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MANIC MOSH METAL #14, SEPTEMBER 2021 - FEBRUARY 2022
last updated 18 February
last updated 18 February
None of the entries on this page or elsewhere on this website are paid for
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SPITFIRE – 2022 “Denial To Fall”
label: No Remorse records (https://www.noremorse.gr/)
web: https://www.facebook.com/profile.php?id=100028121117590
This is the very same Spitfire that debuted in 1987 with the “First Attack” album that settled the band in Greek Metal history. Their newest work, “Denial To Fall” pretty much dates back to the 90's Metal sound for most of the time, be it in a variety of appearances style-wise. The disc spins off with some melodic Heavy Metal, bordering PowerMetal on “Stand Or Fall” that also has some Symphonic elements running underneath. Next one up, the moderately fast paced Headbanger “Wasted” sounds something like Maiden on a Power Metal trip whilst the title-track couples classic Euro Hard Rock with U.S styled A.O.R / Mainstream Rock in an Accept-meets-Dokken sort of fashion! Then there's some chunky, U.S styled PowerMetalers and a seemingly Metallica inspired track, “Many Lies” that sports a similar sound, concept and even vocalage. Overall, the vocal tone of frontman Tassos is quite distinctive, delivering a beefy sound with a raised roar. The greater part of the material moves in a moderately / mid-tempo with the occasional accelerated part and faster tracks in the shape of “Wasted”and “Back To Zero”. Musicianship throughout is textbook with some cool guitar actions, peaking on “Stand And Fight” and the pounding Power Metaler “Ready To Attack”. Solid.
Paul van der Burght
label: No Remorse records (https://www.noremorse.gr/)
web: https://www.facebook.com/profile.php?id=100028121117590
This is the very same Spitfire that debuted in 1987 with the “First Attack” album that settled the band in Greek Metal history. Their newest work, “Denial To Fall” pretty much dates back to the 90's Metal sound for most of the time, be it in a variety of appearances style-wise. The disc spins off with some melodic Heavy Metal, bordering PowerMetal on “Stand Or Fall” that also has some Symphonic elements running underneath. Next one up, the moderately fast paced Headbanger “Wasted” sounds something like Maiden on a Power Metal trip whilst the title-track couples classic Euro Hard Rock with U.S styled A.O.R / Mainstream Rock in an Accept-meets-Dokken sort of fashion! Then there's some chunky, U.S styled PowerMetalers and a seemingly Metallica inspired track, “Many Lies” that sports a similar sound, concept and even vocalage. Overall, the vocal tone of frontman Tassos is quite distinctive, delivering a beefy sound with a raised roar. The greater part of the material moves in a moderately / mid-tempo with the occasional accelerated part and faster tracks in the shape of “Wasted”and “Back To Zero”. Musicianship throughout is textbook with some cool guitar actions, peaking on “Stand And Fight” and the pounding Power Metaler “Ready To Attack”. Solid.
Paul van der Burght
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KILLCITY – 2021 “Another F'n Love Song”
label: private
web: https://www.facebook.com/KillcityEC
Equador based 5-piece KillCity previously released the 2020 “Last Man Standing” E.P, delivering a convincing melange of melodic Hard Rock / Metal with traces of A.O.R and light format Power Metal. Their new single, acting as a sneak peak for the follow-up full-length album “Civilized To Death”, does not differ much from the sounds displayed on the E.P, addressing to some classic melodic Metal, European style, that rolls on a driven up-tempo beat, laced with mobility drummage, twhin guitar hooks and crisp, mid to upper range vocals. Knowing the fact that these guys are from Equador, it comes as a surprise to find their music somehow surrounded by this Scandinavian-like feel and sound, as also was the case on the E.P. Referencing to the track “When The Show Is Over”, showing certain similarities to Europe. It all goes to show that Killcity have the potential and quality to take things further. Solid.
Paul van der Burght
label: private
web: https://www.facebook.com/KillcityEC
Equador based 5-piece KillCity previously released the 2020 “Last Man Standing” E.P, delivering a convincing melange of melodic Hard Rock / Metal with traces of A.O.R and light format Power Metal. Their new single, acting as a sneak peak for the follow-up full-length album “Civilized To Death”, does not differ much from the sounds displayed on the E.P, addressing to some classic melodic Metal, European style, that rolls on a driven up-tempo beat, laced with mobility drummage, twhin guitar hooks and crisp, mid to upper range vocals. Knowing the fact that these guys are from Equador, it comes as a surprise to find their music somehow surrounded by this Scandinavian-like feel and sound, as also was the case on the E.P. Referencing to the track “When The Show Is Over”, showing certain similarities to Europe. It all goes to show that Killcity have the potential and quality to take things further. Solid.
Paul van der Burght
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THIRTY FATES – 2021 “Circus Black”
label: Rockshots records
web: https://www.facebook.com/ThirtyFatesOfficial
Quality act that basically is a re-grouping of previous bands its three members were active in, the first of which – Metal Invaders – goes all the way back to 1988, whilst follow-up band Black Fate (debuting in 1991 with a 4-track demo tape) is still active, alongside other projects. With certain tracks lifted from previous work, it comes as no surprise that the album goes through various twists and turns in concept and approach, ranging from Progressive edged melodic Metal and U.S Metal esque workouts on the verge of Power Metal - “The Pretender”, “Be Free” (featuring Tim 'Ripper' Owens), “Depression” - to more atmospheric laden workouts (“Sign Of Rebellion”) and dramatic Power balladry (“The Edge Of Destiny”, “Because We Fly”). There is quite a lot of detail running through the music and production with multiple vocal layers, drum fillers and balanced synths usage. Music is dressed with some nice guitar work and solid vocals that move somewhere in between (Dickinson) Maiden and (David Wayne) Metal Church whilst the Progressive edge of the music brings in the occasional hint of Queensryche. Songs are mostly moderately to mid-tempo driven and balanced in nature, but the concept as a whole could have done with one or two accelerated tracks for added spark. In all, a deserving album put together by quality musicians.
Paul van der Burght
label: Rockshots records
web: https://www.facebook.com/ThirtyFatesOfficial
Quality act that basically is a re-grouping of previous bands its three members were active in, the first of which – Metal Invaders – goes all the way back to 1988, whilst follow-up band Black Fate (debuting in 1991 with a 4-track demo tape) is still active, alongside other projects. With certain tracks lifted from previous work, it comes as no surprise that the album goes through various twists and turns in concept and approach, ranging from Progressive edged melodic Metal and U.S Metal esque workouts on the verge of Power Metal - “The Pretender”, “Be Free” (featuring Tim 'Ripper' Owens), “Depression” - to more atmospheric laden workouts (“Sign Of Rebellion”) and dramatic Power balladry (“The Edge Of Destiny”, “Because We Fly”). There is quite a lot of detail running through the music and production with multiple vocal layers, drum fillers and balanced synths usage. Music is dressed with some nice guitar work and solid vocals that move somewhere in between (Dickinson) Maiden and (David Wayne) Metal Church whilst the Progressive edge of the music brings in the occasional hint of Queensryche. Songs are mostly moderately to mid-tempo driven and balanced in nature, but the concept as a whole could have done with one or two accelerated tracks for added spark. In all, a deserving album put together by quality musicians.
Paul van der Burght
DEAD SERIOUS – 2021 “It's a Nice Day” (1991 re-issue)
label: Sounds Of Hell records (https://www.helldiest.com/)
web: https://www.facebook.com/DeadSeriousBelgium
One-off release by this Belgian Thrash act that could have fooled anyone back in '91 when this album was first released, as it has the U.S Thrash sound all over it. The bobbing Bay Area Thrasher “Donald And Daisy” shows this at best with its snappy, talk type vocalage, galloping mid-tempo, snare drummed accelerations, backing shouts and buzzing guitars. The main body of most tracks sport a similar drive, alongside full-throttle speedsters such as the Flotsam & Jetsam esque SpeedMetaler “Daddy Goes To Disneyland” and the staccato rhythm riffed “Beerdrinkers” that has the Flotsam thing re-appearing with an additional blend of Metallica. More hints of Metallica come surfacing on the moderately paced, 'Harvester Of Sorrow' alike “What The Duck”, and the accelerated part of “It's A Nice Day”. In Addition, there's random traces of Anthrax (most evidently on “Stagedive To Heaven”) and Annihilator (“Beerdrinkers”, “Red Renault Five”). The band also followed the 90's trends, merging Thrash with Funk Rap Metal (with matching vocal style) as evidenced on the Faith No More sounding “The Look”. Although the band had a humorous twist to their concept and lyrical content, their music is serious business and business is good! Proper.
Paul van der Burght
label: Sounds Of Hell records (https://www.helldiest.com/)
web: https://www.facebook.com/DeadSeriousBelgium
One-off release by this Belgian Thrash act that could have fooled anyone back in '91 when this album was first released, as it has the U.S Thrash sound all over it. The bobbing Bay Area Thrasher “Donald And Daisy” shows this at best with its snappy, talk type vocalage, galloping mid-tempo, snare drummed accelerations, backing shouts and buzzing guitars. The main body of most tracks sport a similar drive, alongside full-throttle speedsters such as the Flotsam & Jetsam esque SpeedMetaler “Daddy Goes To Disneyland” and the staccato rhythm riffed “Beerdrinkers” that has the Flotsam thing re-appearing with an additional blend of Metallica. More hints of Metallica come surfacing on the moderately paced, 'Harvester Of Sorrow' alike “What The Duck”, and the accelerated part of “It's A Nice Day”. In Addition, there's random traces of Anthrax (most evidently on “Stagedive To Heaven”) and Annihilator (“Beerdrinkers”, “Red Renault Five”). The band also followed the 90's trends, merging Thrash with Funk Rap Metal (with matching vocal style) as evidenced on the Faith No More sounding “The Look”. Although the band had a humorous twist to their concept and lyrical content, their music is serious business and business is good! Proper.
Paul van der Burght
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AXE WITCH – 2021 “Out Of The Ashes Into The Fire”
label: Pure Steel records
web: https://www.facebook.com/Axewitch
Come-back album by Swedish cult Metalers Axe Witch that made their first vinyl appearance in '82 with the “Pray For Metal” E.P; a true Metal scorcher that was pretty much unparalleled in terms of capturing this rough and ready sound and attitude. Their follow-up releases never really lived up to the concept of the “Pray For Metal” E.P as it simply was watered down to a bulk-standard sound. But now, the band has come back in full force, even though its concept has changed drastically. Yet, the 'fist to face' production and attitude that reminds of the early days is present at large but channelled through a more controlled, meaty production that screams power! The present concept clearly draws its influence from the traditional 80's Hard Rock thing with traces of Saxon, Priest and Thin Lizzy. The guitars on this one make the wheels come off with some killer Blues-injected solo actions and shredding grooves as evidenced on the Saxon / Lizzy flavoured “Boogie Of Death”. In addition, more than one similarity in guitar sound and play to John Norum, pushed forward on the catchy, mid-paced “Losing You” and the melodic edged, mid-paced pounder “In Pitch Black Darkness”. The husky, muscular vocals give extra punch to the music, but equally add a semi-melodic touch in places, slightly hinting at Dokken on “In Pitch Black Darkness”. Songs are pretty straight forward as is the concept as a whole that is mainly geared towards moderately to mid-tempo drives with some chunky, instant access head-bobbers in the shape of “Dues To Pay”, “Going Down” and “The Healer”. The beauty of this album is that everything is in place, perfectly played without ever overdoing it; a fine example of less is more. “Out Of The Ashes Into The Fire” is a pleasure to the ear and entertains right from start onto the closing grooves of the Hard Rockin Blues stomper that is “Axewitch”. Excellent!
