (“Throwing in The Towel” and Axe (“S.S. Giro”), their initial moniker. Fist quickly moved up in the ranks and established themselves as a monumental NWOBHM act. The material of Fist radiates the true NWOBHM sound; pure, energetic and grooved up with a good lot of high octane (semi) speedsters such as “You'll Never Get Me Up”, “Devil Rise”. At the time, Fist undoubtedly were one of the heavier acts of the NWOBHM genre, pushing the limits of HardRock / Metal, as evidenced on bare knuckle tracks such as “Dog Soldier” and the razor edge riffed “Brain Damage””; most likely the heaviest thing he band ever did. The majority of tracks from the band's repertoire though is groove / guitar oriented, straight forward and preferably mid / up-tempo driven, with sticky, instant access themes and dressed with the characteristic, muscled up vocal roar of Glen Coates (to replace initial singer Keith Satchfield). Although the band had all the right moves to be up there with the best, a major breakthrough sadly never occurred. The quality of the band and their songwriting has gained them cult-status, and this compilation testifies to this, featuring the complete works the band, including single tracks, compilation cuts, all the material from both their albums (with different versions), along with previously unreleased work. Great.
Paul van der Burght
label: Dissonance productions
songs: CD 1: S.S. Giro (Original Axe Version) / Name Rank And Serial Number / You’ll Never Get Me Up (In One Of Those) / Throwing In The Towel / Turn The Hell On / S.S. Giro / Too Hot / Lost And Found / The Feeling’s Right / Dog Soldier / All I Can Do / Devil Rise / Going Wild Tonight / The Wanderer //
CD 2: Brain Damage / One Percent / Vamp / Hole In The Wall Gang / Axeman / Forever / Amber / Watcher / Terminus / Gone Without A Trace / Collision Course / Same Time Same Place / Roll It / Pumping Iron / Give It All Back / Left Standing Again / Where They Are / Dog Soldier (Rough Version) / See The Devil Rise / Law Of The Jungle //
U.K's Fist really do not need any introduction with a whole catalogue of 7” singles, two albums and numerous compilation appearances with a double set on the '81 “Lead Weight” sampler (Neat records),both as Fist (“Throwing in The Towel” and Axe (“S.S. Giro”), their initial moniker. Fist quickly moved up in the ranks and established themselves as a monumental NWOBHM act. The material of Fist radiates the true NWOBHM sound; pure, energetic and grooved up with a good lot of high octane (semi) speedsters such as “You'll Never Get Me Up”, “Devil Rise”. At the time, Fist undoubtedly were one of the heavier acts of the NWOBHM genre, pushing the limits of HardRock / Metal, as evidenced on bare knuckle tracks such as “Dog Soldier” and the razor edge riffed “Brain Damage””; most likely the heaviest thing he band ever did. The majority of tracks from the band's repertoire though is groove / guitar oriented, straight forward and preferably mid / up-tempo driven, with sticky, instant access themes and dressed with the characteristic, muscled up vocal roar of Glen Coates (to replace initial singer Keith Satchfield). Although the band had all the right moves to be up there with the best, a major breakthrough sadly never occurred. The quality of the band and their songwriting has gained them cult-status, and this compilation testifies to this, featuring the complete works the band, including single tracks, compilation cuts, all the material from both their albums (with different versions), along with previously unreleased work. Great.
Paul van der Burght
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CIST – 2018 “The Frozen Casket”
label: Redefining Darkness
songs: Antisceptic / Incubation / Injected Obsession / Mitosis Simulation / Cryonesia // bonus tracks: Chemical Tomb / Imitator / Synthetic Life //
web: https://cist.bandcamp.com/
This E.P by Russian act Cist made an earlier appearance on Metal Race records as a 5-songer, that has been re-released by redefining Darkness records with added bonus tracks. On offer is some old School DeathThrash in the styles of Pestilence, and particularly Death with similar, gaspy and gruff gruntage, as clearly evidenced on the opening scorcher “Antiseptic”With mirror like features in concept and sound the band cannot shake off comparisons but that does not take away the fact that Cist are a force to be reckoned with. This is proper old school U.S.A / Tampa DeathThrash / DeathMetal that is very energetic and energetic with crunchy guitars, galloping snare drummed drives and a semi-technical edge that finds its expression in the expert timing and melody changes. Some nice guitar chops throughout, as spotlighted on the Thrashy, staccato riffed “Incubation”. This thing comes with all the trimmings and a spot-on delivery, making this a great, 90's DeathThrash / DeathMetal resurrection.
Paul van der Burght
specs: 6 panel digipak featuring 3 bonus tracks taken from the "Chemical Tomb" 7" vinyl E.P & "Synthetic Life" taken from Cist's split CD with Solstice.
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ELIMINATOR – 2018 “Last Horizon”
label: Dissonance productions
songs: 2019 / The Last Horizon / Echoes / Procession Of Witches / Edge Of A Dream / The Fall Of The Seer / Pride And Ruin / Spoils Of An Empire //
web: https://eliminatorheavymetal.bandcamp.com
First full lengther by this U.K based 5-piece that previously released a 7” single and an E.P, “We Rule The Night”. Eliminator employs some neat, old-school Metal with a strong Iron Maiden flavour throughout. This then relates to the Bruce Dickinson styled vocalage (including a similar tone and vibrato), the multiple twin melodies (as on “The Last Horizon”, and the Maiden - “Rhyme Of The Ancient Mariner” esque “Procession Of Witches”), and the instrumental department in general. The band incorporates the galloping modes on “2019” and “Edge Of A Dream”, and the set as a whole is mainly up-tempo driven with accelerations down a good lot of songs, including the Anthemic, Epic Metal styled “Spoils Of An Empire”, reminiscent of 80's U.S Metalers Griffin. Overall, this is one well arranged and properly played happening with a tidy, controlled appearance. Strong.
Paul van der Burght
label: Dissonance productions
songs: 2019 / The Last Horizon / Echoes / Procession Of Witches / Edge Of A Dream / The Fall Of The Seer / Pride And Ruin / Spoils Of An Empire //
web: https://eliminatorheavymetal.bandcamp.com
First full lengther by this U.K based 5-piece that previously released a 7” single and an E.P, “We Rule The Night”. Eliminator employs some neat, old-school Metal with a strong Iron Maiden flavour throughout. This then relates to the Bruce Dickinson styled vocalage (including a similar tone and vibrato), the multiple twin melodies (as on “The Last Horizon”, and the Maiden - “Rhyme Of The Ancient Mariner” esque “Procession Of Witches”), and the instrumental department in general. The band incorporates the galloping modes on “2019” and “Edge Of A Dream”, and the set as a whole is mainly up-tempo driven with accelerations down a good lot of songs, including the Anthemic, Epic Metal styled “Spoils Of An Empire”, reminiscent of 80's U.S Metalers Griffin. Overall, this is one well arranged and properly played happening with a tidy, controlled appearance. Strong.
Paul van der Burght
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PIRATE HYMN – 2018 “Crossbones”
label: private
songs: St. Elmo's Fire / Crossbones / Journey To A New World / Black Jack / The Pirate Queen (Grace O' Malley) / Pirate Hymn / Black Flag / Return Of The Dragonmen //
web: https://jeanpaul2.bandcamp.com/
Stickered as a 'tribute to Running Wild', the “Crossbones” album by Polish one-man act Pirate Hymn (composer and multi-instrumentalist / programmer Jean Paul) is an all-instrumental affair and follow-up to his debut instrumental, the 2017 “Apocalyptic Horsemen”. After the traditional Irish Folk / Celtic styled interlude with pipes, flute and acoustic guitar that goes into a grooved up electric mode, things get going with “Crossbones”; a true Pirate Metal track with accordion over an up-tempo. The sound gets beefed up with some double bass drummed chops down follow-up tune “Journey To A New World”; that has a more atmospheric, almost orchestral feel to it down its slower sections and Running Wild sourcing in its amplified segments. The driven up-tempo “Black Jack” shows a heavier, more Metal oriented approach in the guitar department with the rhythm riffage pushed forward. Things get up to speed with “The Pirate Queen; a semi-Headbanger without double bass but with staccato rhythm riffage and a groovy theme that makes one want to improvise a shout along chorus to it.“Pirate Hymn” has the full on Epic thing going with the orchestration thick in there and is the only song with lead guitar solo, nice but way back in the mix! For an instrumental release there is not much guitar action / shredding going on, as the accent is more on the traditional instruments (fiddle, whistle and flute) and, particularly the accordion which help trigger that Folk / Pirate-esque atmosphere but also mellows the whole thing down. Another dent in the delivery “Crossbones” is the 'plastic' / digital drum sound which is fairly inevitable as a one man band, but the real deal with some added double-bass chops would really spark up this album. Nonetheless, a catchy and enjoyable affair, and most refreshing in the Pirate Metal genre that is generally brought down by generic chanting. Original!
Paul van der Burght
label: private
songs: St. Elmo's Fire / Crossbones / Journey To A New World / Black Jack / The Pirate Queen (Grace O' Malley) / Pirate Hymn / Black Flag / Return Of The Dragonmen //
web: https://jeanpaul2.bandcamp.com/
Stickered as a 'tribute to Running Wild', the “Crossbones” album by Polish one-man act Pirate Hymn (composer and multi-instrumentalist / programmer Jean Paul) is an all-instrumental affair and follow-up to his debut instrumental, the 2017 “Apocalyptic Horsemen”. After the traditional Irish Folk / Celtic styled interlude with pipes, flute and acoustic guitar that goes into a grooved up electric mode, things get going with “Crossbones”; a true Pirate Metal track with accordion over an up-tempo. The sound gets beefed up with some double bass drummed chops down follow-up tune “Journey To A New World”; that has a more atmospheric, almost orchestral feel to it down its slower sections and Running Wild sourcing in its amplified segments. The driven up-tempo “Black Jack” shows a heavier, more Metal oriented approach in the guitar department with the rhythm riffage pushed forward. Things get up to speed with “The Pirate Queen; a semi-Headbanger without double bass but with staccato rhythm riffage and a groovy theme that makes one want to improvise a shout along chorus to it.“Pirate Hymn” has the full on Epic thing going with the orchestration thick in there and is the only song with lead guitar solo, nice but way back in the mix! For an instrumental release there is not much guitar action / shredding going on, as the accent is more on the traditional instruments (fiddle, whistle and flute) and, particularly the accordion which help trigger that Folk / Pirate-esque atmosphere but also mellows the whole thing down. Another dent in the delivery “Crossbones” is the 'plastic' / digital drum sound which is fairly inevitable as a one man band, but the real deal with some added double-bass chops would really spark up this album. Nonetheless, a catchy and enjoyable affair, and most refreshing in the Pirate Metal genre that is generally brought down by generic chanting. Original!