Paul van der Burght
label: Pure Steel records
web: https://www.facebook.com/Axewitch
Come-back album by Swedish cult Metalers Axe Witch that made their first vinyl appearance in '82 with the “Pray For Metal” E.P; a true Metal scorcher that was pretty much unparalleled in terms of capturing this rough and ready sound and attitude. Their follow-up releases never really lived up to the concept of the “Pray For Metal” E.P as it simply was watered down to a bulk-standard sound. But now, the band has come back in full force, even though its concept has changed drastically. Yet, the 'fist to face' production and attitude that reminds of the early days is present at large but channelled through a more controlled, meaty production that screams power! The present concept clearly draws its influence from the traditional 80's Hard Rock thing with traces of Saxon, Priest and Thin Lizzy. The guitars on this one make the wheels come off with some killer Blues-injected solo actions and shredding grooves as evidenced on the Saxon / Lizzy flavoured “Boogie Of Death”. In addition, more than one similarity in guitar sound and play to John Norum, pushed forward on the catchy, mid-paced “Losing You” and the melodic edged, mid-paced pounder “In Pitch Black Darkness”. The husky, muscular vocals give extra punch to the music, but equally add a semi-melodic touch in places, slightly hinting at Dokken on “In Pitch Black Darkness”. Songs are pretty straight forward as is the concept as a whole that is mainly geared towards moderately to mid-tempo drives with some chunky, instant access head-bobbers in the shape of “Dues To Pay”, “Going Down” and “The Healer”. The beauty of this album is that everything is in place, perfectly played without ever overdoing it; a fine example of less is more. “Out Of The Ashes Into The Fire” is a pleasure to the ear and entertains right from start onto the closing grooves of the Hard Rockin Blues stomper that is “Axewitch”. Excellent!
Paul van der Burght
RAZOR – 2021 “Escape The Fire”
label: High Roller records https://www.hrrecords.de/
web: https://razorband.com/
This album by Canadian Speed / Thrash cult act Razor was supposed to be released as the follow up to the 1984 “Armed And Dangerous” E.P but never saw the light of day. Instead, “Executioner's Song” became the successor following the record deal inked with Attic records and the “Escape The Fire “ material got shelved for decades until High Roller records decided to breathe new life into those songs of old. This album features all of the original 11 songs, mastered and restored in 2020 and released in 2021. “Escape The Fire” shows the core sound of the band which is heavily rooted in classic Euro Hard Rock / Metal and funnelled through upbeat tracks such as “Time Bomb”, “Metal Avenger” (with an extended, ad-lib guitar solo), and “Ready For Action”. The moderately paced “Distant Thunder” is cut from the same mould and shows similarities to Motorhead, particulalrly in the vocal department, be it in an upped tone. The other half of the set shows the early Speed Metal sound of the band, rolling on straight forward, rhythm riffed drives with snappy vocal raps and this bare-knuckle, 'plug in and play' feel. This is not clean, this is not neat, but it sure is honest and unpretentious with a K.O punch in round one. Classic!
Paul van der Burght
label: High Roller records https://www.hrrecords.de/
web: https://razorband.com/
This album by Canadian Speed / Thrash cult act Razor was supposed to be released as the follow up to the 1984 “Armed And Dangerous” E.P but never saw the light of day. Instead, “Executioner's Song” became the successor following the record deal inked with Attic records and the “Escape The Fire “ material got shelved for decades until High Roller records decided to breathe new life into those songs of old. This album features all of the original 11 songs, mastered and restored in 2020 and released in 2021. “Escape The Fire” shows the core sound of the band which is heavily rooted in classic Euro Hard Rock / Metal and funnelled through upbeat tracks such as “Time Bomb”, “Metal Avenger” (with an extended, ad-lib guitar solo), and “Ready For Action”. The moderately paced “Distant Thunder” is cut from the same mould and shows similarities to Motorhead, particulalrly in the vocal department, be it in an upped tone. The other half of the set shows the early Speed Metal sound of the band, rolling on straight forward, rhythm riffed drives with snappy vocal raps and this bare-knuckle, 'plug in and play' feel. This is not clean, this is not neat, but it sure is honest and unpretentious with a K.O punch in round one. Classic!
Paul van der Burght
CRIMSON FIRE – 2021 “Another Dimension”
label: No Remorse
web: https://www.facebook.com/CrimsonFireFB
Crimson Fire, from Athens, Greece premiered the scene back in 2010 with “Metal Is Back” and followed up in 2016 with Fireborn”. “Another Dimension” is their newest work, delivering a blend of traditional (80's) styled melodic Metal that occasionally leans towards PowerMetal, occasionally paired with A.O.R / Symphonic Rock notes! This may sound like an offbeat coupling but Crimson Fire make it work on tracks such as the galloping, mid-paced “Judas” that comes with some cool guitar flash. The A.O.R is most prominent on the mid-paced radio-friendly “On The Edge” and “Set The Night On Fire”. Heaviest offerings come in the shape of the moderately fast, Helloween esque “Don't Fall From The Sky” and the upbeat, rhythm riffed “No Fear” sporting a drive and Hammond organ that remind of the faster Deep Purple material. It is also here that the upper mid-range vocalage peaks in falsetto modus. A more basic, vibe-oriented approach is presented on the moderately paced fist pumper “Set The Night On Fire”. All is well played with a good diversity in both songs and concept, peppered with some balanced guitar flash. Nice
Paul van der Burght
label: No Remorse
web: https://www.facebook.com/CrimsonFireFB
Crimson Fire, from Athens, Greece premiered the scene back in 2010 with “Metal Is Back” and followed up in 2016 with Fireborn”. “Another Dimension” is their newest work, delivering a blend of traditional (80's) styled melodic Metal that occasionally leans towards PowerMetal, occasionally paired with A.O.R / Symphonic Rock notes! This may sound like an offbeat coupling but Crimson Fire make it work on tracks such as the galloping, mid-paced “Judas” that comes with some cool guitar flash. The A.O.R is most prominent on the mid-paced radio-friendly “On The Edge” and “Set The Night On Fire”. Heaviest offerings come in the shape of the moderately fast, Helloween esque “Don't Fall From The Sky” and the upbeat, rhythm riffed “No Fear” sporting a drive and Hammond organ that remind of the faster Deep Purple material. It is also here that the upper mid-range vocalage peaks in falsetto modus. A more basic, vibe-oriented approach is presented on the moderately paced fist pumper “Set The Night On Fire”. All is well played with a good diversity in both songs and concept, peppered with some balanced guitar flash. Nice
Paul van der Burght
BLACK WRITS RECORDS
Swedish Hard Rock and Heavy Metal label
web: https://www.facebook.com/blackwritsrecords/
https://blackwritsrecordsswe.bandcamp.com/artists
BLACK WRITS RECORDS is a brand new, Swedish Hard Rock and Heavy Metal record label geared towards 80's unreleased Swedish Metal and newcomers playing it real. The label will release on both vinyl and cassette format with the main focus on tapes.
Swedish Hard Rock and Heavy Metal label
web: https://www.facebook.com/blackwritsrecords/
https://blackwritsrecordsswe.bandcamp.com/artists
BLACK WRITS RECORDS is a brand new, Swedish Hard Rock and Heavy Metal record label geared towards 80's unreleased Swedish Metal and newcomers playing it real. The label will release on both vinyl and cassette format with the main focus on tapes.
TOBY HITCHCOCK – 2021 “Changes”
label: Frontiers records
web: https://www.facebook.com/tobykhitchcock
Newest solo-album by American singer Toby Hitchcock. This album is a treat for those that love the subtle, Radio friendly Rock / A.O.R produced in the 80's as this 11-songer is all that. Toby is a very capable singer with a strong tone and lots of volume, moving in the upper mid-range and layered with lots of vibrato and subtlety. The abilities of Toby are peaking on the catchy mid/up-tempo Rocker “Say No More”. Similarities to Journey present themselves on “Forward” and “Two Hearts On The Run”. There's quite a bit of (semi) balladry going on; 4 tracks in total, including an operatic like Rock Ballad “Losing You” the Rock Opera styled “Run Away Again”. This is a textbook performance and beyond with a pitch-perfect delivery and never overdone. Proper!
Paul van der Burght
label: Frontiers records
web: https://www.facebook.com/tobykhitchcock
Newest solo-album by American singer Toby Hitchcock. This album is a treat for those that love the subtle, Radio friendly Rock / A.O.R produced in the 80's as this 11-songer is all that. Toby is a very capable singer with a strong tone and lots of volume, moving in the upper mid-range and layered with lots of vibrato and subtlety. The abilities of Toby are peaking on the catchy mid/up-tempo Rocker “Say No More”. Similarities to Journey present themselves on “Forward” and “Two Hearts On The Run”. There's quite a bit of (semi) balladry going on; 4 tracks in total, including an operatic like Rock Ballad “Losing You” the Rock Opera styled “Run Away Again”. This is a textbook performance and beyond with a pitch-perfect delivery and never overdone. Proper!
Paul van der Burght
GONE SAVAGE – 2022 “Past Life”
web: https://www.gonesavageband.com/
This is the newest work of Manchester / U.K act Gone Savage, the core of which consists of Ian Salpekar (bass) and singer Will Glover with the assistance of guest musicians. Gone Savage has been around for a long time but oddly enough seem to have always slipped through the net of recognition despite raving reviews, plenty of radio-airplay and a whole catalogue of releases. “Past Life” is a collection of new tracks and previously released work, adding to the variety that runs through the set. The sound of Gone Savage has alterations in both concept and atmosphere but overall sits in 90's Hard Rock territories with a classic, 80's root that occasionally moves the band towards American style A.O.R. be it with a certain, heavier twist. Another factor that makes the whole concept sound a tad different is this moody / sombre twist, to some degree triggered by the slightly minor scale vocal tones, pushed forward on the mid-tempo “Icon Of Today” and the album's heaviest offering, “Bullet Proof”. On the other end of the spectrum are the ;lighter', slightly Journey tinged “Life Incendiary”, the chunky 'shout along' A.O.R rocker “Louder Than The Sun”, the catchy, up-tempo “Love Caught Me Out” (with certain parallels to '87 Whitesnake) and the dramatic, Hardline esque Rock balladry of “Touch Your God” with its gripping solo-action. Gone Savage have a style that is quite unique and moves somewhere in between Dokken and Winger with a darker, heavier appearance. Convincing.
Paul van der Burght
web: https://www.gonesavageband.com/
This is the newest work of Manchester / U.K act Gone Savage, the core of which consists of Ian Salpekar (bass) and singer Will Glover with the assistance of guest musicians. Gone Savage has been around for a long time but oddly enough seem to have always slipped through the net of recognition despite raving reviews, plenty of radio-airplay and a whole catalogue of releases. “Past Life” is a collection of new tracks and previously released work, adding to the variety that runs through the set. The sound of Gone Savage has alterations in both concept and atmosphere but overall sits in 90's Hard Rock territories with a classic, 80's root that occasionally moves the band towards American style A.O.R. be it with a certain, heavier twist. Another factor that makes the whole concept sound a tad different is this moody / sombre twist, to some degree triggered by the slightly minor scale vocal tones, pushed forward on the mid-tempo “Icon Of Today” and the album's heaviest offering, “Bullet Proof”. On the other end of the spectrum are the ;lighter', slightly Journey tinged “Life Incendiary”, the chunky 'shout along' A.O.R rocker “Louder Than The Sun”, the catchy, up-tempo “Love Caught Me Out” (with certain parallels to '87 Whitesnake) and the dramatic, Hardline esque Rock balladry of “Touch Your God” with its gripping solo-action. Gone Savage have a style that is quite unique and moves somewhere in between Dokken and Winger with a darker, heavier appearance. Convincing.
Paul van der Burght
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MORGUL BLADE – 2021 “Fell Sorcery Abounds”
label: No Remorse records https://www.noremorse.gr/
web: https://www.facebook.com/MorgulBladeHM
Debut album by this Philadelphia / USA based 4-piece that actually sound like they are from Scandinavia! Their music is stickered as 'Traditional and Epic Heavy Metal with a nod to second wave Black Metal' combined with Fantasy tales and Folklore. Morgul Blade sound a bit like a Nordic version of Skyclad, layered with some mild Black Metal features and anthemic like Power Metal chants, as evidenced on “In The Grip Of The Dark Lord” and “The Five Will Ride At Dawn”. The dramatic atmosphere has the upper hand throughout the material, complimenting the Folklore element which goes in full Epic modus with acoustic guitar on “Oak In The Mist”. There's quite a few 'galloping' drives in there all right but slowed to a mid-tempo. The vocalage is either Medieval oriented in a regular tone or raspy and Black Metal style but quite mild and balanced in appearance, as is the music as a whole. It is this subtlety and modesty that kind of gives the album this charm and makes it very listenable for a wide spectrum of listeners. Nicely done.
Paul van der Burght
label: No Remorse records https://www.noremorse.gr/
web: https://www.facebook.com/MorgulBladeHM
Debut album by this Philadelphia / USA based 4-piece that actually sound like they are from Scandinavia! Their music is stickered as 'Traditional and Epic Heavy Metal with a nod to second wave Black Metal' combined with Fantasy tales and Folklore. Morgul Blade sound a bit like a Nordic version of Skyclad, layered with some mild Black Metal features and anthemic like Power Metal chants, as evidenced on “In The Grip Of The Dark Lord” and “The Five Will Ride At Dawn”. The dramatic atmosphere has the upper hand throughout the material, complimenting the Folklore element which goes in full Epic modus with acoustic guitar on “Oak In The Mist”. There's quite a few 'galloping' drives in there all right but slowed to a mid-tempo. The vocalage is either Medieval oriented in a regular tone or raspy and Black Metal style but quite mild and balanced in appearance, as is the music as a whole. It is this subtlety and modesty that kind of gives the album this charm and makes it very listenable for a wide spectrum of listeners. Nicely done.
Paul van der Burght
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BENJAMIN VAN GEEST – 2021 “Tailgunner”
label: private
web: https://soundcloud.com/benvangeest
“Tailgunner” is a new track by Dutch multi-instrumentalist / composer Benjamin Van Geest, glued together with the musical assistance of drummer Yuma van Eekelen and bass-guitarist Robin Zielhorst. According to Benjamin, who plays the lead guitar here, this song is a homage to the Metal bands he grew up with in the 80's and 90's. Think a mix of Joey Tafolla's - “Out Of The Sun” ('87) and Marty Friedman's “Dragon's Kiss” ('88) with a hint of Toby Knapp's “Guitar Distortion” ('93) for the heavier notes and Progressive / Fusion like technicality that run through the song. “Tailgunner” grips from the very start, rolling on a fast tempo, alternating staccato rhythm riffage with subtle melody lines and low-toned power-grooves. The timing and teamwork throughout this piece is superb with a dazzling mobility and synchronisation of all instruments. This is top-level musicianship that that truly does its inspirational sources justice and far beyond. Insane!
Paul van der Burght
label: private
web: https://soundcloud.com/benvangeest
“Tailgunner” is a new track by Dutch multi-instrumentalist / composer Benjamin Van Geest, glued together with the musical assistance of drummer Yuma van Eekelen and bass-guitarist Robin Zielhorst. According to Benjamin, who plays the lead guitar here, this song is a homage to the Metal bands he grew up with in the 80's and 90's. Think a mix of Joey Tafolla's - “Out Of The Sun” ('87) and Marty Friedman's “Dragon's Kiss” ('88) with a hint of Toby Knapp's “Guitar Distortion” ('93) for the heavier notes and Progressive / Fusion like technicality that run through the song. “Tailgunner” grips from the very start, rolling on a fast tempo, alternating staccato rhythm riffage with subtle melody lines and low-toned power-grooves. The timing and teamwork throughout this piece is superb with a dazzling mobility and synchronisation of all instruments. This is top-level musicianship that that truly does its inspirational sources justice and far beyond. Insane!
Paul van der Burght
KK's PRIEST – 2021 “Sermons Of The Sinner”
label: EX1 records
web: https://www.kkspriest.com/
Opening track “Hellfire Thunderbolt” sets the tone for set on this album, and has classic Priest all over it, rolling on a double-bass drummed drive layered with the 'trademark' riffage, tandem guitar solos and vocalage, the latter which is provided by no other than 'Ripper' Owens; quite possibly the nearest to Halford in style and range. “Sermons Of The Sirens” rips it up once more with a whole lot of double-bass drum action, staccato rhythm riffage and shriek siren vocals, halted by this atmospheric twist in the mid-section. The up-tempo driven “Sacerdote Y Diablo” merges the classic Priest sound (a la “Pain Killer”) with Power Metal and matching atmospheres, all drenched in showers of blistering guitar action. The mid-tempo and riff based “Raise Your Fists” is a traditional styled Euro HardRock / Metal track that has this Accept alike chant, and the same pretty much goes for the mid-paced “Brothers Of The Road” which is bit of a filler track. The Anthemic bobber “Metal Through And Through” is, as its title suggests, all Metal in 80's fashion. This one could sit right next to Accept and Manowar fist pumpers if it wasn't for the long, instrumental mid-section and it's dramatic undertone. The catchy “Wild And Free” moves in a moderately fast pace that is slowed down to give room for its shout along theme. “Hail For The Priest” falls in the same category as “Sacerdote Y Diablo” and “Return Of The Sentinel” rounds off the album in a bobbing Metal modus. Altogether a most enjoyable selection of songs that blends the Priest sound with anthemic refrains and atmospheric vibes that give the traditional concept a refreshing swing whilst still being very recognizable 'as'. Nice.
Paul van der Burght
label: EX1 records
web: https://www.kkspriest.com/
Opening track “Hellfire Thunderbolt” sets the tone for set on this album, and has classic Priest all over it, rolling on a double-bass drummed drive layered with the 'trademark' riffage, tandem guitar solos and vocalage, the latter which is provided by no other than 'Ripper' Owens; quite possibly the nearest to Halford in style and range. “Sermons Of The Sirens” rips it up once more with a whole lot of double-bass drum action, staccato rhythm riffage and shriek siren vocals, halted by this atmospheric twist in the mid-section. The up-tempo driven “Sacerdote Y Diablo” merges the classic Priest sound (a la “Pain Killer”) with Power Metal and matching atmospheres, all drenched in showers of blistering guitar action. The mid-tempo and riff based “Raise Your Fists” is a traditional styled Euro HardRock / Metal track that has this Accept alike chant, and the same pretty much goes for the mid-paced “Brothers Of The Road” which is bit of a filler track. The Anthemic bobber “Metal Through And Through” is, as its title suggests, all Metal in 80's fashion. This one could sit right next to Accept and Manowar fist pumpers if it wasn't for the long, instrumental mid-section and it's dramatic undertone. The catchy “Wild And Free” moves in a moderately fast pace that is slowed down to give room for its shout along theme. “Hail For The Priest” falls in the same category as “Sacerdote Y Diablo” and “Return Of The Sentinel” rounds off the album in a bobbing Metal modus. Altogether a most enjoyable selection of songs that blends the Priest sound with anthemic refrains and atmospheric vibes that give the traditional concept a refreshing swing whilst still being very recognizable 'as'. Nice.
Paul van der Burght
CREW ROCK RADIO – D.J's Denim And Leather
DJ's Denim And Leather show airs three times a week on Crew Rock radio, spinning a mix of classic and new Hard Rock and heavy Metal. The show is presented live by Darren Joyce on Tuesday evening from 18:00 – 20:00 hrs (GMT), and re-runs on Thursday morning from 08:00 – 10:00 hrs (GMT) and Saturday afternoon from 15:00 – 17:00 hrs (GMT). To listen live, tune in via https://crewrock.radio
Shows can also be listened to after airing via Mixcloud here:
www.mixcloud.com/Needledrop1
DJ's Denim And Leather show also has a FB group page here:
https://www.facebook.com/groups/445282536429028
Apart from being a connection to the DJ's Denim And Leather radio show, this group / page is all about Hard Rock, Heavy Metal, NWOBHM and is really supportive to the scene with a lot of interactions of fans and listeners, bands featured on the show and others actively involved in the Hard Rock / Metal scene.
Darren also has a Youtube Channel featuring interviews and tracks from NWOBHM bands, here: https://youtube.com/user/1DazJ More info in the feature below
DJ's Denim And Leather show airs three times a week on Crew Rock radio, spinning a mix of classic and new Hard Rock and heavy Metal. The show is presented live by Darren Joyce on Tuesday evening from 18:00 – 20:00 hrs (GMT), and re-runs on Thursday morning from 08:00 – 10:00 hrs (GMT) and Saturday afternoon from 15:00 – 17:00 hrs (GMT). To listen live, tune in via https://crewrock.radio
Shows can also be listened to after airing via Mixcloud here:
www.mixcloud.com/Needledrop1
DJ's Denim And Leather show also has a FB group page here:
https://www.facebook.com/groups/445282536429028
Apart from being a connection to the DJ's Denim And Leather radio show, this group / page is all about Hard Rock, Heavy Metal, NWOBHM and is really supportive to the scene with a lot of interactions of fans and listeners, bands featured on the show and others actively involved in the Hard Rock / Metal scene.
Darren also has a Youtube Channel featuring interviews and tracks from NWOBHM bands, here: https://youtube.com/user/1DazJ More info in the feature below
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DJ's Denim And Leather NWOBHM interviews and specials
https://youtube.com/user/1DazJ This is the channel of Darren Joyce, presenter of DJ's Denim And Leather radio show, featuring interviews and tracks from NWOBHM aired on the show. Some really cool, in-depth information from the bands alongside tracks new and old from the band's catalogues. Here's a selection of the uploads from Darren's channel. All YouTube interviews in this special are done by Darren Joyce / DJ's Denim And Leather radio show. Interviews / videos uploaded on this site with consent from Darren |
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DJ's Denim And Leather interview with singer Sean Canning / SACRED ALIEN
SACRED ALIEN links:
https://www.facebook.com/sacredalienband
https://sacredalien.bandcamp.com/
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DJ's Denim And Leather interview with drummer Chris Mitchell / STORMCHILD
STORMCHILD link:
https://www.facebook.com/stormchilduk
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DJ's Denim And Leather interview with guitarist Malcolm Scott / HIGH TREASON
HIGH TREASON link:
https://www.facebook.com/hightreasonuk
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WITCHFYNDE – 2021 “Give 'Em Hell” re-issue (LP + CD)
label: High Roller records
UK's Witchfynde were around and active long before the NWOBHM mushroomed. Even though its origins date back to 1974 it wasn't until 1980 that the band emerged with their first official recording in the shape of the “Give 'Em Hell” single, paired with “Gettin' Heavy” on the flipside. These tracks re-appeared on the similar titled debut LP that was released in 1980 on Rondelet records and featured an additional 5 tracks, Even though the LP entered the scene at the right time, it somehow failed to get the band the flush of fame it deserved. Spinning the disc, it becomes evident that Witchfynde was at the forefront of the more atmospheric laden, Doom infused side of NWOBHM alongside its original, more Psychedelic oriented and 70's rooted Hard Rock sound. By all means, “Give 'Em Hell” was and still is a very worthy album that is now brought under the attention with a re-release on both vinyl and CD format with 3 added tracks via High Roller records. The first set of songs, “Ready To Roll” and “The Divine Victim” clearly spotlight the 70's bodywork around its Hard Rock interior, lacquered with some ad-lib guitar and atmospheric vibes. The classic Prog thing comes surfacing on the mid-paced “Leaving Nadir”, be it in small measures. More Prog elements pop up on “Unto The Ages Of The Ages” that also elevates the psychedelic and ad-lib element. Most NWOBHM geared tracks are the riff-based & up-tempo driven “Give 'Em Hell”, the rhythmic “Pay Now – Love Later” and bonus track “Wake Up Screaming”. A more modest, almost radio-friendly approach is presented on “Tetelestai”, moving somewhere in between Rush and Budgie. Tapping into the music, there's quite a lot going on overall with some in-depth shape shifting and great mobility drummage throughout. This album is raw, pure and rather intelligent with a psychedelic twist and a high entertainment factor that is just a bit different. Cool
Paul van der Burght
label: High Roller records
UK's Witchfynde were around and active long before the NWOBHM mushroomed. Even though its origins date back to 1974 it wasn't until 1980 that the band emerged with their first official recording in the shape of the “Give 'Em Hell” single, paired with “Gettin' Heavy” on the flipside. These tracks re-appeared on the similar titled debut LP that was released in 1980 on Rondelet records and featured an additional 5 tracks, Even though the LP entered the scene at the right time, it somehow failed to get the band the flush of fame it deserved. Spinning the disc, it becomes evident that Witchfynde was at the forefront of the more atmospheric laden, Doom infused side of NWOBHM alongside its original, more Psychedelic oriented and 70's rooted Hard Rock sound. By all means, “Give 'Em Hell” was and still is a very worthy album that is now brought under the attention with a re-release on both vinyl and CD format with 3 added tracks via High Roller records. The first set of songs, “Ready To Roll” and “The Divine Victim” clearly spotlight the 70's bodywork around its Hard Rock interior, lacquered with some ad-lib guitar and atmospheric vibes. The classic Prog thing comes surfacing on the mid-paced “Leaving Nadir”, be it in small measures. More Prog elements pop up on “Unto The Ages Of The Ages” that also elevates the psychedelic and ad-lib element. Most NWOBHM geared tracks are the riff-based & up-tempo driven “Give 'Em Hell”, the rhythmic “Pay Now – Love Later” and bonus track “Wake Up Screaming”. A more modest, almost radio-friendly approach is presented on “Tetelestai”, moving somewhere in between Rush and Budgie. Tapping into the music, there's quite a lot going on overall with some in-depth shape shifting and great mobility drummage throughout. This album is raw, pure and rather intelligent with a psychedelic twist and a high entertainment factor that is just a bit different. Cool
Paul van der Burght
RAMPANT from Essex were part of the NWOBHM movement and toured the local pub and club scene but never released any vinyl, only to fade into obscurity. Lead singer Tee Rets continued with a more Melodic / Prog oriented band called RELAY which eventually also vanished from the scene. With the resurgence of NWOBHM, a strong interest in RAMPANT arose, and as a result the band re-entered the scene and officially released their very first material in 2020 in the shape of the “Phantom Riders” CD E.P which can be ordered via the bandcamp link below. Additional information on Rampant via the FB link. https://rampant2.bandcamp.com/ https://www.facebook.com/NWOBHM.RAMPANT
Underneath is an interview Manic Mosh Metal did with Rampant singer Tee Rets.