Paul van der Burght
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KNIGHTMARE – 2018 “Walk Through The Fire”
label: private
songs: intro / Walk Through The Fire / Banshee / Supermoon / Spirits / Lake Of rage / War Song //
web: https://www.facebook.com/KnightmareBand
Follow-up to the 2016 “Wolves of Retribution” album by this North Carolina / U.S.A based 4-piece, engaging some melodic 80's Metal that is largely guitar / riff-oriented and mainly mod / mid tempo driven. The whole thing has this classic Canadian sort of neat and subtle appearance with a matching instrumentation that includes a nice, mobility bass guitar. The applied vocalage is of a mid-ranged, regular tone but not 100% steady in delivery throughout. Songs are detailed and changeable with durations of 6+minutes (3x) up to 7+ minutes (“War Song”) allowing plenty of space to diverisfy without sounding too technical or Progressive like. A fine example of this 'proportioned' sound and instrumentation are the catchy, European styled up-tempo Metaler “Banshee” with its dramatic sub-passage, and the in-depth, Warlord – meets Savatage esque “Supermoon”, featuring a long instrumental section and synths usage. There is quite a strong Maiden taste trhoughout the set, pushed forward on the Anthemic, semi-SpeedMetaler “Walk Through The Fire”. In all, a neat offering with this Canadian flair even though this is an American band.
Paul van der Burght
label: private
songs: intro / Walk Through The Fire / Banshee / Supermoon / Spirits / Lake Of rage / War Song //
web: https://www.facebook.com/KnightmareBand
Follow-up to the 2016 “Wolves of Retribution” album by this North Carolina / U.S.A based 4-piece, engaging some melodic 80's Metal that is largely guitar / riff-oriented and mainly mod / mid tempo driven. The whole thing has this classic Canadian sort of neat and subtle appearance with a matching instrumentation that includes a nice, mobility bass guitar. The applied vocalage is of a mid-ranged, regular tone but not 100% steady in delivery throughout. Songs are detailed and changeable with durations of 6+minutes (3x) up to 7+ minutes (“War Song”) allowing plenty of space to diverisfy without sounding too technical or Progressive like. A fine example of this 'proportioned' sound and instrumentation are the catchy, European styled up-tempo Metaler “Banshee” with its dramatic sub-passage, and the in-depth, Warlord – meets Savatage esque “Supermoon”, featuring a long instrumental section and synths usage. There is quite a strong Maiden taste trhoughout the set, pushed forward on the Anthemic, semi-SpeedMetaler “Walk Through The Fire”. In all, a neat offering with this Canadian flair even though this is an American band.
Paul van der Burght
HELLANBACH – 2018 “The Big H –
The Hellanbach Anthology” (re-issue)
label: Dissonance records
songs: Out To Get You / Light Of The World / Let's Get This Show on The Road / Nobody's Fool / All The Way / All Systems Go (Full Scale Emergency) / Dancin' / Times Are Getting Harder / Look At Me / All Systems Go / Maybe Tomorrow / Motivation By Desire / Taken By Surprise / Let's Get This Show On The Road / Kick It Out / All The Way / Everybody Wants To Be A Cat / Beaten To The Bone / The Main Man / Nobody's Fool / Bandit's Run / S.P.G.C / Saturday Night's Alright For Fighting / Panic State O.D / Daddy Dig Those Cats / When All Is Said And Done / Urban Paranoia //
At a time when the NWOBHM thing was booming, UK's Hellanbach, somehow managed to be associated with the genre, even though the band displayed an all American, and largely Van Halen inspired sound. Quite surprisingly, Hellanbach got seamlessly integrated in the NWOBHM movement with appearances on the compilations “One Take No Dubs...” (Neat records '82), and the “60 Minute Plus” compilation (Neat records '82) among some of the big names in the field, such as Raven, Venom and Jaguar. The band's earliest documented material, the “Out To Get You” E.P. (Guardian records '80) probably is the best thing the band ever did, delivering a slice of energetic, largely guitar oriented and Van Halen inspired HardRock, featuring the high octane semi-speedsters “Out To Get You” and “Let's Get This Show On The Road”, alongside the more mediocre, all Van Halen esque “Light Of The World” and “Nobody's Fool” with identical chants and guitar sound. The band repeated its magic on the “60 Minute Plus” compilation with the early U.K SpeedMetaler “All systems Go”, gelling the likes of Jaguar and Van Halen. The band followed up with a full-lengther, “Now Hear This” (Neat '83) showcasing a true NWOBHM styled approach in the shape of the riff-based and mid paced “Dancin'” (showing certain similarities to Praying Mantis' “Cheated”) although the Van Halen sound would still surround the majority of the set, including “Look At Me” , “Maybe Tomorrow” and “Kick It Out” complete with whammy bar guitar action. The band's sound and delivery had greatly improved on the follow-up album “The Big H” (Neat '84) but with that also came a more smoothed approach that suffered from the absence of energetic, high speed Rockers, although “Bandit's Run” and “S.P.G.C” came fairly close. By that time the interest in the band had faded and so did their career. This 2CD set collects all the material of the band with different versions of certain tracks. Hellanbach never really got out there recognition wise, the biggest obstacle quite possibly being their Americanized sound. Despite this, the band cranked out some speedy songs that were among the fastest produced at the time by any NWOBHM associated act. Their set balances greatness and mediocrity with the earliest recordings clearly classifying as the best this CD has to offer.
Paul van der Burght
The Hellanbach Anthology” (re-issue)
label: Dissonance records
songs: Out To Get You / Light Of The World / Let's Get This Show on The Road / Nobody's Fool / All The Way / All Systems Go (Full Scale Emergency) / Dancin' / Times Are Getting Harder / Look At Me / All Systems Go / Maybe Tomorrow / Motivation By Desire / Taken By Surprise / Let's Get This Show On The Road / Kick It Out / All The Way / Everybody Wants To Be A Cat / Beaten To The Bone / The Main Man / Nobody's Fool / Bandit's Run / S.P.G.C / Saturday Night's Alright For Fighting / Panic State O.D / Daddy Dig Those Cats / When All Is Said And Done / Urban Paranoia //
At a time when the NWOBHM thing was booming, UK's Hellanbach, somehow managed to be associated with the genre, even though the band displayed an all American, and largely Van Halen inspired sound. Quite surprisingly, Hellanbach got seamlessly integrated in the NWOBHM movement with appearances on the compilations “One Take No Dubs...” (Neat records '82), and the “60 Minute Plus” compilation (Neat records '82) among some of the big names in the field, such as Raven, Venom and Jaguar. The band's earliest documented material, the “Out To Get You” E.P. (Guardian records '80) probably is the best thing the band ever did, delivering a slice of energetic, largely guitar oriented and Van Halen inspired HardRock, featuring the high octane semi-speedsters “Out To Get You” and “Let's Get This Show On The Road”, alongside the more mediocre, all Van Halen esque “Light Of The World” and “Nobody's Fool” with identical chants and guitar sound. The band repeated its magic on the “60 Minute Plus” compilation with the early U.K SpeedMetaler “All systems Go”, gelling the likes of Jaguar and Van Halen. The band followed up with a full-lengther, “Now Hear This” (Neat '83) showcasing a true NWOBHM styled approach in the shape of the riff-based and mid paced “Dancin'” (showing certain similarities to Praying Mantis' “Cheated”) although the Van Halen sound would still surround the majority of the set, including “Look At Me” , “Maybe Tomorrow” and “Kick It Out” complete with whammy bar guitar action. The band's sound and delivery had greatly improved on the follow-up album “The Big H” (Neat '84) but with that also came a more smoothed approach that suffered from the absence of energetic, high speed Rockers, although “Bandit's Run” and “S.P.G.C” came fairly close. By that time the interest in the band had faded and so did their career. This 2CD set collects all the material of the band with different versions of certain tracks. Hellanbach never really got out there recognition wise, the biggest obstacle quite possibly being their Americanized sound. Despite this, the band cranked out some speedy songs that were among the fastest produced at the time by any NWOBHM associated act. Their set balances greatness and mediocrity with the earliest recordings clearly classifying as the best this CD has to offer.
Paul van der Burght
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With only but song materialized, “Soldiers of War” on the “Lead Weight” compilation (Neat records '81), Scottish act Satan's Empire were clouded in mystery for years on end. Some 35 years later, the band had gained the interest of many fans, reformed, and started playing a series of shows, nationwide and over in Europe without, with no recorded material out there apart from “Soldiers Of War”. Satan's Empire finally released their full-length debut, “Rising” on 3MS Music, featuring re-recorded versions of the very first material, “Soldiers Of War”, “On The Road To Hell” and “Suicide Man”, along with new tracks. Manic Mosh goes back in time with singer Derek Lyon and guitarist Sandy McRitchie.
Manic Mosh Metal: Did you guys play in any other bands before Satan's Empire?
Derek: We played in a cover band called Kashmir, doing songs of Judas Priest, Led Zeppelin and Status Quo
MMM: So, when was it then that Kashmir morphed into Satan's Empire, and how did that come about?
Sandy: That was in the Summer of '79.
Derek: Sandy and I wanted to play originals but the other guys that we started out with weren't keen on that, so we went separate ways. Since the record companies would not come to Scotland to see us, we moved down to London looking for a guitarist and a bass player, and that became the London line-up of Satan's Empire from '81 with Wayne Hudson and Paul Lewis.
MMM: How did you guys end up on the Neat “Lead Weight” compilation?
Sandy: At that particular time, 1980, “Soldiers Of War” was one of the newest songs we had written and it had a new, Progressive sort of sound to it, like what we did with “On The Road To Hell”. So, you wouldn't get the standard 3 / 4 minute songs but we now had the 5 to 6 minutes of story telling text songs. “Soldiers Of War” we thought was a really good song at the time, so we decided to make this a demo, and recorded this on 16 tracks in the Greco studio in Edinburgh, along with the relatively short “Suicide Man”, which we did in an 8 hour day. We then sent the cassette around, and that also included Neat records. As a result, David Wood came by and asked if we'd be interested in appearing on a NWOBHM sampler, “Lead Weight”;. A no brainer really, so we took that opportunity. We thought, because of the feedback that we got from “Lead Weight”, something would come out of this, but that did not happen.
Derek: We never got offered anything, you know, most of the Neat bands were all pretty much from around the Newcastle area, and we were from Scotland
Sandy: The thing is also that “Soldiers Of War” wasn't recorded in the Neat studios, it was recorded in Scotland. We never had any issues with Neat, they were good to us, but we didn't follow up, it was just one of those things. We tried to get a few people involved when we moved to London but nobody really paid interest, even with the good feedback that we got from “Soldiers Of War”. We did a few gigs around various Heavy Metal / Heavy Rock venues in London, including the Ruskin Arms with Desolation Angels, Elixir, and Deep Machine, and Geoff Barton, an editor of 'Sounds' magazine at the time, came to see us, and he thought it was the best track on the album; he really enjoyed it, and also featured it on his playlist.
MMM: At the time, a lot of the NWOBHM bands released private press 7” singles, you guys did not opt for the DIY vinyl apparently?
Sandy: We were all doing Monday to Friday jobs and to finance that and staying alive, we simply could not afford it. We did not have a manager and the know-how to go about and nobody in Scotland could really give us any guidance
MMM: With just one song being materialized, it is quite unique that people picked up on it decades later with the NWOBHM making a major comeback. So, who kind of re-discovered the band, and triggered the whole thing, including the re-formation?
Sandy: It was Guido Gevels from Belgium' he pushed to get the band back together, but other people also kept coming in and asking why we wouldn't do just one gig, see how it goes and just take it from there...
Derek: We then got in touch with Wayne and Paul and it was like we saw each other a couple of days ago, not 35 years ago! It was great. So, we did a rehearsal and had Garry Bowler filling in the drums for the occasion, and he stayed ever since.
MMM: Are you guys pleasantly shocked with the response and interest in the band, particularly knowing the fact that all this happened with just one song out..
Sandy: It's awesome., When we got together we did a few rehearsals, we did 'Brofest', and it just kicked off from there.