Underneath is an interview Manic Mosh Metal did with Rampant singer Tee Rets.
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Above left and right: Guisnes Court, Tolshunt D'Arcy, Essex first Rampant gig 1980
Manic Mosh Metal: How and when did Rampant form?
Tee Rets: It was 1980 and I'd been trying to form a band called Tyrant from 1978 (maybe '77); a band name I actually had registered at the time, but nothing came of it but the continual search for interested musicians eventually led to the birth of Rampant. One night on the way home from the Ruskin with my friend Rick Tiley, who was a drummer I'd been jamming with, we got talking to some guys on the tube and amazingly two of them were musicians looking to get in a band; guitarist Paul Playle and bassist Aid Fitzpatrick. They were unconnected if I remember rightly, so it was one of those moments in life that just happen sometimes. By the next day we were meeting up jamming and I'd been thinking about trying to get together with another guitarist, Mark Blaxland, I'd met a couple years previously so rang him to see if he was interested. He was and, simply, the band was formed there and then.
MMM: Did the band start out as a cover-band and / or when were the first originals penned?
TR: No, we were originals right from the start and the song ideas we jammed on that first day were various riffs we had between us, some of which were from the Tyrant days. We began meeting up regularly and writing songs to take into the rehearsal studio. Some songs were born in the studio where someone would say I have these new riffs that would make a good song and we'd jam through them, knocking them into shape. We were all young and inexperienced so a lot of it wasn't too spectacular but we were full of enthusiasm and determined to make a go of it.
MMM: Originally from Essex, how was the Metal scene there back in the early 80's?
TR: It was a great time and place to be for sure with so many people we knew all playing in, forming or joining bands. We'd all be using the same studios and so it was always a laugh meeting up with other musicians using the other rooms and, of course, we'd be bumping into many of them down at the various venues and pubs, such as the Ruskin, Oscars, Electric Stadium, Cranbrook Arms, etc and we'd travel into London and surrounding areas to see all the latest NWOBHM bands or the bigger acts playing the likes of Hammersmith Odeon, Rainbow Theatre, Wembley Arena and so on. Wherever you went back in those days you'd meet up with so many Metal / Rock mates, many from bands, and it was just such a great time to be alive in, living in the middle of a Metal / Rock explosion!
MMM: You guys were regulars at the famous East London Ruskin Arms pub, did you also play there?
TR: Yeah we played there quite regularly and were getting more and more gigs there before we parted ways as a band, which was a shame because things were building, but that's how things are sometimes in music and we all went on to do other things with other bands. Being Ruskin regulars where we went to be with our mates, meet people, get pissed, have a laugh, bang our heads, go home with ringing ears and neck ache, it was great to play there and have your friends in the audience getting their nuts down, shouting stuff out and helping your gig go with a bang...mind you, they weren't short of a few bangs accompanied by clouds of smoke from the pyros we used to let off, as did many a band doing the circuit back then. We all thought we were Kiss or someone and insisted on putting on shows that were in danger of not only deafening everybody in there but also making toast of them. How no serious fires ever happened back then in the Ruskin and all the other venues where bands were basically putting on indoor firework displays is beyond me!! It was all great fun though and we saw some things, make no mistake there !!
MMM: Did Rampant ever officially record a demo-tape?
TR: Yes, we attempted two goes at this and both were never finished due to various complications and lack of finance. I think it was probably a bit early for an inexperienced band to have been recording and so the sessions suffered due to it and things got left undone. No masters exist from the sessions so they can't be mixed or bits redone.
MMM: What were the inspirational sources of Rampant?
TR: For me personally it was Judas Priest, the emerging Saxon and Maiden, Sabbath, and Dio era Rainbow. We all liked these bands, but other band members were very into Scorpions, Lizzy and Zep amongst others, and those influences were evident in our music.
MMM: There was also this other band, Relay, with a member(s) of Rampant, was this before or after Rampant or a side project?
TR: Relay was a mid 80s band I formed in 1985. It was more a Prog / Pomp Rock band, the roots of which I'd started some months after parting ways with the Rampant guys. I was heavily into keyboards and wanted to learn to play them, a pursuit I set out on in '82 that finally led to a full new band after three and a half years of banging my head against a brick wall trying to get the right people. In the end, much like Rampant, it just happened near auto and Relay was born. There were no other Rampant members involved. I wrote some of the stuff on keyboards but fronted the band in my normal capacity as lead vocalist, leaving the main keyboard duties to our two guitarists, Mark Stirk and Uwe D'rose, who doubled as keyboardists. We also had a third keys-man, Pete Ball, on occasions. The band went through various incarnations after splitting during the 1986 world cup, playing one further gig at the Ruskin in July 89, but not for the want of trying it never got past the rehearsing new members stage to become fully active again.
MMM: What happened to Rampant and when did the band fold?
TR: The band carried on for a while, maybe into '82, after my departure in late '81 (or maybe early '82 to pursue other things, both in music (Prog) and trying to find a job, as I was unemployed at the time and needed to improve my financial situation. John Hagerty, an old singer friend of mine and the band, ex of NWOBHM outfit Rippa, took my place but the new look Rampant never got around to live work. Sadly, our dear friend John passed away about 20 years ago.
MMM: With the resurgence of NWOBHM in present times, a lot of obscure acts are being re-discovered or actually discovered for the first time at a global scale, how did the 'resurrection' of Rampant come about?
TR: I hadn't really been singing much for years but had been working on and off on a band concept, Kingsreach, since 2008 with myself as keyboardist and part time vocalist. I was writing a load of material in the Power Metal / Prog vein, but we were continually frustrated in our attempts of getting the band off the ground due to one thing and another. The time just wasn't right and various members came and went. It was in a period of total non activity (2017) when I got a call from my friend, an ex Relay keyboard player who has been in the reformed NWOBHM band, Tytan, since their re-emergence and he asked me if I could help them out on vocals. I was very unsure about it because I hadn't fronted a gigging band for years. I was totally out of condition for singing entire sets but I offered to help and do my best. Before long it became a situation where I'd been given the job of replacing the then singer, Tom Barna, but the whole thing blew over and it didn't work out for me. However, I'd now got the bug to sing again and to front a band, a thing that fell right into my lap right after my Tytan involvement ended. The chance meeting with an old guitarist friend led to me joining my first ever covers band and I got the chance to sing loads of great stuff by bands I love, such as Judas Priest, Saxon, Scorpions, Maiden, Sabbath and so on. I got to gig again after many years off the circuit.
In the background, while all this was going on, I'd been being contacted through Facebook messenger by a bunch of people, most of whom I'd never met or heard of, asking me about Rampant, demos, any releases, and reformation enquiries. It was crazy how these NWOBHM enthusiasts - more on these guys later - most of them from other countries outside the U.K, had gotten to hear about the band and the contact had started a good couple years before my own 2017 renaissance. Their persistent enquiring influenced me in making some enquiries of my own and I contacted Paul to see if he might be interested. He showed a slight interest and so the seed was sown in my mind that it might happen one day. Meanwhile, with me firmly back in action and playing the circuit, the persistent encouragement from abroad and a couple of home sources amped up my own interest to the point where I gave in and made a concerted effort to get a reformed Rampant happening. Paul came on board, and we asked a number of ex NWOBHM musicians to join us, which was problematic and left us needing to look elsewhere. We asked Chris and Lee Chitticks - a great father and son rhythm section - put out a Facebook ad for a guitarist that was answered by one of our now fantastic guitar pairing, Jamie Carter, and CLICK, we had our band. After a few months we went through a series of line up changes which saw Chris, Lee and Paul depart due to their various, work, professional and other commitments making it difficult for them to continue full time.
In our great friend and brother, Micky Dietz, we were soon able to replace drummer Lee, which was a relief because finding drummers as good as these two is, in my experience, no easy task. Chris, who was about to leave the country for a few months, helped us begin work with Mick and a speculative approach to the 08 Kingsreach guitarist, Sam Henstock, to come and also help us out led to a cool session and the immediate addition of our new replacement for Paul. The chemistry was perfect, but we now needed to draft in a permanent bassist. This was not easy and we were rehearsing for many weeks without the bass. Another Facebook ad attracted the interest of the excellent Jimi King, the band was reborn for the 2nd time, just 12 days before a gig we'd booked, thinking we'd have had a bassist 2 months prior. We got through the gig and the next a few days later without too much ado and Jimi did a fantastic job.
MMM: How many original members are in the current band-line up and have any of its other members been involved in NWOBHM bands from the 80's?
TR: As seen in my last answer there is now no other original member of Rampant involved in the band. In regards to other members' involvement in NWOBHM bands, Micky was a founding member of EL34 who played the Ruskin many times, as well as gigs all over. He was also in a number of other bands from the era and has played with many people as a professional session drummer. Jimi also played in a bunch of NWOBHM bands and was a roadie for Pagan Alter. Jamie has been in a reformed V1 with ex Maiden members, guitarist Terry Wapram and singer Dennis Wilcock, as well as stints with the reformed Sacrilege.
MMM: The 2-song EP “Phantom Riders” seems to be doing really well; did you guys expect to have this amount of response that quick and that good?
TR: Due to the live response and to various rehearsal and gig vids attracting interest, plus the interest from people back in the day as well as friends and associates etc we have been very excited and encouraged to see it all taking shape and there were many people asking us for recordings, saying they'd buy them. On this basis we suspected any releases would be met with a good response and we weren't disappointed; it's been cool to see our music being appreciated and we very much appreciate everybody's response and support. The one disappointment is that we haven't been able to gig and promote our release, which we'd love to have been able to do. We look forward to the day we can play those songs live again and have people knowing the songs from the EP. We were just gathering momentum when the first Covid lockdown came in and drew a halt to everything. Everything live, that is, and what we were hoping to achieve.
MMM: Although Rampant originates from the NWOBHM movement, the sound produced definitely is not stereotype and actually quite heavy in places, a bit like the early 80's European interpretation of the genre...
TR: For me NWOBHM was not just one particular stereotypical sound and there were many styles being played. Witchfynde were different to Angel Witch, for example, who were different from Venom and Def Leppard who were totally not an Iron Maiden, a Saxon or a More. Grand Prix, Dedringer, White Spirit, Samson, Praying Mantis, Spider, Mamas Boys; all were distinctively varied from each other and the others I mention, and then Diamond Head, Blitzkrieg, Raven, E.F Band, Ethel The Frog, Vardis, Trespass, Lionheart, Girlschool, Rock Goddess, Tygers Of Pan Tang, amongst many others. I think it was more a collection of different genres under one umbrella rather than a single distinguishable, stand alone genre, that housed a whole host of bands playing Metal, Heavy Rock, Hard Rock, Speed Metal, Southern Boogie, A.O.R, Pomp Rock, Rock and so on and so on. The era influenced the likes of Manowar, Virgin Steele, Helloween, Metallica, Megadeth and untold others that stemmed from those NWOBHM years.
Like many forming bands back in the day I was as much influenced by the likes of Rush, Styx, Todd Rundgren, Jethro Tull, Boston and the likes. as I was Priest, Sabbath, Purple, Heep, Rainbow and the likes. You can hear these influences in various bands under the NWOBHM banner, as well as Zep, Lizzy, AC/DC and Motorhead etc. Our aim in Rampant was always to develop our own recognisable style that would have hints of our influences but kind of baked in our own Rampant oven with new ingredients adding to the flavour and I'm sure it was the same for many bands, if not all, to grow their own brand from the seeds they began with. The band sound today contains all the original elements and intentions we had in 1980 / 81, but we wanted to bring it into the now more, develop it more, and of course, it's really a new band with all the new members so it was inevitable that new material would reflect the skills and flavours of the new combination of musicians.
MMM: Are both songs from the early Rampant set?
TR: “All The World's A Cage” is an original Rampant song from 1980 / 81 and “Phantom Riders” is a new Rampant song incorporating new elements the band is about and relate to our original aims to develop our sound and grow as musicians. We also like variety and we feel we have achieved that with our forthcoming album, “A Frayed New World”, due out on No Remorse Records (held up, held up and held up by Covid).
MMM: Exactly how did Rampant secure the record deal with No Remorse records for the full-length album “A Frayed New World”
TR: This is where some the guys who were contacting me through Facebook come into it. First, a mention to Boris Bessarov over there in Israel. He sowed the earliest seeds in me to think about a possible future Rampant re-run, although at the time I thought it a complete no no. CHEERS my friend. Some time later I was contacted by Zygmunt Jot from Poland, who has become a great friend. Zyg introduced me to Paulo Rodrigues from Portugal, another now great friend who helped us out with our EP cover art. These guys made Rampant happen !! CHEERS guys !! Their enthusiasm lit my fuse and Paul Playle joined me in belief that the band could make a comeback and follow in the footsteps of so many other old NWOBHM bands that had returned to fight another day. As we've read above, Paul has since departed but the new line up soon got around to recording Phantom Riders.
We had just completed the mixing when Covid closed the planet down, scuppering all our immediate plans. I sent the recordings to various people and 'need to knows' to try and keep some kind of momentum and generate interest. Zyg and Paulo were amongst these and unbeknown to us Zyg, with connections to people behind various labels, sent out our tracks to several and suddenly we were being contacted by all these interested parties offering to release our stuff. They all wanted a full album, however, and so we decided we needed to get back in the studio. Originally we had planned a single but with the interested labels asking for albums only this proved to be a stumbling block so we decided to release the single ourselves to fulfill a charity arrangement we had, but that led to other complications resulting in the cancellation of the planned single release for an E.P that we put out via Bandcamp. Around this time we got a solid offer from No Remorse and we decided to sign the contract and head for the recording studio to record seven further tracks.
MMM: What are the songs to be featured on the album and when is it scheduled for release?
TR: “A Frayed New World” is being released on CD and vinyl (plus digital downloads). The CD features ten songs and is a full hour in length. The vinyl contains eight tracks due to side length limitations. The CD version includes eight original Rampant numbers and two new compositions. The vinyl has six of the originals plus the two new compositions. The new songs act as a kind of bridge to what's to come from us with future albums and our next album will have continuity with the older stuff through the inclusion of two more 1980 songs. Unfortunately, the release date of the album, which was supposed to have come out last year, has been pushed further and further back on account of our little Covid friend so we can't give a definite release date right now and we are being told it will be towards the end of the year. It's very disappointing, but there's nothing we can do about it. It's down to the vinyl side of things not being able to happen due to a huge backlog of orders at pressing plants and other music services sadly going bust. No Remorse want to release the CD and LP simultaneously with full promotion etc, which is their normal way of things.
The tracks on the CD are:
Run For The Hills (note: nothing to do with Maiden and is a lyric I was using 2 years before the Maiden song with similar title) / Fight For Pride / War Dog / Our World / I'll Press The Button Before You / Clibbon's Post / Phantom Riders / All The World's A Cage / Beyond The Stars / Channel Collision /
I'll Press The Button Before You and Channel Collision are not included on the LP
MMM: Anything else you'd like to add.
TR: Just to say R.I.P. Ruskin, and thanks Paulus for your interest in Rampant and for the invitation to do this interview. Also, for people to check us out on Bandcamp where our EP can also be purchased, as well as T shirts. And we have a Facebook page - just type in Rampant NWOBHM and it should bring it up. All our news goes up on our page and please any interested parties follow us there and watch news of live dates and album release date.
We have a new website coming soon too that we'll give details to on the page.
Stay safe and be well peeps
Tee Rets: It was 1980 and I'd been trying to form a band called Tyrant from 1978 (maybe '77); a band name I actually had registered at the time, but nothing came of it but the continual search for interested musicians eventually led to the birth of Rampant. One night on the way home from the Ruskin with my friend Rick Tiley, who was a drummer I'd been jamming with, we got talking to some guys on the tube and amazingly two of them were musicians looking to get in a band; guitarist Paul Playle and bassist Aid Fitzpatrick. They were unconnected if I remember rightly, so it was one of those moments in life that just happen sometimes. By the next day we were meeting up jamming and I'd been thinking about trying to get together with another guitarist, Mark Blaxland, I'd met a couple years previously so rang him to see if he was interested. He was and, simply, the band was formed there and then.
MMM: Did the band start out as a cover-band and / or when were the first originals penned?
TR: No, we were originals right from the start and the song ideas we jammed on that first day were various riffs we had between us, some of which were from the Tyrant days. We began meeting up regularly and writing songs to take into the rehearsal studio. Some songs were born in the studio where someone would say I have these new riffs that would make a good song and we'd jam through them, knocking them into shape. We were all young and inexperienced so a lot of it wasn't too spectacular but we were full of enthusiasm and determined to make a go of it.
MMM: Originally from Essex, how was the Metal scene there back in the early 80's?
TR: It was a great time and place to be for sure with so many people we knew all playing in, forming or joining bands. We'd all be using the same studios and so it was always a laugh meeting up with other musicians using the other rooms and, of course, we'd be bumping into many of them down at the various venues and pubs, such as the Ruskin, Oscars, Electric Stadium, Cranbrook Arms, etc and we'd travel into London and surrounding areas to see all the latest NWOBHM bands or the bigger acts playing the likes of Hammersmith Odeon, Rainbow Theatre, Wembley Arena and so on. Wherever you went back in those days you'd meet up with so many Metal / Rock mates, many from bands, and it was just such a great time to be alive in, living in the middle of a Metal / Rock explosion!
MMM: You guys were regulars at the famous East London Ruskin Arms pub, did you also play there?
TR: Yeah we played there quite regularly and were getting more and more gigs there before we parted ways as a band, which was a shame because things were building, but that's how things are sometimes in music and we all went on to do other things with other bands. Being Ruskin regulars where we went to be with our mates, meet people, get pissed, have a laugh, bang our heads, go home with ringing ears and neck ache, it was great to play there and have your friends in the audience getting their nuts down, shouting stuff out and helping your gig go with a bang...mind you, they weren't short of a few bangs accompanied by clouds of smoke from the pyros we used to let off, as did many a band doing the circuit back then. We all thought we were Kiss or someone and insisted on putting on shows that were in danger of not only deafening everybody in there but also making toast of them. How no serious fires ever happened back then in the Ruskin and all the other venues where bands were basically putting on indoor firework displays is beyond me!! It was all great fun though and we saw some things, make no mistake there !!
MMM: Did Rampant ever officially record a demo-tape?
TR: Yes, we attempted two goes at this and both were never finished due to various complications and lack of finance. I think it was probably a bit early for an inexperienced band to have been recording and so the sessions suffered due to it and things got left undone. No masters exist from the sessions so they can't be mixed or bits redone.
MMM: What were the inspirational sources of Rampant?
TR: For me personally it was Judas Priest, the emerging Saxon and Maiden, Sabbath, and Dio era Rainbow. We all liked these bands, but other band members were very into Scorpions, Lizzy and Zep amongst others, and those influences were evident in our music.
MMM: There was also this other band, Relay, with a member(s) of Rampant, was this before or after Rampant or a side project?
TR: Relay was a mid 80s band I formed in 1985. It was more a Prog / Pomp Rock band, the roots of which I'd started some months after parting ways with the Rampant guys. I was heavily into keyboards and wanted to learn to play them, a pursuit I set out on in '82 that finally led to a full new band after three and a half years of banging my head against a brick wall trying to get the right people. In the end, much like Rampant, it just happened near auto and Relay was born. There were no other Rampant members involved. I wrote some of the stuff on keyboards but fronted the band in my normal capacity as lead vocalist, leaving the main keyboard duties to our two guitarists, Mark Stirk and Uwe D'rose, who doubled as keyboardists. We also had a third keys-man, Pete Ball, on occasions. The band went through various incarnations after splitting during the 1986 world cup, playing one further gig at the Ruskin in July 89, but not for the want of trying it never got past the rehearsing new members stage to become fully active again.
MMM: What happened to Rampant and when did the band fold?
TR: The band carried on for a while, maybe into '82, after my departure in late '81 (or maybe early '82 to pursue other things, both in music (Prog) and trying to find a job, as I was unemployed at the time and needed to improve my financial situation. John Hagerty, an old singer friend of mine and the band, ex of NWOBHM outfit Rippa, took my place but the new look Rampant never got around to live work. Sadly, our dear friend John passed away about 20 years ago.
MMM: With the resurgence of NWOBHM in present times, a lot of obscure acts are being re-discovered or actually discovered for the first time at a global scale, how did the 'resurrection' of Rampant come about?
TR: I hadn't really been singing much for years but had been working on and off on a band concept, Kingsreach, since 2008 with myself as keyboardist and part time vocalist. I was writing a load of material in the Power Metal / Prog vein, but we were continually frustrated in our attempts of getting the band off the ground due to one thing and another. The time just wasn't right and various members came and went. It was in a period of total non activity (2017) when I got a call from my friend, an ex Relay keyboard player who has been in the reformed NWOBHM band, Tytan, since their re-emergence and he asked me if I could help them out on vocals. I was very unsure about it because I hadn't fronted a gigging band for years. I was totally out of condition for singing entire sets but I offered to help and do my best. Before long it became a situation where I'd been given the job of replacing the then singer, Tom Barna, but the whole thing blew over and it didn't work out for me. However, I'd now got the bug to sing again and to front a band, a thing that fell right into my lap right after my Tytan involvement ended. The chance meeting with an old guitarist friend led to me joining my first ever covers band and I got the chance to sing loads of great stuff by bands I love, such as Judas Priest, Saxon, Scorpions, Maiden, Sabbath and so on. I got to gig again after many years off the circuit.
In the background, while all this was going on, I'd been being contacted through Facebook messenger by a bunch of people, most of whom I'd never met or heard of, asking me about Rampant, demos, any releases, and reformation enquiries. It was crazy how these NWOBHM enthusiasts - more on these guys later - most of them from other countries outside the U.K, had gotten to hear about the band and the contact had started a good couple years before my own 2017 renaissance. Their persistent enquiring influenced me in making some enquiries of my own and I contacted Paul to see if he might be interested. He showed a slight interest and so the seed was sown in my mind that it might happen one day. Meanwhile, with me firmly back in action and playing the circuit, the persistent encouragement from abroad and a couple of home sources amped up my own interest to the point where I gave in and made a concerted effort to get a reformed Rampant happening. Paul came on board, and we asked a number of ex NWOBHM musicians to join us, which was problematic and left us needing to look elsewhere. We asked Chris and Lee Chitticks - a great father and son rhythm section - put out a Facebook ad for a guitarist that was answered by one of our now fantastic guitar pairing, Jamie Carter, and CLICK, we had our band. After a few months we went through a series of line up changes which saw Chris, Lee and Paul depart due to their various, work, professional and other commitments making it difficult for them to continue full time.