Derek: We never asked for a gig, and played nearly 40 shows last year alone!
Satan's Empire link: https://www.facebook.com/SatansEmpireOfficial/
Manic Mosh Metal: Did you guys play in any other bands before Satan's Empire?
Derek: We played in a cover band called Kashmir, doing songs of Judas Priest, Led Zeppelin and Status Quo
MMM: So, when was it then that Kashmir morphed into Satan's Empire, and how did that come about?
Sandy: That was in the Summer of '79.
Derek: Sandy and I wanted to play originals but the other guys that we started out with weren't keen on that, so we went separate ways. Since the record companies would not come to Scotland to see us, we moved down to London looking for a guitarist and a bass player, and that became the London line-up of Satan's Empire from '81 with Wayne Hudson and Paul Lewis.
MMM: How did you guys end up on the Neat “Lead Weight” compilation?
Sandy: At that particular time, 1980, “Soldiers Of War” was one of the newest songs we had written and it had a new, Progressive sort of sound to it, like what we did with “On The Road To Hell”. So, you wouldn't get the standard 3 / 4 minute songs but we now had the 5 to 6 minutes of story telling text songs. “Soldiers Of War” we thought was a really good song at the time, so we decided to make this a demo, and recorded this on 16 tracks in the Greco studio in Edinburgh, along with the relatively short “Suicide Man”, which we did in an 8 hour day. We then sent the cassette around, and that also included Neat records. As a result, David Wood came by and asked if we'd be interested in appearing on a NWOBHM sampler, “Lead Weight”;. A no brainer really, so we took that opportunity. We thought, because of the feedback that we got from “Lead Weight”, something would come out of this, but that did not happen.
Derek: We never got offered anything, you know, most of the Neat bands were all pretty much from around the Newcastle area, and we were from Scotland
Sandy: The thing is also that “Soldiers Of War” wasn't recorded in the Neat studios, it was recorded in Scotland. We never had any issues with Neat, they were good to us, but we didn't follow up, it was just one of those things. We tried to get a few people involved when we moved to London but nobody really paid interest, even with the good feedback that we got from “Soldiers Of War”. We did a few gigs around various Heavy Metal / Heavy Rock venues in London, including the Ruskin Arms with Desolation Angels, Elixir, and Deep Machine, and Geoff Barton, an editor of 'Sounds' magazine at the time, came to see us, and he thought it was the best track on the album; he really enjoyed it, and also featured it on his playlist.
MMM: At the time, a lot of the NWOBHM bands released private press 7” singles, you guys did not opt for the DIY vinyl apparently?
Sandy: We were all doing Monday to Friday jobs and to finance that and staying alive, we simply could not afford it. We did not have a manager and the know-how to go about and nobody in Scotland could really give us any guidance
MMM: With just one song being materialized, it is quite unique that people picked up on it decades later with the NWOBHM making a major comeback. So, who kind of re-discovered the band, and triggered the whole thing, including the re-formation?
Sandy: It was Guido Gevels from Belgium' he pushed to get the band back together, but other people also kept coming in and asking why we wouldn't do just one gig, see how it goes and just take it from there...
Derek: We then got in touch with Wayne and Paul and it was like we saw each other a couple of days ago, not 35 years ago! It was great. So, we did a rehearsal and had Garry Bowler filling in the drums for the occasion, and he stayed ever since.
MMM: Are you guys pleasantly shocked with the response and interest in the band, particularly knowing the fact that all this happened with just one song out..
Sandy: It's awesome., When we got together we did a few rehearsals, we did 'Brofest', and it just kicked off from there.
Derek: We never asked for a gig, and played nearly 40 shows last year alone!
Satan's Empire link: https://www.facebook.com/SatansEmpireOfficial/
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SATAN'S EMPIRE – 2018 “Rising”
label: 3MS Music
songs: Slaves Of Satan / Shout It Out (Hail!) / Satan's Empire / Soldiers Of War / Dragon Slayer / Come Back / On The Road To Hell / Lucifer / Politician / Suicide Man //
web: https://www.facebook.com/SatansEmpireOfficial/
It's been a long time coming since the band's one-off flush of fame in the shape of a contribution to the '81 “Lead Weight” compilation (Neat records). But now, well after 3 decades NWOBHM act Satan's Empire are back on the scene with a 10 song featuring re-recordings of their early material, including the monumental “Soldiers Of War”; the NWOBHM classic that has been given a Rocked up swing and a vocal tone that hints at Paul DiAnno with a splash of Biff Byford (Saxon) down a good lot of other tracks. More, all out NWOBHM is presented on the catchy and driven “Slaves Of Satan” (that moves somewhere in between Fist, Trespass and Hollow Ground), the Saxon esque “On The Road To Hell” and the slow grinder “Satan's Empire” that, in a way, sounds like Doomed up parallel to More's “Soldier”, meshed with classic Saxon and fragments of Led Zeppelin!. The band goes further back in time style wise with the driven “Dragon Slayer” sporting a riff that brings up Judas Priest's “Diamonds And Rust”. Along with the shades of Saxon also comes this click with Vengeance on the more melodic edged “Come Back” featuring a slightly Americanized chorus. The band does a similar thing in a post NWOBHM style on the toe-tapping “Shout It Out” with it's anthemic, fist-pumpin chorus. Heaviest tune comes in the shape of the slow grinder “Politician” whilst the fastest moment on the disc is captured on the riff-based semi-Headbanger “Suicide Man”. The ”Rising" album pleasantly documents the sound of old with quite a few variations to the theme; one thing most of the songs have in common, is this presence of slower-timings alongside a preferably mid-tempo drive. Nice.
Paul van der Burght
label: 3MS Music
songs: Slaves Of Satan / Shout It Out (Hail!) / Satan's Empire / Soldiers Of War / Dragon Slayer / Come Back / On The Road To Hell / Lucifer / Politician / Suicide Man //
web: https://www.facebook.com/SatansEmpireOfficial/
It's been a long time coming since the band's one-off flush of fame in the shape of a contribution to the '81 “Lead Weight” compilation (Neat records). But now, well after 3 decades NWOBHM act Satan's Empire are back on the scene with a 10 song featuring re-recordings of their early material, including the monumental “Soldiers Of War”; the NWOBHM classic that has been given a Rocked up swing and a vocal tone that hints at Paul DiAnno with a splash of Biff Byford (Saxon) down a good lot of other tracks. More, all out NWOBHM is presented on the catchy and driven “Slaves Of Satan” (that moves somewhere in between Fist, Trespass and Hollow Ground), the Saxon esque “On The Road To Hell” and the slow grinder “Satan's Empire” that, in a way, sounds like Doomed up parallel to More's “Soldier”, meshed with classic Saxon and fragments of Led Zeppelin!. The band goes further back in time style wise with the driven “Dragon Slayer” sporting a riff that brings up Judas Priest's “Diamonds And Rust”. Along with the shades of Saxon also comes this click with Vengeance on the more melodic edged “Come Back” featuring a slightly Americanized chorus. The band does a similar thing in a post NWOBHM style on the toe-tapping “Shout It Out” with it's anthemic, fist-pumpin chorus. Heaviest tune comes in the shape of the slow grinder “Politician” whilst the fastest moment on the disc is captured on the riff-based semi-Headbanger “Suicide Man”. The ”Rising" album pleasantly documents the sound of old with quite a few variations to the theme; one thing most of the songs have in common, is this presence of slower-timings alongside a preferably mid-tempo drive. Nice.
Paul van der Burght
AXECUTER – 2018 “A Night Of Axecution”
label: Mindscrape music
songs: intro / Attack / Raise The Axe / Creatures In Disguise / The Axecuter / No God, No Devil (Worship Metal) / Bangers Prevail / Missao Metal (Flagelador cover) //
web: https://axecutermetal.bandcamp.com/
Newest outing by this Brazilian three-piece featuring 6 live tracks plus one studio track, “Attack” (that previously appeared on the Flagelador / Axecuter split) and an all Metal, instrumental intro. The mid / up-tempo “Axe” features mobility riff and comes with tempo accelerations, laying the basis for a sound that moves between early Venom, Carnivore and Exodus with some HardCore PunkMetal shouts. The live session features a collection of the band's back catalogue, and goes through various musical styles, with this raw, bare knuckle appearance as the common factor. There's fast, thundering Speed / Thrash a la Whiplash / Exciter down “Raise The Dead” and “The Axecuter”, more Metal minded moments delivered on the Flagelador cover “Missao Metal” and the moderately fast “No God, No Devil”, whist the Metal thing is merged with SpeedMetal on “Bangers Prevail” and Thrash down “Creatures In Disguise”. The whole deal is largely riff oriented and voiced with growling vocals with sparks of Cronos (Venom).The fact that this is a live-take makes it sound pretty much like an 80's basement / rehearsal session, adding up to the retro vibe of it all. Cool.
Paul van der Burght
label: Mindscrape music
songs: intro / Attack / Raise The Axe / Creatures In Disguise / The Axecuter / No God, No Devil (Worship Metal) / Bangers Prevail / Missao Metal (Flagelador cover) //
web: https://axecutermetal.bandcamp.com/
Newest outing by this Brazilian three-piece featuring 6 live tracks plus one studio track, “Attack” (that previously appeared on the Flagelador / Axecuter split) and an all Metal, instrumental intro. The mid / up-tempo “Axe” features mobility riff and comes with tempo accelerations, laying the basis for a sound that moves between early Venom, Carnivore and Exodus with some HardCore PunkMetal shouts. The live session features a collection of the band's back catalogue, and goes through various musical styles, with this raw, bare knuckle appearance as the common factor. There's fast, thundering Speed / Thrash a la Whiplash / Exciter down “Raise The Dead” and “The Axecuter”, more Metal minded moments delivered on the Flagelador cover “Missao Metal” and the moderately fast “No God, No Devil”, whist the Metal thing is merged with SpeedMetal on “Bangers Prevail” and Thrash down “Creatures In Disguise”. The whole deal is largely riff oriented and voiced with growling vocals with sparks of Cronos (Venom).The fact that this is a live-take makes it sound pretty much like an 80's basement / rehearsal session, adding up to the retro vibe of it all. Cool.
Paul van der Burght
PANTHER – 2018 “Panther” ('86 re-issue)
label: No Remorse records
songs: First There Was Rock / Desire / Danger / Deliver The Axe / Warchild / Panther / bonus tracks: Set Me Free / Sheer Heart Attack (demo) / Take It To The Limit (demo) / When You're In Love (demo) //
Originally released in '86 as a 6-song MLP (Half Wet records), California's quality act Panther never really got anywhere, apart from the featured hall of fame singer Jeff Scott Soto, who later made a move to join Yngwie Malmsteen. Panther delivers a blend of professional sounding Euro HardRock/Metal with hints of Dio, delivered by the Jake E. Lee style riffage. This comes with a similar usage of driven, rhythm riffed themes, and combinations of both chords & rhythm leads, as on the upbeat "Desire". Most of the attention throughout the disc is drawn towards the muscular vocals of Jeff. S. Soto adding up to the power of the sound as a whole. Material is further upgraded by a beefy sound and apparent musical maturity, only held back by the rather 'plastic' drum sound. The guitar oriented “Danger” sort of clicks with Omen and Griffin in allround delivery and counts as one of the heaviest offerings here, along with the staccato rhythm riffed “Deliver The Axe” (that rolls on a mid-tempo and features a completely out of place but way cool synths hook halfway down) and the similar riffed “Warchild”. More of the Omen sort of thing comes resurfacing on the titletrack that rolls on a slowed down galloping mode and comes dressed with a mystical vibe a la Dio. Some classic U.S. (Power) Metal is presented on the energetic and rhytmic “Set Me Free” highlighting the vocal and guitar quality. A more Mainstream U.S HardRock approach is funneled through the heavily riffed “Sheer Heart Attack”, and upped on the more pedestrian “Take It To The Limit”. Panther sort of meshed heavy, PowerMetal esque riffage with a Mainstream Rock approach and Euro-HardRock sourcing which makes for a very potent sound that moves somewhere in between Omen, Dio and Blacklist on the greater part of the set. Solid
Paul van der Burght
label: No Remorse records
songs: First There Was Rock / Desire / Danger / Deliver The Axe / Warchild / Panther / bonus tracks: Set Me Free / Sheer Heart Attack (demo) / Take It To The Limit (demo) / When You're In Love (demo) //
Originally released in '86 as a 6-song MLP (Half Wet records), California's quality act Panther never really got anywhere, apart from the featured hall of fame singer Jeff Scott Soto, who later made a move to join Yngwie Malmsteen. Panther delivers a blend of professional sounding Euro HardRock/Metal with hints of Dio, delivered by the Jake E. Lee style riffage. This comes with a similar usage of driven, rhythm riffed themes, and combinations of both chords & rhythm leads, as on the upbeat "Desire". Most of the attention throughout the disc is drawn towards the muscular vocals of Jeff. S. Soto adding up to the power of the sound as a whole. Material is further upgraded by a beefy sound and apparent musical maturity, only held back by the rather 'plastic' drum sound. The guitar oriented “Danger” sort of clicks with Omen and Griffin in allround delivery and counts as one of the heaviest offerings here, along with the staccato rhythm riffed “Deliver The Axe” (that rolls on a mid-tempo and features a completely out of place but way cool synths hook halfway down) and the similar riffed “Warchild”. More of the Omen sort of thing comes resurfacing on the titletrack that rolls on a slowed down galloping mode and comes dressed with a mystical vibe a la Dio. Some classic U.S. (Power) Metal is presented on the energetic and rhytmic “Set Me Free” highlighting the vocal and guitar quality. A more Mainstream U.S HardRock approach is funneled through the heavily riffed “Sheer Heart Attack”, and upped on the more pedestrian “Take It To The Limit”. Panther sort of meshed heavy, PowerMetal esque riffage with a Mainstream Rock approach and Euro-HardRock sourcing which makes for a very potent sound that moves somewhere in between Omen, Dio and Blacklist on the greater part of the set. Solid
Paul van der Burght
GRAVEHILL – 2018 “The Unchaste, The Profane & The Wicked”
label: Dark Descent records
songs: Bestial Genesis / Iron & Sulphur / The Unchaste / Plague Hammer / The Profane / Sabbatic Whore / The Wicked / D.I.E //
web: https://gravehill666.bandcamp.com/
Newest work from these Californian Deathsters, featuring a mix of old-school BlackMetal a la Venom and Bathory and 90'sTampa style DeathMetal with hints of 90's DeathThrash running underneath the snare drummed tracks “Bestial Genesis” and “Plague Hammer”. On the slower end of tempos are the moderately paced, chord-riffed grinder “Iron & Sulphur” (before it accelerates with a Celtic Frost twist halfway down) and the moody, slow-fast Sabbath-esque DeathMetal Doomster “D.I.E”. There's the occasional blend of Nasty Savage in there as well referring to the rhythmic “The Unchaste”, and the double bass drummed section of “D.I.E”. Once again, Gravehill has put together a most intense set of songs, voiced in a matching style with some gruff and grainy, talk type gruntage. This band knows how to radiate the old-school, intensity it, and give it their own swing. Excellent.
Paul van der Burght
label: Dark Descent records
songs: Bestial Genesis / Iron & Sulphur / The Unchaste / Plague Hammer / The Profane / Sabbatic Whore / The Wicked / D.I.E //
web: https://gravehill666.bandcamp.com/
Newest work from these Californian Deathsters, featuring a mix of old-school BlackMetal a la Venom and Bathory and 90'sTampa style DeathMetal with hints of 90's DeathThrash running underneath the snare drummed tracks “Bestial Genesis” and “Plague Hammer”. On the slower end of tempos are the moderately paced, chord-riffed grinder “Iron & Sulphur” (before it accelerates with a Celtic Frost twist halfway down) and the moody, slow-fast Sabbath-esque DeathMetal Doomster “D.I.E”. There's the occasional blend of Nasty Savage in there as well referring to the rhythmic “The Unchaste”, and the double bass drummed section of “D.I.E”. Once again, Gravehill has put together a most intense set of songs, voiced in a matching style with some gruff and grainy, talk type gruntage. This band knows how to radiate the old-school, intensity it, and give it their own swing. Excellent.
Paul van der Burght
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WOLFEN – 2018 “Rise Of The Lycans”
label: Pure Steel records
songs: Rebirth Of The Regulators / Genetic Sleepers / Forgotten Dreams / Xenophobia / Science & Religion / Timekeeper / Rise Of The Lycans / Succubus / New World Order //
web: http://www.wolfen-metal.de/
Quite a broad spectrum of styles that is on display here, ranging from classic Euro (Power) Metal and the 90's adaptation of the genre, to melodic PowerMetal (dominating the majority of the set). Outside the box are one off turns towards heavily riffed Thrash (“Xenophobia”) and the HardRock Powerballad thing (“Science & Religion”). The music seems to be a bit all over the place down the first half of the record, but picks up on both delivery and identity with the double-bass drummed melodic PowerMetaler “Timekeeper”; a prime cut to start things off. From here onwards the whole deal is upped, opting for a more melodic oriented vocal style (with the occasional rough edge) to replace the slightly Modern Metal / 90's HardCore / PowerMetal styled vocals on the first half of the set. The album sports thundering double-bass drummage, some nice guitar solos and quite heavy riffage, crunching on the pounding, Judas Priest “Power Lover” esque “Genetic Sleepers”, and peaking on the propelling Thrasher “Xenophobia”. At first glance, the concept does not entirely come off, but a second time in it truly sheds a better light on things. Cool.
Paul van der Burght
label: Pure Steel records
songs: Rebirth Of The Regulators / Genetic Sleepers / Forgotten Dreams / Xenophobia / Science & Religion / Timekeeper / Rise Of The Lycans / Succubus / New World Order //
web: http://www.wolfen-metal.de/
Quite a broad spectrum of styles that is on display here, ranging from classic Euro (Power) Metal and the 90's adaptation of the genre, to melodic PowerMetal (dominating the majority of the set). Outside the box are one off turns towards heavily riffed Thrash (“Xenophobia”) and the HardRock Powerballad thing (“Science & Religion”). The music seems to be a bit all over the place down the first half of the record, but picks up on both delivery and identity with the double-bass drummed melodic PowerMetaler “Timekeeper”; a prime cut to start things off. From here onwards the whole deal is upped, opting for a more melodic oriented vocal style (with the occasional rough edge) to replace the slightly Modern Metal / 90's HardCore / PowerMetal styled vocals on the first half of the set. The album sports thundering double-bass drummage, some nice guitar solos and quite heavy riffage, crunching on the pounding, Judas Priest “Power Lover” esque “Genetic Sleepers”, and peaking on the propelling Thrasher “Xenophobia”. At first glance, the concept does not entirely come off, but a second time in it truly sheds a better light on things. Cool.
Paul van der Burght
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ARTIZAN – 2018 “Demon Rider”
label: Pure Steel records
songs: standard version: Demon Rider / The Hangman / Soldiers Of Light / The Endless Odyssey / When Darkness Falls //
web: www.artizanmetal.com
limited version: Demon Rider / The Hangman / Soldiers Of Light / The Endless Odyssey / When Darkness Falls / Demon Rider (feat. Harry Conklin, Bonustrack) / Hopeful Eyes (Live) / I Am The Storm (Live) // plus instrumental drums-bass versions of the E.P songs
American outfit that has been popping out releases since 2009. “Demon Rider”is their newest offering, and comes as a 5-song E.P version, as well as a limited edition with additional live tracks and instrumental versions. The E.P holds a set of 90's styled U.S Metal that edges on PowerMetal with the PowerMetal thing going in full on the slow pounder “”Soldiers Of Light” that also shows a more Progressive approach, as does the mid-tempo driven “The Hangman”. Songs are quite lengthy and go from 6+ minutes (”The Hangman”, “The Endless Odyssey”) to well over 10 minutes with the dramatic PowerBallad that is “When Darkness Falls”. Throughout the set, attention is drawn towards the prime mover; singer Tom Braden, delivering a strong, all-out PowerMetal minded mid-tone voice with a good, allround vibrato. The E.P does allright but is kind of downed by the fact the band is not Progressive enough to keep things going for the durations of the songs. Also, for a band doing this sort of music, there is just minimal guitar action and no speedy tracks. The limited edition version has more spark and spice to the palette including the guest vocal roar of Jag Panzer's Harry Concklin on a special version of “Demon Rider”. The added live tracks see the band upping the sound to PowerMetal but it is also here that things go wrong in the guitar department, with off key twin harmonies (on both “Hopeful Eyes” and the opening lead of “I Am The Storm” and a fragment down the solo action of the aforementioned. Truly, one may question the essence of adding live tracks that are not up to the mark if one's got a whole repertoire to choose from. Average.
Paul van der Burght
IMMORTAL SYNN – 2017 “Machine Men”
label: private
songs: Liberty Rising / Metal And Blood / Dark Abyss / Strength! / Hatred Nation / The Dark Of Dawn / Blind Soul / Novus Ordo Sectorum / Above The Law / Fringes Of Society / Machine Men //
web: https://immortalsynn.bandcamp.com/
U.S band doing a multitude of styles that range from PowerMetal and Thrash to (HardCore) PunkMetal and upped HardRock / metal. Although different in nature, the common factor throughout the set is the 90's interpretation of it all. There's shades of Metallica down the moderately paced “The Dark Of Dawn”, and Pantera on mid-paced PowerThrasher “Strength”, and the Exodus “Then There Were None” tinged “Metal And Blood” that is dressed with raised muscle vocals. Things take a completely different turn on the HardCore / PunkMetalers “Dark Abyss” abd “Hatred Nation”, and the Crossover edged “Fringes Of Society”. More versatility comes in the shape of an atmospheric twist on the catchy, mid-paced Thrasher “Novus Ordo Sectorum” and the two Power ballads “Blind Soul” and “Machine Men”. Overall, songs are well played with some great mobility drummage and a good sense for structure, sparking off the 'climaxing' end theme of “Machine Men”. Entertaining
Paul van der Burght
label: private
songs: Liberty Rising / Metal And Blood / Dark Abyss / Strength! / Hatred Nation / The Dark Of Dawn / Blind Soul / Novus Ordo Sectorum / Above The Law / Fringes Of Society / Machine Men //
web: https://immortalsynn.bandcamp.com/
U.S band doing a multitude of styles that range from PowerMetal and Thrash to (HardCore) PunkMetal and upped HardRock / metal. Although different in nature, the common factor throughout the set is the 90's interpretation of it all. There's shades of Metallica down the moderately paced “The Dark Of Dawn”, and Pantera on mid-paced PowerThrasher “Strength”, and the Exodus “Then There Were None” tinged “Metal And Blood” that is dressed with raised muscle vocals. Things take a completely different turn on the HardCore / PunkMetalers “Dark Abyss” abd “Hatred Nation”, and the Crossover edged “Fringes Of Society”. More versatility comes in the shape of an atmospheric twist on the catchy, mid-paced Thrasher “Novus Ordo Sectorum” and the two Power ballads “Blind Soul” and “Machine Men”. Overall, songs are well played with some great mobility drummage and a good sense for structure, sparking off the 'climaxing' end theme of “Machine Men”. Entertaining
Paul van der Burght
LUGER – 2018 “Hellraisers Of The Waste”
label: Rapid Fire records (cassette)
songs: L'appel Aux Morts / Scavenging The Ruins / Beneath The Red Sun / Putridus / Snakebait / Lust Paradise / The Art Of Debauchery / Sado / Hellraisers Of The Waste //
web: https://lugerband.bandcamp.com/
Canadian quartet premiering their debut-album that collects a most unusual palette of styles, phasing PunkMetal to HardRock and Doom (“Beneath The Red Sun”), BlackMetal and Stoner Doom (“Putridus”) and other variations with HardCore Metal and Doomed up Hard Rock'n'Roll. The one time, this thing sounds like old-school SpeedMetal in an Exciter – meets – HardCore PunkMetal fashion, other times, the band goes into a slower, 'down and dirty' approach but either ways, Lüger delivers in a hard as nails modus that sounds much like an ad-lib / live studio take without the dubs, as clearly witnessed on “Snakebait”. This is raw and grainy with a Punk-ish provocation in the vocals that are mixed in the back like an old-school type 'garage' production with added boost. Original!