In our great friend and brother, Micky Dietz, we were soon able to replace drummer Lee, which was a relief because finding drummers as good as these two is, in my experience, no easy task. Chris, who was about to leave the country for a few months, helped us begin work with Mick and a speculative approach to the 08 Kingsreach guitarist, Sam Henstock, to come and also help us out led to a cool session and the immediate addition of our new replacement for Paul. The chemistry was perfect, but we now needed to draft in a permanent bassist. This was not easy and we were rehearsing for many weeks without the bass. Another Facebook ad attracted the interest of the excellent Jimi King, the band was reborn for the 2nd time, just 12 days before a gig we'd booked, thinking we'd have had a bassist 2 months prior. We got through the gig and the next a few days later without too much ado and Jimi did a fantastic job.
MMM: How many original members are in the current band-line up and have any of its other members been involved in NWOBHM bands from the 80's?
TR: As seen in my last answer there is now no other original member of Rampant involved in the band. In regards to other members' involvement in NWOBHM bands, Micky was a founding member of EL34 who played the Ruskin many times, as well as gigs all over. He was also in a number of other bands from the era and has played with many people as a professional session drummer. Jimi also played in a bunch of NWOBHM bands and was a roadie for Pagan Alter. Jamie has been in a reformed V1 with ex Maiden members, guitarist Terry Wapram and singer Dennis Wilcock, as well as stints with the reformed Sacrilege.
MMM: The 2-song EP “Phantom Riders” seems to be doing really well; did you guys expect to have this amount of response that quick and that good?
TR: Due to the live response and to various rehearsal and gig vids attracting interest, plus the interest from people back in the day as well as friends and associates etc we have been very excited and encouraged to see it all taking shape and there were many people asking us for recordings, saying they'd buy them. On this basis we suspected any releases would be met with a good response and we weren't disappointed; it's been cool to see our music being appreciated and we very much appreciate everybody's response and support. The one disappointment is that we haven't been able to gig and promote our release, which we'd love to have been able to do. We look forward to the day we can play those songs live again and have people knowing the songs from the EP. We were just gathering momentum when the first Covid lockdown came in and drew a halt to everything. Everything live, that is, and what we were hoping to achieve.
MMM: Although Rampant originates from the NWOBHM movement, the sound produced definitely is not stereotype and actually quite heavy in places, a bit like the early 80's European interpretation of the genre...
TR: For me NWOBHM was not just one particular stereotypical sound and there were many styles being played. Witchfynde were different to Angel Witch, for example, who were different from Venom and Def Leppard who were totally not an Iron Maiden, a Saxon or a More. Grand Prix, Dedringer, White Spirit, Samson, Praying Mantis, Spider, Mamas Boys; all were distinctively varied from each other and the others I mention, and then Diamond Head, Blitzkrieg, Raven, E.F Band, Ethel The Frog, Vardis, Trespass, Lionheart, Girlschool, Rock Goddess, Tygers Of Pan Tang, amongst many others. I think it was more a collection of different genres under one umbrella rather than a single distinguishable, stand alone genre, that housed a whole host of bands playing Metal, Heavy Rock, Hard Rock, Speed Metal, Southern Boogie, A.O.R, Pomp Rock, Rock and so on and so on. The era influenced the likes of Manowar, Virgin Steele, Helloween, Metallica, Megadeth and untold others that stemmed from those NWOBHM years.
Like many forming bands back in the day I was as much influenced by the likes of Rush, Styx, Todd Rundgren, Jethro Tull, Boston and the likes. as I was Priest, Sabbath, Purple, Heep, Rainbow and the likes. You can hear these influences in various bands under the NWOBHM banner, as well as Zep, Lizzy, AC/DC and Motorhead etc. Our aim in Rampant was always to develop our own recognisable style that would have hints of our influences but kind of baked in our own Rampant oven with new ingredients adding to the flavour and I'm sure it was the same for many bands, if not all, to grow their own brand from the seeds they began with. The band sound today contains all the original elements and intentions we had in 1980 / 81, but we wanted to bring it into the now more, develop it more, and of course, it's really a new band with all the new members so it was inevitable that new material would reflect the skills and flavours of the new combination of musicians.
MMM: Are both songs from the early Rampant set?
TR: “All The World's A Cage” is an original Rampant song from 1980 / 81 and “Phantom Riders” is a new Rampant song incorporating new elements the band is about and relate to our original aims to develop our sound and grow as musicians. We also like variety and we feel we have achieved that with our forthcoming album, “A Frayed New World”, due out on No Remorse Records (held up, held up and held up by Covid).
MMM: Exactly how did Rampant secure the record deal with No Remorse records for the full-length album “A Frayed New World”
TR: This is where some the guys who were contacting me through Facebook come into it. First, a mention to Boris Bessarov over there in Israel. He sowed the earliest seeds in me to think about a possible future Rampant re-run, although at the time I thought it a complete no no. CHEERS my friend. Some time later I was contacted by Zygmunt Jot from Poland, who has become a great friend. Zyg introduced me to Paulo Rodrigues from Portugal, another now great friend who helped us out with our EP cover art. These guys made Rampant happen !! CHEERS guys !! Their enthusiasm lit my fuse and Paul Playle joined me in belief that the band could make a comeback and follow in the footsteps of so many other old NWOBHM bands that had returned to fight another day. As we've read above, Paul has since departed but the new line up soon got around to recording Phantom Riders.
We had just completed the mixing when Covid closed the planet down, scuppering all our immediate plans. I sent the recordings to various people and 'need to knows' to try and keep some kind of momentum and generate interest. Zyg and Paulo were amongst these and unbeknown to us Zyg, with connections to people behind various labels, sent out our tracks to several and suddenly we were being contacted by all these interested parties offering to release our stuff. They all wanted a full album, however, and so we decided we needed to get back in the studio. Originally we had planned a single but with the interested labels asking for albums only this proved to be a stumbling block so we decided to release the single ourselves to fulfill a charity arrangement we had, but that led to other complications resulting in the cancellation of the planned single release for an E.P that we put out via Bandcamp. Around this time we got a solid offer from No Remorse and we decided to sign the contract and head for the recording studio to record seven further tracks.
MMM: What are the songs to be featured on the album and when is it scheduled for release?
TR: “A Frayed New World” is being released on CD and vinyl (plus digital downloads). The CD features ten songs and is a full hour in length. The vinyl contains eight tracks due to side length limitations. The CD version includes eight original Rampant numbers and two new compositions. The vinyl has six of the originals plus the two new compositions. The new songs act as a kind of bridge to what's to come from us with future albums and our next album will have continuity with the older stuff through the inclusion of two more 1980 songs. Unfortunately, the release date of the album, which was supposed to have come out last year, has been pushed further and further back on account of our little Covid friend so we can't give a definite release date right now and we are being told it will be towards the end of the year. It's very disappointing, but there's nothing we can do about it. It's down to the vinyl side of things not being able to happen due to a huge backlog of orders at pressing plants and other music services sadly going bust. No Remorse want to release the CD and LP simultaneously with full promotion etc, which is their normal way of things.
The tracks on the CD are:
Run For The Hills (note: nothing to do with Maiden and is a lyric I was using 2 years before the Maiden song with similar title) / Fight For Pride / War Dog / Our World / I'll Press The Button Before You / Clibbon's Post / Phantom Riders / All The World's A Cage / Beyond The Stars / Channel Collision /
I'll Press The Button Before You and Channel Collision are not included on the LP
MMM: Anything else you'd like to add.
TR: Just to say R.I.P. Ruskin, and thanks Paulus for your interest in Rampant and for the invitation to do this interview. Also, for people to check us out on Bandcamp where our EP can also be purchased, as well as T shirts. And we have a Facebook page - just type in Rampant NWOBHM and it should bring it up. All our news goes up on our page and please any interested parties follow us there and watch news of live dates and album release date.
We have a new website coming soon too that we'll give details to on the page.
Stay safe and be well peeps
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Above left and right: Relay live at the Ruskin Arms
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KEV RIDDLES' BAPHOMET
https://www.facebook.com/BaphometOfficial
Kev Riddles' Baphomet is a new band, formed by original Angel Witch member Kev 'Skidz' Riddles (1978 – 1981) with a line-up that features other decorated musicians from the N.W.O.B.H.M / Metal scene including Richie Wicks – vocals (Angel Witch / Tygers Of Pan Tang), Peter Welsh (Tytan), and Garry 'Magpie' Bowler (Satan's Empire).
Kev Riddles' Baphomet will be gigging the Angel Witch debut album with added songs from his time with Angel Witch.
https://www.facebook.com/BaphometOfficial
Kev Riddles' Baphomet is a new band, formed by original Angel Witch member Kev 'Skidz' Riddles (1978 – 1981) with a line-up that features other decorated musicians from the N.W.O.B.H.M / Metal scene including Richie Wicks – vocals (Angel Witch / Tygers Of Pan Tang), Peter Welsh (Tytan), and Garry 'Magpie' Bowler (Satan's Empire).
Kev Riddles' Baphomet will be gigging the Angel Witch debut album with added songs from his time with Angel Witch.
Manic Mosh Metal: Kevin, Baphomet is your new band doing the songs of the monumental Angel Witch debut LP. How did this idea come about?
Kevin / Baphomet: The idea was originally conceived by my wife and manager Jules during lockdown, almost as an intellectual exercise. We then realised it was a damn good idea and took it from there.
MMM: Will this purely be a gigging band or is there also plans in place to record some new material in the traditional Angel Witch style?
Kevin: No, it will be purely to gig the 1st album and the material from the era I was involved with.
MMM: Which songs will be added to the set, alongside the tracks from the debut LP?
Kevin: “Dr Phibes”, “Baphomet”, and any others that I can remember haha!
MMM: It must be an amazing experience to, after 4 decades, play these tracks again for a whole new generation of Metal fans.
Kevin: It will be once we start, our debut gig is the 11th December at Nambucca.
MMM: What's in store for the near future?
Kevin: Now things have opened up we start with Tytan shows in the UK for the rest of this year, with Europe for next year. Kev Riddles' Baphomet has shows in the UK and Europe booked for next year.
Kev Riddle's Baphomet will be playing Saturday December 11 at The Dev in London.