Paul van der Burght
label: Rapid Fire records (cassette)
songs: L'appel Aux Morts / Scavenging The Ruins / Beneath The Red Sun / Putridus / Snakebait / Lust Paradise / The Art Of Debauchery / Sado / Hellraisers Of The Waste //
web: https://lugerband.bandcamp.com/
Canadian quartet premiering their debut-album that collects a most unusual palette of styles, phasing PunkMetal to HardRock and Doom (“Beneath The Red Sun”), BlackMetal and Stoner Doom (“Putridus”) and other variations with HardCore Metal and Doomed up Hard Rock'n'Roll. The one time, this thing sounds like old-school SpeedMetal in an Exciter – meets – HardCore PunkMetal fashion, other times, the band goes into a slower, 'down and dirty' approach but either ways, Lüger delivers in a hard as nails modus that sounds much like an ad-lib / live studio take without the dubs, as clearly witnessed on “Snakebait”. This is raw and grainy with a Punk-ish provocation in the vocals that are mixed in the back like an old-school type 'garage' production with added boost. Original!
Paul van der Burght
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CANDLE – 2018 “The Keeper's Curse”
label: Fighter records
songs: intro / The Secret / Light At The End / Frozen With Fear / Betrayal / Dancing Lights / Embraced By Darkness / No Peace For My Soul / Vengeance //
web: https://www.facebook.com/candlebandofficial/
Sweden based band that first entered the scene with aptly titled “Demo 2016”. “The Keeper's Curse” is a collection of classic 80's styled Epic Metal / PowerMetal with a lot of guitar mobility throughout, There's traces of Omen down the slightly Progressive edged “Frozen With Fear” whilst opening track “The Secret” sounds much like a 'theatrical' mish-mash of Helloween, MF Fate and Hell, complete with vocal moods and falsetto tones. More of the MF Fate thing shows up on “Frozen With Fear”, the double-bass drummed semi-Headbanger “Betrayal”, the driven “Dancing Lights” and “No Peace For My Soul”.The band works a lot with accelerated hooks although the main drive of songs is mostly mid to up-tempo. The falsetto part of the theatrical and variable vocalage adds to the click with MF Fate but are not always 100% steady in delivery. This may get a bit disturbing in tone, but then again, it gives a certain touch to the music. They've got something there, if not it definitely is interesting.
Paul van der Burght
label: Fighter records
songs: intro / The Secret / Light At The End / Frozen With Fear / Betrayal / Dancing Lights / Embraced By Darkness / No Peace For My Soul / Vengeance //
web: https://www.facebook.com/candlebandofficial/
Sweden based band that first entered the scene with aptly titled “Demo 2016”. “The Keeper's Curse” is a collection of classic 80's styled Epic Metal / PowerMetal with a lot of guitar mobility throughout, There's traces of Omen down the slightly Progressive edged “Frozen With Fear” whilst opening track “The Secret” sounds much like a 'theatrical' mish-mash of Helloween, MF Fate and Hell, complete with vocal moods and falsetto tones. More of the MF Fate thing shows up on “Frozen With Fear”, the double-bass drummed semi-Headbanger “Betrayal”, the driven “Dancing Lights” and “No Peace For My Soul”.The band works a lot with accelerated hooks although the main drive of songs is mostly mid to up-tempo. The falsetto part of the theatrical and variable vocalage adds to the click with MF Fate but are not always 100% steady in delivery. This may get a bit disturbing in tone, but then again, it gives a certain touch to the music. They've got something there, if not it definitely is interesting.
Paul van der Burght
HAWAII - 2018 "LOUD, WILD AND HEAVY"
label: No Remorse records
songs: Bad Boys Of Metal / Loud, Wild And Heavy / Escape The Night / Rhapsody In Black / Life Goes On (bonus track) / Schools Out (bonus track) / Radio Ad / Interview //
CD re-release of the 'rarest' Hawaii vinyl outing; the '84 four song 12” E.P that now comes with bonus tracks and interview. The vixen / Hawaii / Aloha trilogy featured a multitude of singers, and this version of Hawaii sees the departure of singer Gary St. Pierre to Vicious Rumours, to be replaced by Eddie Day. There's two things that held the original version down in terms of recognition; its relatively small press (on Cavern records) and its hefty overseas import price; a crucial barricade for the band as it had a large following over in Europe. Musical wise, there's been little to no modifications to its predecessor, the '83 “One Nation Underground” album if one does not consider the lower pitched non – falsetto, but rougher sounding vocal style of newly recruited singer Eddie Day. The E.P opens in a groovy fashion with the rather cliché formatted U.K style HardRocker "Bad Boys Of Metal" featuring traces of Judas Priest and Black Rose (“We're Gonna Rock You”) in overall appearance. Title track "Loud, Wild And Heavy" is in the common Hawaii style; fast, agile and showered with in-depth guitar hooks and melodies. The moderately paced and fairly generic U.S Mainstream Rocker "Escape The Night" is a re-recorded version of the Vixen classic, featuring a melodic guitar solo with a classical undertone. Highlight of the disc comes in the shape of the in-depth, 7+ minute instrumental "Rhapsody In Black", featuring a diverse palette of timing and melody changes dressed with the virtuoso action of guitarist extraordinaire Marty Friedman. “Life Goes On” is a rather cheesy, Scorpions esque sing along affair over a standard HardRock structure that does not really add up. The “School's Out” version of Alice Cooper is a typical mid-80's U.S HardRock / Metal adaptation of the classic but nothing to get too excited about. Hawaii simply was at its best in the demo days as Vixen and as Hawaii on their “One Nation Underground” album. Their turn towards the Mainstream thing was indicated on this EP and furthered on their last album, “The Natives Are Restless” leaving little to no traces of the once superior Metal sound of the band. Too bad the bonus tracks aren't a pick from the much better Vixen demos. It simply is the great guitarwork of Marty Friedman that elevates this thing.
Paul van der Burght
label: No Remorse records
songs: Bad Boys Of Metal / Loud, Wild And Heavy / Escape The Night / Rhapsody In Black / Life Goes On (bonus track) / Schools Out (bonus track) / Radio Ad / Interview //
CD re-release of the 'rarest' Hawaii vinyl outing; the '84 four song 12” E.P that now comes with bonus tracks and interview. The vixen / Hawaii / Aloha trilogy featured a multitude of singers, and this version of Hawaii sees the departure of singer Gary St. Pierre to Vicious Rumours, to be replaced by Eddie Day. There's two things that held the original version down in terms of recognition; its relatively small press (on Cavern records) and its hefty overseas import price; a crucial barricade for the band as it had a large following over in Europe. Musical wise, there's been little to no modifications to its predecessor, the '83 “One Nation Underground” album if one does not consider the lower pitched non – falsetto, but rougher sounding vocal style of newly recruited singer Eddie Day. The E.P opens in a groovy fashion with the rather cliché formatted U.K style HardRocker "Bad Boys Of Metal" featuring traces of Judas Priest and Black Rose (“We're Gonna Rock You”) in overall appearance. Title track "Loud, Wild And Heavy" is in the common Hawaii style; fast, agile and showered with in-depth guitar hooks and melodies. The moderately paced and fairly generic U.S Mainstream Rocker "Escape The Night" is a re-recorded version of the Vixen classic, featuring a melodic guitar solo with a classical undertone. Highlight of the disc comes in the shape of the in-depth, 7+ minute instrumental "Rhapsody In Black", featuring a diverse palette of timing and melody changes dressed with the virtuoso action of guitarist extraordinaire Marty Friedman. “Life Goes On” is a rather cheesy, Scorpions esque sing along affair over a standard HardRock structure that does not really add up. The “School's Out” version of Alice Cooper is a typical mid-80's U.S HardRock / Metal adaptation of the classic but nothing to get too excited about. Hawaii simply was at its best in the demo days as Vixen and as Hawaii on their “One Nation Underground” album. Their turn towards the Mainstream thing was indicated on this EP and furthered on their last album, “The Natives Are Restless” leaving little to no traces of the once superior Metal sound of the band. Too bad the bonus tracks aren't a pick from the much better Vixen demos. It simply is the great guitarwork of Marty Friedman that elevates this thing.
Paul van der Burght
WITCHTOWER – 2018 “Hammer Of Witches”
label: Witchcraft records
songs: Salem Witch Trials / Fast Broomsticks / Better Run / Spiritual Love / November Of 1786 / Darkest Hour / Black Cauldron / Acid Witch (Forever Burn in Hell) //
web: https://www.facebook.com/witchtowerESP/
Limited edition cassette re-release of the band's 2016 follow-up album, featuring a broad scala of traditional Metal tracks, that range from pure NWOBHM “Salem Witch Trials”, “November Of 1786”, to Blues rooted old school HardRock a la UFO / Scorpions (“Fast Broomsticks”), technicalized PunkMetal (“Darkest Hour”) and a whole lot of early Iron Maiden. This also comes with a vocal tone and style that mirrors Paul Di'Anno and accents the Maiden flavour on the Uriah Heep phased “Remember Tomorrow” esque powerballad “Spiritual Love” and the slightly 70's infused balladry of “Black Cauldron” that has theearly Scorpions thing re-appearing. Music sticks together very well with a good sense for structure and proportion with some nice guitar work throughout. This album collects the best of 70's and 80's Metal that is presented in a great, bone-dry and crystal clear production. Excellent!
Paul van der Burght
label: Witchcraft records
songs: Salem Witch Trials / Fast Broomsticks / Better Run / Spiritual Love / November Of 1786 / Darkest Hour / Black Cauldron / Acid Witch (Forever Burn in Hell) //
web: https://www.facebook.com/witchtowerESP/
Limited edition cassette re-release of the band's 2016 follow-up album, featuring a broad scala of traditional Metal tracks, that range from pure NWOBHM “Salem Witch Trials”, “November Of 1786”, to Blues rooted old school HardRock a la UFO / Scorpions (“Fast Broomsticks”), technicalized PunkMetal (“Darkest Hour”) and a whole lot of early Iron Maiden. This also comes with a vocal tone and style that mirrors Paul Di'Anno and accents the Maiden flavour on the Uriah Heep phased “Remember Tomorrow” esque powerballad “Spiritual Love” and the slightly 70's infused balladry of “Black Cauldron” that has theearly Scorpions thing re-appearing. Music sticks together very well with a good sense for structure and proportion with some nice guitar work throughout. This album collects the best of 70's and 80's Metal that is presented in a great, bone-dry and crystal clear production. Excellent!
Paul van der Burght
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SHRAT – Alptraumgänger
label: Folter records
songs: Intro / Alptraumgänger / Masken Des Schweigens / Gräberland / Wolf Ist Erwacht / Adams Sohn Zerfetzt / Outro Taumel / Rausch / Knochenkult / Kriegsgericht / Endzeitphilosophie / Eurption //
web: https://www.facebook.com/Schratstahl
Newest outing by this German three-piece, engaging some old-school inspired BlackMetal with the occasional swing towards Celtic Frost, that comes surfacing on its title track, and “Kriegsgericht”. For a Black Metal band, the overall sound is quite full, almost bombastic like with a 'wall' of guitars and the raspy, talk type vocalage deeper / lower toned than most. All this is further 'thickened' by this meaty production without the toppy treble features. The material has some groovy moments, as witnessed on the Thrashed up and double bass-drummed, Bathory – meets – Exodus BlackMetaler “Gräberland”, and the more primitive BlackMetal minded “Wolf Ist Erwacht”. That goes in semi-Nordic modus halfway down. More primitive styled, classic BlackMetal comes re-appearing with the live-take “Knochenkult”, whilst the inclusion of some classical pieces adds to the diversity flow of this thing that also comes with a good, allround changeability without being too technical. Strong
Paul van der Burght
label: Folter records
songs: Intro / Alptraumgänger / Masken Des Schweigens / Gräberland / Wolf Ist Erwacht / Adams Sohn Zerfetzt / Outro Taumel / Rausch / Knochenkult / Kriegsgericht / Endzeitphilosophie / Eurption //
web: https://www.facebook.com/Schratstahl
Newest outing by this German three-piece, engaging some old-school inspired BlackMetal with the occasional swing towards Celtic Frost, that comes surfacing on its title track, and “Kriegsgericht”. For a Black Metal band, the overall sound is quite full, almost bombastic like with a 'wall' of guitars and the raspy, talk type vocalage deeper / lower toned than most. All this is further 'thickened' by this meaty production without the toppy treble features. The material has some groovy moments, as witnessed on the Thrashed up and double bass-drummed, Bathory – meets – Exodus BlackMetaler “Gräberland”, and the more primitive BlackMetal minded “Wolf Ist Erwacht”. That goes in semi-Nordic modus halfway down. More primitive styled, classic BlackMetal comes re-appearing with the live-take “Knochenkult”, whilst the inclusion of some classical pieces adds to the diversity flow of this thing that also comes with a good, allround changeability without being too technical. Strong
Paul van der Burght
WEAPON – LP 2018 “Rising From The Ashes” (2014 re-release)
label: Pure Steel records
songs: The Awakening (Prelude) / Ride The Mariah! / Fountain Of Paradise / Warrior / Ready 4 You / Burning Skies / The Rocker (Bonustrack) / Alamein / Wonderland / Bloodsoaked Rock / Bad Reputation / Celebration Time / Killer Instinct (Bonustrack) //
web: http://www.weapon-uk.com/
NWOBHM originals Weapon never got to release an album back in the day, but their one-off single, “It's A Mad Mad World” from '80 earned the band a good reputation, and its flipside tune, the riff-based Speedster “Set The Stage Alight” morphed into a true NWOBHM favourite. The “Rising From The Ashes” album, originally released in 2014 and re-released on vinyl by Pure Steel records, does not remind much of the classic Weapon sound, and has no real connection with NWOBHM concept wise. The music on display is mainly HardRock styled with an American / Mainstream Rock edge. There's fragments of NWOBHM pointing at the atmospheric laden, slightly Trespass alike “Ride The Mariah”, and the Hollow Ground esque opening riff of “Fountains Of Paradise” before it turns into a melodic Mainstream Rocker. The American sound is most evident on the Firehouse / Dokken flavoured “Ready 4 You”, the grooved up “Wonderland” and the moderately paced “Bad Reputation”. Songs are either moderately or mid-paced and move in a rather linear fashion which, in combination with a neat, almost 'careful' performance holds the album down on impact, minus the heavy riffage (a la Ozzy's “Over The Mountain”) spicing up the opening tunes of “Burning Skies”. Concept wise, there's quite a few twists and turns including balladry (“Alamein”), a 12 bar Blues Rocker (“Killer Instinct”) and a cover version of the Thin Lizzy classic “The Rocker”. Fair.
label: Pure Steel records
songs: The Awakening (Prelude) / Ride The Mariah! / Fountain Of Paradise / Warrior / Ready 4 You / Burning Skies / The Rocker (Bonustrack) / Alamein / Wonderland / Bloodsoaked Rock / Bad Reputation / Celebration Time / Killer Instinct (Bonustrack) //
web: http://www.weapon-uk.com/
NWOBHM originals Weapon never got to release an album back in the day, but their one-off single, “It's A Mad Mad World” from '80 earned the band a good reputation, and its flipside tune, the riff-based Speedster “Set The Stage Alight” morphed into a true NWOBHM favourite. The “Rising From The Ashes” album, originally released in 2014 and re-released on vinyl by Pure Steel records, does not remind much of the classic Weapon sound, and has no real connection with NWOBHM concept wise. The music on display is mainly HardRock styled with an American / Mainstream Rock edge. There's fragments of NWOBHM pointing at the atmospheric laden, slightly Trespass alike “Ride The Mariah”, and the Hollow Ground esque opening riff of “Fountains Of Paradise” before it turns into a melodic Mainstream Rocker. The American sound is most evident on the Firehouse / Dokken flavoured “Ready 4 You”, the grooved up “Wonderland” and the moderately paced “Bad Reputation”. Songs are either moderately or mid-paced and move in a rather linear fashion which, in combination with a neat, almost 'careful' performance holds the album down on impact, minus the heavy riffage (a la Ozzy's “Over The Mountain”) spicing up the opening tunes of “Burning Skies”. Concept wise, there's quite a few twists and turns including balladry (“Alamein”), a 12 bar Blues Rocker (“Killer Instinct”) and a cover version of the Thin Lizzy classic “The Rocker”. Fair.
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WRETCH - 2018 “Reborn”
label: Pure Steel records (re-release)
songs: Mental Wars / Cry For The Young / Life / Reborn / Eyes Of Fate / The Winners / Skin To Skin / I Am Storm / Nothing / Touch Like Thunder / 'Til Death Do You Part / The Conflict (bonus track)
web: www.wretchmetal.com
Re-release of the 2006 album that actually is the band's debut after a whole series of demo tapes that date back as early as '85. “Reborn” features a mix of 90's U.S PowerMetal and Thrash with more Metal minded moments. These, however, are few and come in the shape of the 80's minded, up-tempo outage “The Conflict” and the first part of “Life” before it morphs into a double-bass drummed PowerMetaler. There is fusions of Metal and PowerMetal though, as evidenced on another 80's styled number; “Skin To Skin”, the double bass drummed pounder “Touch Like Thunder” (Breaker cover) and the Maiden-meets-Overkill styled “'Til Death Do You Part”. More traces of Maiden come surfacing on the driven “The Winners”. There's a lot of double-bass drum action throughout, and this makes for a propelling drive, hooked up with the guitars as shown on the mid-paced Thrash / PowerMetaler “Cry For The Young”. Opening track “Mental Wars” is the most Thrash oriented offering on the disc, whilst the semi PowerMetal balladry of “Nothing” sits at the otherend of the spectrum. Music is largely guitar oriented with some cool fretboard flash throughout. The vocalage comes in a variety of pitch and appearances, delivering a meaty roar, shriek modes, talk-type provocation and narrative lines. The album holds a good, allround diversity flow and displays the band's knack for 'climaxing' song structures. Coupled to a high entertainment value and a great, fist-in-face production, this album simply ticks all the boxes. Cool.
Paul van der Burght
label: Pure Steel records (re-release)
songs: Mental Wars / Cry For The Young / Life / Reborn / Eyes Of Fate / The Winners / Skin To Skin / I Am Storm / Nothing / Touch Like Thunder / 'Til Death Do You Part / The Conflict (bonus track)
web: www.wretchmetal.com
Re-release of the 2006 album that actually is the band's debut after a whole series of demo tapes that date back as early as '85. “Reborn” features a mix of 90's U.S PowerMetal and Thrash with more Metal minded moments. These, however, are few and come in the shape of the 80's minded, up-tempo outage “The Conflict” and the first part of “Life” before it morphs into a double-bass drummed PowerMetaler. There is fusions of Metal and PowerMetal though, as evidenced on another 80's styled number; “Skin To Skin”, the double bass drummed pounder “Touch Like Thunder” (Breaker cover) and the Maiden-meets-Overkill styled “'Til Death Do You Part”. More traces of Maiden come surfacing on the driven “The Winners”. There's a lot of double-bass drum action throughout, and this makes for a propelling drive, hooked up with the guitars as shown on the mid-paced Thrash / PowerMetaler “Cry For The Young”. Opening track “Mental Wars” is the most Thrash oriented offering on the disc, whilst the semi PowerMetal balladry of “Nothing” sits at the otherend of the spectrum. Music is largely guitar oriented with some cool fretboard flash throughout. The vocalage comes in a variety of pitch and appearances, delivering a meaty roar, shriek modes, talk-type provocation and narrative lines. The album holds a good, allround diversity flow and displays the band's knack for 'climaxing' song structures. Coupled to a high entertainment value and a great, fist-in-face production, this album simply ticks all the boxes. Cool.
Paul van der Burght
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VANDALLUS – 2018 “Bad Disease”
label: Pure Steel records
songs: Infected / Trash Talk'n / Sundown Haze / Heart Attacker / Shock / Shake Down / Loaded / Vandallus / Bad Disease //
web: www.vandallus.com
Spin-off project of U.S act Midnight sourced by late 70's / early 80's HardRock. What comes out of this roughly is a mix of Guitar Rock and HardRock that turns towards Mainstream / GlamRock on the moderately paced “Sundown Haze” and the contrasting, Punk – meets – Sleaze Rocker “Heart Attacker”. A similar phasing of styles occurs on the rough, unpolished 80's HardRocker “Infected” with a completely different, melodic edged chant in the chorus, but it does work here. Follow-up tune “Trash Talk'n” takes this even further with a certain vocal melancholy. The concept sounds quite unusual in places but there's no real spark flying off the set, apart from the groovsters “Infected” and “Shake Down”. Fair.