More information about this event here:
https://www.facebook.com/events/378741006931984?ref=newsfeed
TOKYO BLADE – 2021 “Night Of The Blade... The Night Before”
label: High Roller records
web: http://www.tokyoblade.com/
Part-reissue of the NWOBHM classic, originally released in '84 and the follow-up to the 1983 self-titled LP. Tokyo Blade were one of the pioneering bands of the second wave of British Heavy Metal, coupling melody and speed with a more 'polished' and well arranged sound with a lot of guitar. A combination that proved successful as Tokyo Blade quickly became a well recognized act in the U.K and further afield. This re-issue, that features the set of the “Night Of The Blade” LP minus “Rock Me To The Limit” and “Lightning Strikes” but with the addition of most of the 1985 “Madame Guillotine” E.P (including its title-track, “Attack, Attack”, “Breakout” and “Fever”) captures the magic and delivers a mix of well diversified songs with a good lot of twists and turns, as clearly evidenced on the upbeat “Madame Guillotine” that is showered with guitar melodies, harmonized hooks and solo-action. The energy levels are kept high with the faster moments on the disc; “Night Of The Blade”, “Unleash The Beast”, “Attack, Attack”, “Dead Of The Night” and the heaviest offering; “Fever”. A turn towards the more commercial sound is found on the rather generic and mellowed “Someone To Love” but there's plenty out there to counter balance alongside the faster workouts, including the head-bobbing Metaler “Warrior Of The Rising Sun” and the classic Euro Metal styled “Breakout”. The whole of the set has a melodic undertone and sounds rather neat in overall appearance with a good structural sense, modesty upper mid range vocals and a 'capped' distortion. The guitars are a key element throughout the music, and there's plenty of it including a whole lot of harmonized hooks and solo actions, peaking on the emotive laden “Dead Of The Night”. Quality
Paul van der Burght
label: High Roller records
web: http://www.tokyoblade.com/
Part-reissue of the NWOBHM classic, originally released in '84 and the follow-up to the 1983 self-titled LP. Tokyo Blade were one of the pioneering bands of the second wave of British Heavy Metal, coupling melody and speed with a more 'polished' and well arranged sound with a lot of guitar. A combination that proved successful as Tokyo Blade quickly became a well recognized act in the U.K and further afield. This re-issue, that features the set of the “Night Of The Blade” LP minus “Rock Me To The Limit” and “Lightning Strikes” but with the addition of most of the 1985 “Madame Guillotine” E.P (including its title-track, “Attack, Attack”, “Breakout” and “Fever”) captures the magic and delivers a mix of well diversified songs with a good lot of twists and turns, as clearly evidenced on the upbeat “Madame Guillotine” that is showered with guitar melodies, harmonized hooks and solo-action. The energy levels are kept high with the faster moments on the disc; “Night Of The Blade”, “Unleash The Beast”, “Attack, Attack”, “Dead Of The Night” and the heaviest offering; “Fever”. A turn towards the more commercial sound is found on the rather generic and mellowed “Someone To Love” but there's plenty out there to counter balance alongside the faster workouts, including the head-bobbing Metaler “Warrior Of The Rising Sun” and the classic Euro Metal styled “Breakout”. The whole of the set has a melodic undertone and sounds rather neat in overall appearance with a good structural sense, modesty upper mid range vocals and a 'capped' distortion. The guitars are a key element throughout the music, and there's plenty of it including a whole lot of harmonized hooks and solo actions, peaking on the emotive laden “Dead Of The Night”. Quality
Paul van der Burght
RAVEN – 2021 “All For One” (re-issue)
label: High Roller records
web: https://ravenlunatics.com/
The 1983 “All For One” LP kind of signalled a turning point in delivery and impact without the novelty factor of its predecessors, “Rock Until You Drop” (1981) and “Wiped Out” (1982). The 70's Glam Rock root is still in there all right (“Sledgehammer Rock”), as is the early Speed Metal (“Hung, Drawn And Quartered”) and NWOBHM (“Seek And Destroy”) but equally, there's a fair bit of mediocrity and a preferable mid / up-tempo to drive the songs with. In comparison, this one is less heavy, less fast and less original, so, not the best early catalogue Raven album but still very enjoyable. All 10 songs from the original LP are on this album with the addition of 3 bonus tracks, including the scorcher “Inquisitor” and the cover version of “Born To Be Wild” (that previously appeared on 12” E.P format), featuring the guest vocalage of Udo (Accept).
Paul van der Burght
label: High Roller records
web: https://ravenlunatics.com/
The 1983 “All For One” LP kind of signalled a turning point in delivery and impact without the novelty factor of its predecessors, “Rock Until You Drop” (1981) and “Wiped Out” (1982). The 70's Glam Rock root is still in there all right (“Sledgehammer Rock”), as is the early Speed Metal (“Hung, Drawn And Quartered”) and NWOBHM (“Seek And Destroy”) but equally, there's a fair bit of mediocrity and a preferable mid / up-tempo to drive the songs with. In comparison, this one is less heavy, less fast and less original, so, not the best early catalogue Raven album but still very enjoyable. All 10 songs from the original LP are on this album with the addition of 3 bonus tracks, including the scorcher “Inquisitor” and the cover version of “Born To Be Wild” (that previously appeared on 12” E.P format), featuring the guest vocalage of Udo (Accept).
Paul van der Burght
MASTERSTROKE
Dover based NWOBHM act Masterstroke formed in 1980 and even though their existence is clouded in obscurity, the band was pretty active on the live front and played with bands such as Denigh and Praying Mantis. During their relatively short career, the band recorded a 10 song demo tape, a few unfinished demo tapes and a very collectible single, “Prisoner Of Love” in 1982. The single, which was issued in a generic black sleeve, was recorded at the DTS studios in Gillingham and pressed in a circulation of 500 copies. The band folded in 1983 but most of its members continued their musical careers in other acts, some of which are still active at present time.
Manic Mosh Metal: How did the band get together?
Andy McMurray: The band got together shortly before I joined in 1979; there were two singers tried out before I got the job. Singer 1 was one Tony Jaymes, he did just one gig and singer 2 was Gordon Haye who I believe did two gigs... I was in a pub singing along to the jukebox (“Hold The Line” by Toto) when Jimmy Mcfarnell asked me to try out for the band.
MMM: Was the line-up that recorded the single the same as when the band formed?
Andy: The line up that recorded the single had Julian Wheatly on drums and Neil Basford on bass. Neil replaced Peter Mills who was the bassist when they did the first three gigs but he decided it weren't for him.
MMM: Did any of its members play in other bands before Masterstroke? Apparently you were at some point also part of Catch 22, when exactly was this and how long were you part of that band?
Andy: I believe this was everybody's first band. I spent two years in Catch 22, that was in '85 / '86.
MMM: The band produced a 10-song demo tape; what year was this and what songs were on that tape? Also, was this an 'official' release or a rehearsal?
Andy: The demo was recorded in 1982, produced by former 'Broken Home' guitarist Rory Wilson. It was fairly well received but nothing concrete came of it. It was never officially released.
MMM: Why did you opt to release the “Prisoner Of Love” single independently?
Andy: We just decided to do our own thing.
MMM: Remarkably, the single has 2 different coloured labels on each side; was there a specific reason for this, as the sound / style on either side are quite different and contrasting, with the A-side displaying a more Proggy, melodic approach whereas B-side track “Burning Heart” has a more rough-edged and traditional Blues rooted NWOBHM sound.
Andy: The Proggy side of things was a natural evolution of a young band finding their feet I don't think it was ever planned that way, but the whole set was 50/50 in terms of the two styles. I guess having a lot of influences in the band caused this. All five members could write songs. As for the two colours on the label, that was not intentional but at DTS decision.
MMM: Was the majority of the set more tending towards the melodic side of things from the start or was this a progression over time in concept?
Andy: The set was indeed leaning to the melodic side but as I said we had a good number of Metal tracks as well.
MMM: Did the band play live regularly and have you ever done support slots for bigger bands that already had a reputation?
Andy: We played regularly in and around the South East. In the past we have opened for Denigh, Simple Minds, Praying Mantis and more.
MMM: How many Masterstroke originals have there been written?
Andy: Masterstroke have recorded 12 originals and a fair few unfinished demos.
MMM: What caused the split of the band and when was this?
Andy: I think it was amiable enough; some members just wanted to try something different, There was and is no bad blood amongst the guys.
MMM: Did all of its members further their musical career in other bands afterwards?
Andy: Jimmy McFarnell and I have been in several other bands but for the last 25 years we are two founding members of USER FRIENDLY which also features guitarist Tick Brown. User Friendly has been together for 25 years and we have an album (“The Rhythm Inside”) and an E.P (“Solid As Rock”). New tracks are being written right now for another record. Julian is in another band, LAST OF A DYING BREED and so is Simon Mills; they are a Southern Rock / Country Rock outfit with an album on Spotify called "Mescaline Dreams", it has been going now for 4 years.
I believe Keith Tomlinson gave up playing in bands for a while but has started again recently.
MMM: Most memorable moment during the Masterstroke years?
Andy: The gigs were extremely enjoyable especially in our home town..magic days
User Friendly:
https://www.facebook.com/User-Friendly-band-837100663018534
Manic Mosh Metal: How did the band get together?
Andy McMurray: The band got together shortly before I joined in 1979; there were two singers tried out before I got the job. Singer 1 was one Tony Jaymes, he did just one gig and singer 2 was Gordon Haye who I believe did two gigs... I was in a pub singing along to the jukebox (“Hold The Line” by Toto) when Jimmy Mcfarnell asked me to try out for the band.
MMM: Was the line-up that recorded the single the same as when the band formed?
Andy: The line up that recorded the single had Julian Wheatly on drums and Neil Basford on bass. Neil replaced Peter Mills who was the bassist when they did the first three gigs but he decided it weren't for him.
MMM: Did any of its members play in other bands before Masterstroke? Apparently you were at some point also part of Catch 22, when exactly was this and how long were you part of that band?
Andy: I believe this was everybody's first band. I spent two years in Catch 22, that was in '85 / '86.
MMM: The band produced a 10-song demo tape; what year was this and what songs were on that tape? Also, was this an 'official' release or a rehearsal?
Andy: The demo was recorded in 1982, produced by former 'Broken Home' guitarist Rory Wilson. It was fairly well received but nothing concrete came of it. It was never officially released.
MMM: Why did you opt to release the “Prisoner Of Love” single independently?
Andy: We just decided to do our own thing.
MMM: Remarkably, the single has 2 different coloured labels on each side; was there a specific reason for this, as the sound / style on either side are quite different and contrasting, with the A-side displaying a more Proggy, melodic approach whereas B-side track “Burning Heart” has a more rough-edged and traditional Blues rooted NWOBHM sound.
Andy: The Proggy side of things was a natural evolution of a young band finding their feet I don't think it was ever planned that way, but the whole set was 50/50 in terms of the two styles. I guess having a lot of influences in the band caused this. All five members could write songs. As for the two colours on the label, that was not intentional but at DTS decision.
MMM: Was the majority of the set more tending towards the melodic side of things from the start or was this a progression over time in concept?
Andy: The set was indeed leaning to the melodic side but as I said we had a good number of Metal tracks as well.
MMM: Did the band play live regularly and have you ever done support slots for bigger bands that already had a reputation?
Andy: We played regularly in and around the South East. In the past we have opened for Denigh, Simple Minds, Praying Mantis and more.
MMM: How many Masterstroke originals have there been written?
Andy: Masterstroke have recorded 12 originals and a fair few unfinished demos.
MMM: What caused the split of the band and when was this?
Andy: I think it was amiable enough; some members just wanted to try something different, There was and is no bad blood amongst the guys.
MMM: Did all of its members further their musical career in other bands afterwards?
Andy: Jimmy McFarnell and I have been in several other bands but for the last 25 years we are two founding members of USER FRIENDLY which also features guitarist Tick Brown. User Friendly has been together for 25 years and we have an album (“The Rhythm Inside”) and an E.P (“Solid As Rock”). New tracks are being written right now for another record. Julian is in another band, LAST OF A DYING BREED and so is Simon Mills; they are a Southern Rock / Country Rock outfit with an album on Spotify called "Mescaline Dreams", it has been going now for 4 years.
I believe Keith Tomlinson gave up playing in bands for a while but has started again recently.
MMM: Most memorable moment during the Masterstroke years?
Andy: The gigs were extremely enjoyable especially in our home town..magic days
User Friendly:
https://www.facebook.com/User-Friendly-band-837100663018534
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Back in the early 80's there name Prowler was pretty popular among Rock and Metal acts, and the U.K also had a few around, including this Essex based band. However, this Prowler already sported the name before most other bands took it on with its origins dating back as early as 1975! Even though the band later changed its name briefly to Samurai - which was actually suggested by an A&R representative - it was changed back to Prowler in 1981, just months before the original band folded. Prowler is best known for their contribution to the 1980 'Brute Force' NWOBHM compilation and things seemed to be heading in the right direction triggered by the response to the LP track, and even though various incarnations of the band were pretty active for a long stretch of time, the existence of Prowler slipped into obscurity. Now, the band is back in full force with material out and a full length album in the works, blowing new life into the Prowler sound that was right up there when the NWOBHM started to establish, explore and expand.
Manic Mosh Metal: Exactly how and when did the band come into existence and did any of its members play in any other bands prior to the formation of Prowler.
Prowler: The band formed in late 1975 in Basildon, Essex, U.K by brothers Trev and John Pattenden and Martin Burrows, all teenagers. They had all been involved with other musicians at the time but not in any formal bands. Their first official live performance took place at the 'Fryerns Community Centre' in April 1976, the same venue where they first met legendary producer Chris Tsangarides 4 years later.
MMM: What was the earliest material recorded? Were these the songs that were to be released as a single?