Paul van der Burght
label: Pure Steel records
songs: Infected / Trash Talk'n / Sundown Haze / Heart Attacker / Shock / Shake Down / Loaded / Vandallus / Bad Disease //
web: www.vandallus.com
Spin-off project of U.S act Midnight sourced by late 70's / early 80's HardRock. What comes out of this roughly is a mix of Guitar Rock and HardRock that turns towards Mainstream / GlamRock on the moderately paced “Sundown Haze” and the contrasting, Punk – meets – Sleaze Rocker “Heart Attacker”. A similar phasing of styles occurs on the rough, unpolished 80's HardRocker “Infected” with a completely different, melodic edged chant in the chorus, but it does work here. Follow-up tune “Trash Talk'n” takes this even further with a certain vocal melancholy. The concept sounds quite unusual in places but there's no real spark flying off the set, apart from the groovsters “Infected” and “Shake Down”. Fair.
Paul van der Burght
80's METAL 80's METAL 80's METAL
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Above left and right: VHF. Photos provided by VHF singer Derek Lyon
VHF Interview with Derek Lyon
Back in the mid 80's, when the second wave of NWOBHM was in full swing, a lot of U.K bands from the first order had already gone up in smoke. One of such bands was the obscure Satan's Empire that had their shot of fame on the “Lead Weight” compilation. When this band folded, two of its members resurfaced in the London based VHF; a band that showed great promise in the styles of the second generation NWOBHM, but, just like Satan's Empire, were clouded in mystery with no record deal to get their material to a wider audience. Manic Mosh Metal had a brief chat with VHF singer Derek Lyon to shed some more light on this great band and to clear any confusion with that other band with very same name... read on!
Manic Mosh Metal: Did you sing on the “Heartbeat City” demo and the “Insanity” demo?
Derek: Yes, I sang on both
MMM: So, guitarist Paul Lewis, also from Satan's Empire like yourself, was also part of VHF at some point?
Derek: That is correct, Paul was in the original line-up with myself that also featured Bill Muldowney (guitar), Sean Elliot (bass) and a drummer called Neil, I can’t remember his last name.
MMM: The “Insanity” cassette inlay lists a line-up with you (vocals), Bill Muldowney (guitar) and Chris Bennett (drums). So, who played the bass on that recording?
Derek: Our then bass player just left the band to join a Jazz Funk band so Bill Muldowney played bass on the recordings
MMM: Was the “Insanity” E.P ever released on vinyl; I have a mention somewhere of it being released on RAD records?
Derek: No, it was only on a demo cassette
MMM: Admittedly, the production was excellent for that session; who produced it and where was it recorded?
Derek: It was recorded at 'Scarf Studios' in East London and was engineered and produced on a 16 track by Nigel Palmer
MMM: The band also appeared to be addressing more towards the American, post NWOBHM HardRock sound; a thing that a lot of second wave NWOBHM / UK bands did from the mid 80's onwards..
Derek: At that time I was starting to loose interest and just couldn’t be bothered and decided to try and write and record my own stuff which never happened. Shortly after leaving the band I had a heart attack at 28 so I stopped singing altogether
MMM: So, what happened then and what band(s) came out of VHF?
Derek: VHF got a female singer in to replace me and they recorded a couple of demos. Her name was Gratz. I am still friends with Bill Muldowney and Chris Bennet who went on to join The Groundhogs and then played for Paul Dianno’s band. He still plays with NWOBHM band Black Rose as far as I know.
MMM: There's a constant confusion with the other VHF from the U.K (Essex) that released the '80 “Heart Of Stone” 7 inch single. Did that also affect you guys back in the day?
Derek: It didn’t affect us in any way but I would get embarrassed if people though that was us because we were a lot heavier
Back in the mid 80's, when the second wave of NWOBHM was in full swing, a lot of U.K bands from the first order had already gone up in smoke. One of such bands was the obscure Satan's Empire that had their shot of fame on the “Lead Weight” compilation. When this band folded, two of its members resurfaced in the London based VHF; a band that showed great promise in the styles of the second generation NWOBHM, but, just like Satan's Empire, were clouded in mystery with no record deal to get their material to a wider audience. Manic Mosh Metal had a brief chat with VHF singer Derek Lyon to shed some more light on this great band and to clear any confusion with that other band with very same name... read on!
Manic Mosh Metal: Did you sing on the “Heartbeat City” demo and the “Insanity” demo?
Derek: Yes, I sang on both
MMM: So, guitarist Paul Lewis, also from Satan's Empire like yourself, was also part of VHF at some point?
Derek: That is correct, Paul was in the original line-up with myself that also featured Bill Muldowney (guitar), Sean Elliot (bass) and a drummer called Neil, I can’t remember his last name.
MMM: The “Insanity” cassette inlay lists a line-up with you (vocals), Bill Muldowney (guitar) and Chris Bennett (drums). So, who played the bass on that recording?
Derek: Our then bass player just left the band to join a Jazz Funk band so Bill Muldowney played bass on the recordings
MMM: Was the “Insanity” E.P ever released on vinyl; I have a mention somewhere of it being released on RAD records?
Derek: No, it was only on a demo cassette
MMM: Admittedly, the production was excellent for that session; who produced it and where was it recorded?
Derek: It was recorded at 'Scarf Studios' in East London and was engineered and produced on a 16 track by Nigel Palmer
MMM: The band also appeared to be addressing more towards the American, post NWOBHM HardRock sound; a thing that a lot of second wave NWOBHM / UK bands did from the mid 80's onwards..
Derek: At that time I was starting to loose interest and just couldn’t be bothered and decided to try and write and record my own stuff which never happened. Shortly after leaving the band I had a heart attack at 28 so I stopped singing altogether
MMM: So, what happened then and what band(s) came out of VHF?
Derek: VHF got a female singer in to replace me and they recorded a couple of demos. Her name was Gratz. I am still friends with Bill Muldowney and Chris Bennet who went on to join The Groundhogs and then played for Paul Dianno’s band. He still plays with NWOBHM band Black Rose as far as I know.
MMM: There's a constant confusion with the other VHF from the U.K (Essex) that released the '80 “Heart Of Stone” 7 inch single. Did that also affect you guys back in the day?
Derek: It didn’t affect us in any way but I would get embarrassed if people though that was us because we were a lot heavier
Above and top / bottom right showing a selection of Pagan Altar snaps from the early 80's
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London based act Pagan Altar were one those bands that were part of the NWOBHM movement in the 80's and the run towards it as the band came into existence in '78. With the straight up Metal sound mushrooming at a large scale in the early incarnation of NWOBHM, anything musically down a different pathway did not stand half a chance, and with the band opting for a Doom infused sound showed the audience at the time was not ready for this, even though the band's 1982 demo tape was a hot topic in the tape trading circuit, and mainland Europe in particular. When the band resurrected in 2005, long lost Doom gems were finally acknowledged and with the genre now fully integrated in the Metal scene it got the band the recognition it deserved moons ago.
The following story written by Pagan Altar guitarist Alan Jones is a re-collection of events and memorable moments of the band at the Ruskin Arms pub.
Pagan Altar - Ruskin Arms 1978-81 by Alan Jones
This all happened about forty years ago and I was a teenager at the time so I just remember bits and pieces really but I will try to get down some of the more amusing and pre Spinal Tap moments.
When we played the Ruskin for the first time we had just formed as Pagan Altar in 1978 after being Hydra for about two years before. As Pagan Altar and this being our first gig we decided to do a big fly poster campaign of Hammersmith Odeon sized posters of bright orange with big bold letters and the words “Thorin Music presents Pagan Altar at the Ruskin Arms” to make ourselves sound and look big. We also spent a couple of nights riding around in our van dodging the police and jumping out the back when it was all clear and posting in some outrageous places. We managed to get two posers on two of the sign boards of Bow Church and also stuck a poster on the back of a bus that had stopped at the traffic lights. I think it worked because we were invited quite a few times over the next few years.
In the late 70s and early 80s all the bands were big into firework displays and we were no exception, in fact I think there was a bit of an arms race on who could blow the Ruskin up the most. This is where the cock ups and accidents would happen and there is no way in hell you could ever get away with some of the things the bands did then. On one occasion while visiting the bomb shop (visual effects shop) my dad (Terry Jones) decided to buy an effect called a maroon which was a cross between a banger and a hand grenade. When we let it off halfway through a song the shock wave nearly blew us of the stage. We only ever used it the once.
Another time we had an over enthusiastic helper who wouldn’t stop playing around with everything and had knocked one of the jerbs (Big silver fountain firework) towards the band. When it went off a big silver fountain shot right in the middle of the stage straight at us and the drums. It was about ten very long seconds until our lighting and effects guy could get to it and turn it away.
On another occasion we were having a bit of trouble with our battery which fired the effects off and had gone a bit flat. Normally the flash pots would go off at the end of our first song which was Pagan Altar. On this occasion nothing happened so we changed it for the next song, nothing happened again. By about the fifth or six song I had totally forgotten all about it and was standing directly over it when it finally decided to go off and nearly ruined my marriage prospects for life.
Last but not least of us trying to burn down the Ruskin was our drummer at the time Ivor Harper who in the tradition of drummers everywhere never had a screw tightened. He somehow managed to set alight the curtains behind the drums. We never had a smoke machine at the time and used smoke tablets that were used for plumbing to check for leaks in pipes. For one they were quite toxic which made everybody go to the bar for a drink, and secondly they were highly flammable. Instead of putting one or two tablets in the tin we used, Ivor put about twenty in and managed to catch fire to the bottom of the curtain. All of a sudden this orange glow appeared behind the drums. As Ivor was trying to get it out someone came around behind the stage and said to Ivor “is that supposed to be happening”. He replied “oh yes it’s all part of the stage act”, while stamping on the bottom of the curtain. We were not the only ones that were doing this on regular occasions and I am amazed the place is still standing. The Manager at the time was Joe Lucy and he said he always knew when we had played there because his bedroom was always full of smoke and he could never find his bed.
Our bass player at the time Glen Robinson was late for the gig on another occasion and we were worried he wasn’t going to turn up. He lived opposite West Ham's old ground so he wasn’t that far away. When he did finally arrived he had a hole in his head the size of a walnut and blood oozing out. We thought he had been mugged but apparently his girlfriend had hit him over the head with a bottle. He insisted on playing the gig and did the whole thing concussed because I don’t think he remembered doing it after. The effect on stage looked great though because he looked like the mummy.
These are a few things I remember about playing at the Ruskin and I have very fond memories of it. Since 2005 the band reformed and has been lucky enough to play places around the world and although my dad passed away in 2015. I started the band up again in 2017.
I am very honoured to have been part of such a well loved venue's history along with so many great bands that played there as well.
Alan Jones / Pagan Altar
Band links:
https://www.facebook.com/Pagan-Altar-301743109887693/
http://www.paganaltar.com
https://paganaltarofficial.bandcamp.com/
The following story written by Pagan Altar guitarist Alan Jones is a re-collection of events and memorable moments of the band at the Ruskin Arms pub.
Pagan Altar - Ruskin Arms 1978-81 by Alan Jones
This all happened about forty years ago and I was a teenager at the time so I just remember bits and pieces really but I will try to get down some of the more amusing and pre Spinal Tap moments.
When we played the Ruskin for the first time we had just formed as Pagan Altar in 1978 after being Hydra for about two years before. As Pagan Altar and this being our first gig we decided to do a big fly poster campaign of Hammersmith Odeon sized posters of bright orange with big bold letters and the words “Thorin Music presents Pagan Altar at the Ruskin Arms” to make ourselves sound and look big. We also spent a couple of nights riding around in our van dodging the police and jumping out the back when it was all clear and posting in some outrageous places. We managed to get two posers on two of the sign boards of Bow Church and also stuck a poster on the back of a bus that had stopped at the traffic lights. I think it worked because we were invited quite a few times over the next few years.
In the late 70s and early 80s all the bands were big into firework displays and we were no exception, in fact I think there was a bit of an arms race on who could blow the Ruskin up the most. This is where the cock ups and accidents would happen and there is no way in hell you could ever get away with some of the things the bands did then. On one occasion while visiting the bomb shop (visual effects shop) my dad (Terry Jones) decided to buy an effect called a maroon which was a cross between a banger and a hand grenade. When we let it off halfway through a song the shock wave nearly blew us of the stage. We only ever used it the once.
Another time we had an over enthusiastic helper who wouldn’t stop playing around with everything and had knocked one of the jerbs (Big silver fountain firework) towards the band. When it went off a big silver fountain shot right in the middle of the stage straight at us and the drums. It was about ten very long seconds until our lighting and effects guy could get to it and turn it away.
On another occasion we were having a bit of trouble with our battery which fired the effects off and had gone a bit flat. Normally the flash pots would go off at the end of our first song which was Pagan Altar. On this occasion nothing happened so we changed it for the next song, nothing happened again. By about the fifth or six song I had totally forgotten all about it and was standing directly over it when it finally decided to go off and nearly ruined my marriage prospects for life.
Last but not least of us trying to burn down the Ruskin was our drummer at the time Ivor Harper who in the tradition of drummers everywhere never had a screw tightened. He somehow managed to set alight the curtains behind the drums. We never had a smoke machine at the time and used smoke tablets that were used for plumbing to check for leaks in pipes. For one they were quite toxic which made everybody go to the bar for a drink, and secondly they were highly flammable. Instead of putting one or two tablets in the tin we used, Ivor put about twenty in and managed to catch fire to the bottom of the curtain. All of a sudden this orange glow appeared behind the drums. As Ivor was trying to get it out someone came around behind the stage and said to Ivor “is that supposed to be happening”. He replied “oh yes it’s all part of the stage act”, while stamping on the bottom of the curtain. We were not the only ones that were doing this on regular occasions and I am amazed the place is still standing. The Manager at the time was Joe Lucy and he said he always knew when we had played there because his bedroom was always full of smoke and he could never find his bed.
Our bass player at the time Glen Robinson was late for the gig on another occasion and we were worried he wasn’t going to turn up. He lived opposite West Ham's old ground so he wasn’t that far away. When he did finally arrived he had a hole in his head the size of a walnut and blood oozing out. We thought he had been mugged but apparently his girlfriend had hit him over the head with a bottle. He insisted on playing the gig and did the whole thing concussed because I don’t think he remembered doing it after. The effect on stage looked great though because he looked like the mummy.
These are a few things I remember about playing at the Ruskin and I have very fond memories of it. Since 2005 the band reformed and has been lucky enough to play places around the world and although my dad passed away in 2015. I started the band up again in 2017.
I am very honoured to have been part of such a well loved venue's history along with so many great bands that played there as well.
Alan Jones / Pagan Altar
Band links:
https://www.facebook.com/Pagan-Altar-301743109887693/
http://www.paganaltar.com
https://paganaltarofficial.bandcamp.com/
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Above left: Pagan Altar live at the 'Tramshed' 1984. Above right: the famous Pagan Altar pyro in action
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Above left and right: The Pagan Altar 'van'
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Above left and right: original Pagan Altar line-up from 1978
PHIL LITTLER BAND
The Stoke (U.K) based Phil Littler Band were right up there at the height of the NWOBHM boom with a most obscure single out, “Old Friends”, and an impressive gig list that includes support slots for big names such as Thin Lizzy, Whitesnake, Budgie and Bad Company. Unfortunately, the band never got the 'overground' recognition it deserved despite quality material and dedication. Fate decided differently for this band that may have taken things further if only they had been dealt better cards.... Manic Mosh Metal had a chat with drummer Dennis Price about the roaring past of the band
The Stoke (U.K) based Phil Littler Band were right up there at the height of the NWOBHM boom with a most obscure single out, “Old Friends”, and an impressive gig list that includes support slots for big names such as Thin Lizzy, Whitesnake, Budgie and Bad Company. Unfortunately, the band never got the 'overground' recognition it deserved despite quality material and dedication. Fate decided differently for this band that may have taken things further if only they had been dealt better cards.... Manic Mosh Metal had a chat with drummer Dennis Price about the roaring past of the band
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Manic Mosh Metal: How and when did the band get together and did any of you guys have prior band experience?
Dennis: The band was up and running when I joined; Phil and Ray had been together for years, since the early 70's, and it was when their original drummer left that I joined. At the time the band was called The Living Dead, and they played the original 'Cavern' in Liverpool which meant that they had a brick with their name on in the wall of the new 'Cavern'. The band name changed to Blister, and then in 1976 another name change to The Phil Littler Band. This was because Phil was the main song writer so it seemed only right. I was was in a band called Dirty Shoes with Gordon. Gordon left to join Phil and Ray, and a few months later in 1981, I followed; this was to become The Phil Littler Band or PLB for the next 10 years or so.
MMM: How many copies of the “Old Friends” single were pressed, and have none of these been released with a picture sleeve?
Dennis: “Old Friends” the single was just finished as I joined; it was their old drummer's last outing with them. I think around 1,000 copies were pressed (no picture sleeve) but all were sold in no time with some held back for promotion. All the local pubs and clubs had it on their jukeboxes. There is quite a funny story attached to the single; The 'Radio 1 Roadshow' was in Hanley Park with the then new D.J Steve Wright as the main attraction. One of our roadies named Oak said he was going to get Steve Wright to play the single on the radio. He blagged his way back stage and cornered Steve Wright and asked him to play it. He said he loved the single, and because Oak had been so crafty he would play it on his breakfast show every day for a week....and he did!
MMM: Were those two songs the first material being documented or did the band have any official demo-tapes out prior to the single?
Dennis:These two songs were the first that were recorded properly; we had many 'bedroom' demos, but nothing that you could release.
MMM: “Old Friends” is quite a contrasting song compared to flipside tune “Can't Take Anymore”, showing a more Heavy Rock oriented style that is seemingly inspired by Thin Lizzy's “Waiting For An Alibi”
Dennis: The B-side “Can’t Take Anymore” had a twin harmony lead and was inspired by Thin Lizzy and bands of a similar style as we all were fans of that style of Rock. It was there to show our real path; we could be quite Poppy, but, we could also Rock the house with best!
MMM: Speaking of which, what have been the inspirational sources for the band?
Dennis: We tried to be as original as possible but of course we had favourites and influences such as Thin Lizzy and AC/DC.
MMM: The later material of the band showed the music further intensifying, addressing to a more HardRock / Metal minded style with crisp riffage, and a strong BluesRock backbone, as revealed on the '84 “Kids In Cars” and “Pinstripe Pansey”. Why did the band change its style along the way?
Dennis: The early 80's saw the band gigging all over the country, doing some great support gigs and the material definitely morphed towards the heavier side of Rock but this was more evolution than planned.
MMM: The band did support slots with big names such as Thin Lizzy, Bashful Alley, Budgie, Trust, Bad Company and Wishbone Ash. How did you land these support slots, was the band with a management agency at that time?
Dennis: The support gigs just seemed to fall into place with a lot of hard work / touring and some door knocking. In '82 we had such a following that Bruno Brooks approached us to see if we would be up for doing a session for his 'Radio Stoke Drive Time Show',and of course we were. We went into 'Radio Stoke' and recorded six tracks live in one take as he wanted the live concert vibe. The tracks were: I'm In Love, No Love For Mandy, Strange Girl, Something On Her Mind, Pinstripe Pansy and Welcome To The Peter Pan Club.
MMM: How many songs did the band have in the repertoire at that stage and could you name some titles
Dennis: By this time I guess we had about 1 1/2 to 2 hours worth of gigging material and a few covers (which we hated playing but were always requested, got to keep your audience on side) Some of the titles are; Kids In Cars, Out On The Road, No Hard Feelings, Pinstripe Pansy, When the Night Calls, Love Ain't Enough, Something New, Best Days Of Our Lives, Mean Guitar, Another Fine Mess, Old Friends (And You To Me) and Can't Take Anymore.
MMM: The band released a full album's worth of material in '91, but it did not get vinylized until '99. Was this due to an absence of label interest?
Dennis: In 1984 a new recording studio, AVM opened in Hanley, Stoke On Trent, and we became one of the first bands to record there. One of the directors of the studio was Des Parton (he had the hit “Isn’t she Lovely”) and he was great friends with Phil so that gave the band an opportunity to record an album's worth of material. This album became “Kids In Cars”, but with no record deal on the table, it was self funded .There were 9 tracks in the can which generated a lot of interest. Then came the support gigs; Thin Lizzy, Trust, Budgie, Bad Company to name a few. We thought we had reached a turning point when we went for a band meeting at AVM and were told that we were to support The Kinks on tour here and in the U.S.A but keep things low key for now. Then, as so many times in the past, we were told the tour was off, as The Kinks had a falling out between themselves and the tour was cancelled. This was a body blow to us all. We carried on, we made the promo-video for “Kids In Cars” in a local Rock venue called “The Highwayman” in Cheadle, but it was not long after that Ray decided to hang up his bass, due work commitments. The band carried on and we tried out a few bass players; all good players none really gelled with our style. The gigs were put on the back burner now and we all eventually started other projects in other bands but always waiting for the call to reunite. Early 90's saw just that call. Phil had someone ready and willing to fund a remake of “Kids In Cars” with a more up to date sound and feel so off we go again, but this time without Ray. This album was called “Welcome To The Peter Pan Club” which was recorded at 'Swallow Studios' in Congleton, Cheshire. The running order was practically the same; She's In Love, No Hard Feelings, Something On Her Mind. Welcome To The Peter Pan Club / When The Night Calls, Kids In Cars, Old Friends (And You To Me), Star Crazy and Mean Guitar.
MMM: How many copies of the “Welcome Peter Pan Show” album were released, and was this only in digital format?
Dennis: I’m not sure exactly how many were pressed but I think again about 1000. We sold them at gigs and sent some out again as promo. We had again a lot of interest with people saying the right things and promises, but until someone signs on the dotted line, it is meaningless. A lot of time was wasted waiting for decisions to be made, so eventually it was again self funded, released on CD in 1999.
MMM: What has been the most memorable moment in the career of the band?
Dennis: Most memorable moment...that's a hard one... There are so many... Highs and lows from the great support gigs for Budgie, trust, Thin Lizzy... then to be told you’re touring with The Kinks only to have the carpet pulled and being so low again. But as they say... That's Rock And Roll.
In 2010, I had a message to give Phil a call; He tells me he wants to get the band back together again to revisit the old material and to create some new; would I be up for that... My answer; “You bet!”. This time it was going to be Phil, Steve Ball and me as a three piece back to basics; guitar, bass, drums. The aim was to get some gigs and play the music from the back catalogue. We did this for about 4 years but never gigged; there was always something in the way of actually doing a gig. Then Phil became ill which stopped any hope of gigs again.
MMM: Is there any plans to re-release any of the old material?
Dennis: Ray and I have always been looking to get Phil’s music out to the public; in the 80's and 90's it was very difficult to do but now we have a few on Youtube; the “Kids In Cars” video, and I made two with still photos of the video for “Pinstripe Pansy” and “When The Night Calls”.