Prowler: Prowler’s first official recording took place in a private studio in Westcliff-on-Sea, Essex in the summer of 1977. It was a 2 track recording of an original song, “Riding High” along with a 2nd track that remained untitled but was to be “Finance Blues”. The recording session and subsequent tracks were touted by a local, Essex entrepreneur, Paul Truslove to various parties and “Riding High” was indeed slated to be released as a singe with “Finance Blues” as the B-side track, but this never materialized.
MMM: Have there been any other recordings used either for promotional purposes or to land gigs
Prowler: There were no other studio sessions by the band at that time. When the band opened its own rehearsal / demo studio in early 1979, the band started to record sessions frequently, mainly for sale at gigs. “Welcome To The Band” was one of the first cassettes to be issued.
MMM: In the early 80's, Essex and East London seemed to be plentiful in venues and pubs booking Metal bands, can you name some of the places you played and any bigger acts you did support slots for. Also, did you guys ever play The Ruskin Arms?
Prowler: By 1979 the band were performing all original material in concert and at gigs and were a regular on the London circuit. There were a number of major Rock venues that supported Rock bands; 'The Bridgehouse', 'The Cranbrooke', 'The Three Rabbits', 'The Green Gate' and 'Green Man' and 'The Ruskin Arms'. Prowler played all of them regularly from 1979. They first played The Ruskin Arms in early 1979. Other venues played by Prowler and other bands included 'The Royal Standard' in Walthamstow and 'The Double Six'. Prowler met with many of the bands of the time in these venues, including Maiden. “Everyone knew of everyone else. Iron Maiden were just another band at that time, looking for the way forward. There were some great venues then, with plenty of fans who were sick of the whole Punk thing. It was a good time.” - Trev Pattenden
MMM: Apparently, in 1979, you guys came second place in a national Rock contest; which contest was this?
Prowler: “It was a national (U.K) 'Battle Of The Bands' type thing. I think there were around 120 bands who came in; we finished 3rd. The winners picked up a single record deal, the other finalists received cash prizes. The final took place at a venue called 'Crocs' in Essex; they had live alligators inside. It was fun.” - Martin Burrows, Prowler lead guitarist.
MMM:Then, in 1980 you guys appeared on the MCA “Brute Force” compilation LP alongside bands such as Raven and Diamond Head. How did that come about? Was any promo material send to labels in order to land a record deal, or were you approached by a representative of MCA?
Prowler: “We had been sending off the odd demo to various people. Then me and Martin went for a drink at the same club where we did our first gig at. We had the latest demo from our studio with us. By chance, Chris Tsangarides was at the same club that evening, I think his mother-in-law lived opposite Martins parents’ house. John and Martin were introduced to Chris and he asked if he could hear the band’s music. We had the new demo in our pocket! So we went out to Chris’ car and played the newly recorded demo on his car cassette. A week later, we got a phone call from Chris asking if we’d like to appear on a new compilation album for MCA. We met Chris and MCA offered us the job” - John Pattenden, Prowler 2nd guitarist.
MMM: The featured song “Gotta Get Back To You” shows quite prominent Blues rooted Biker-Rock features, what have been the inspirational sources for the song? And who came up with the mid-section theme?
Prowler: Our inspirations laid with the classic Rock and Blues bands of the late 60’s and early 70’s, like most of our contemporaries. The 'Brute Force' track was a song we played every night at the finish, Sometimes it would last 30 mins! The mid-section lead break was structured around ethnic scales and patterns which gave it a little difference to other bands' lead breaks. And when we first played it, the 'Hava Nagila' motif wasn't originally part of the song when it was written; it became part of the song after Mart and Trev heard it on the 'Made In Europe' album by Deep Purple where it was included in one of Jon Lord's keyboard solos - Trev Pattenden.
MMM: Did anything come out of this compilation appearance in terms of recognition or gigs?
Prowler: “The 'Brute Force' album track was a great thing for us. It was on a major label (MCA) with many other great bands and musicians and the reaction to the track was more than we hoped for. It charted over a 5 week period in the major music press, going up against the big boys. The radio airplay included the 'Friday Rock Show' on the BBC and Radio Caroline, and then the nation TV stuff. All the subsequent gigs and offers to support suddenly increased; it was like a key that opened many doors.” - Martin Burrows.
MMM: Apparently, some more originals were penned at the tail end of Prowler's career, and rumour has it these were produced by Chris Tsangarides. Exactly when was this and what were the songs? Also, was this before the 'Brute Force' contribution or after?
Prowler: After 'Brute Force' we had offers to do more recordings (including Heavy Metal Records who we turned down). One of those offers was with Bronze records who wanted to hear more in demo form. We signed to Chris’ production company, along with Girlschool and then we went into the studios at Heath Levy in London. There, we worked on demo sessions for Bronze. We recorded 4 songs, 3 of which were completed to a good standard. Chris produced all of these; “Bad Child Running” (the current download single) “Lost Without Your Love” and “Prisoner”; these will be on the new album.
Prowler: The band formed in late 1975 in Basildon, Essex, U.K by brothers Trev and John Pattenden and Martin Burrows, all teenagers. They had all been involved with other musicians at the time but not in any formal bands. Their first official live performance took place at the 'Fryerns Community Centre' in April 1976, the same venue where they first met legendary producer Chris Tsangarides 4 years later.
MMM: What was the earliest material recorded? Were these the songs that were to be released as a single?
Prowler: Prowler’s first official recording took place in a private studio in Westcliff-on-Sea, Essex in the summer of 1977. It was a 2 track recording of an original song, “Riding High” along with a 2nd track that remained untitled but was to be “Finance Blues”. The recording session and subsequent tracks were touted by a local, Essex entrepreneur, Paul Truslove to various parties and “Riding High” was indeed slated to be released as a singe with “Finance Blues” as the B-side track, but this never materialized.
MMM: Have there been any other recordings used either for promotional purposes or to land gigs
Prowler: There were no other studio sessions by the band at that time. When the band opened its own rehearsal / demo studio in early 1979, the band started to record sessions frequently, mainly for sale at gigs. “Welcome To The Band” was one of the first cassettes to be issued.
MMM: In the early 80's, Essex and East London seemed to be plentiful in venues and pubs booking Metal bands, can you name some of the places you played and any bigger acts you did support slots for. Also, did you guys ever play The Ruskin Arms?
Prowler: By 1979 the band were performing all original material in concert and at gigs and were a regular on the London circuit. There were a number of major Rock venues that supported Rock bands; 'The Bridgehouse', 'The Cranbrooke', 'The Three Rabbits', 'The Green Gate' and 'Green Man' and 'The Ruskin Arms'. Prowler played all of them regularly from 1979. They first played The Ruskin Arms in early 1979. Other venues played by Prowler and other bands included 'The Royal Standard' in Walthamstow and 'The Double Six'. Prowler met with many of the bands of the time in these venues, including Maiden. “Everyone knew of everyone else. Iron Maiden were just another band at that time, looking for the way forward. There were some great venues then, with plenty of fans who were sick of the whole Punk thing. It was a good time.” - Trev Pattenden
MMM: Apparently, in 1979, you guys came second place in a national Rock contest; which contest was this?
Prowler: “It was a national (U.K) 'Battle Of The Bands' type thing. I think there were around 120 bands who came in; we finished 3rd. The winners picked up a single record deal, the other finalists received cash prizes. The final took place at a venue called 'Crocs' in Essex; they had live alligators inside. It was fun.” - Martin Burrows, Prowler lead guitarist.
MMM:Then, in 1980 you guys appeared on the MCA “Brute Force” compilation LP alongside bands such as Raven and Diamond Head. How did that come about? Was any promo material send to labels in order to land a record deal, or were you approached by a representative of MCA?
Prowler: “We had been sending off the odd demo to various people. Then me and Martin went for a drink at the same club where we did our first gig at. We had the latest demo from our studio with us. By chance, Chris Tsangarides was at the same club that evening, I think his mother-in-law lived opposite Martins parents’ house. John and Martin were introduced to Chris and he asked if he could hear the band’s music. We had the new demo in our pocket! So we went out to Chris’ car and played the newly recorded demo on his car cassette. A week later, we got a phone call from Chris asking if we’d like to appear on a new compilation album for MCA. We met Chris and MCA offered us the job” - John Pattenden, Prowler 2nd guitarist.
MMM: The featured song “Gotta Get Back To You” shows quite prominent Blues rooted Biker-Rock features, what have been the inspirational sources for the song? And who came up with the mid-section theme?
Prowler: Our inspirations laid with the classic Rock and Blues bands of the late 60’s and early 70’s, like most of our contemporaries. The 'Brute Force' track was a song we played every night at the finish, Sometimes it would last 30 mins! The mid-section lead break was structured around ethnic scales and patterns which gave it a little difference to other bands' lead breaks. And when we first played it, the 'Hava Nagila' motif wasn't originally part of the song when it was written; it became part of the song after Mart and Trev heard it on the 'Made In Europe' album by Deep Purple where it was included in one of Jon Lord's keyboard solos - Trev Pattenden.
MMM: Did anything come out of this compilation appearance in terms of recognition or gigs?
Prowler: “The 'Brute Force' album track was a great thing for us. It was on a major label (MCA) with many other great bands and musicians and the reaction to the track was more than we hoped for. It charted over a 5 week period in the major music press, going up against the big boys. The radio airplay included the 'Friday Rock Show' on the BBC and Radio Caroline, and then the nation TV stuff. All the subsequent gigs and offers to support suddenly increased; it was like a key that opened many doors.” - Martin Burrows.
MMM: Apparently, some more originals were penned at the tail end of Prowler's career, and rumour has it these were produced by Chris Tsangarides. Exactly when was this and what were the songs? Also, was this before the 'Brute Force' contribution or after?
Prowler: After 'Brute Force' we had offers to do more recordings (including Heavy Metal Records who we turned down). One of those offers was with Bronze records who wanted to hear more in demo form. We signed to Chris’ production company, along with Girlschool and then we went into the studios at Heath Levy in London. There, we worked on demo sessions for Bronze. We recorded 4 songs, 3 of which were completed to a good standard. Chris produced all of these; “Bad Child Running” (the current download single) “Lost Without Your Love” and “Prisoner”; these will be on the new album.
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MMM: Was it the fact that there were a few other bands around with the very same name that – at some point - you guys changed name to Samurai?
Prowler: The name change happened at Heath Levy studios in the summer of 1980. The A&R guy thought Prowler wasn’t commercial enough as a name. So we sat down in the studio over a coffee and came up with Samurai. They liked that. At that point, there was no other band named Prowler; they came along pretty much after we broke up; we didn’t change the name because of another band. So we recorded as Prowler / Samurai on the tapes. We didn’t like the idea of the name change but it was suggested it would be a good diplomatic move with the record company. We finished the rest of 1980 as Prowler live, then changed to Samurai from the start of 1981. By late summer of 1981, the A&R guy had been fired from his job and that was that. We changed back to Prowler in September of 1981; in the Spring of 1982, we broke up
MMM: Were any Prowler songs transferred to the Samurai set and was any material released as a demo or rehearsal as Samurai? At that time, the musical concept had changed to a heavier, more Metal oriented style referring to “Bad Child Running”...
Prowler: We did a number of live recordings as Samurai. These included new Samurai songs and other Prowler favourites. Chris had said he was going to be full on busy with the new Thin Lizzy album, but he suggested we keep recording tracks from the live shows as studio time was expensive. We also kept recording tracks in our Whitmore Studios. (Some of these will be on the new album). Over the period from 1979 to '82 we became progressively heavier….and faster; Chris called us Motorhead part II.
MMM: As Samurai, the band got airplay on BBC radio and also seemed to have quite some success over in France; how did this happen and have you ever played over there?
Prowler: We did some promotional meet and greet tours in France; there was a couple of Rock clubs in and around Normandy, and the band did a small show.
MMM: At this point, which original Prowler members were still in the band?
Prowler: There were always 4 members in the band; Martin, John and Trev were there from '75 to '82. In that time there were 3 drummers; Rob Emery, Colin Smith and Mick Dowling.
MMM: What happened to the band or its other incarnations from '82 onwards? There is a single out there, released in '82 coupling “Victim Of The Night” and “Heartbreaker” and although not as Prowler, there was another single produced in '86, with “Where Are You Now” and “Losing Touch” as US
Prowler: In 1982 there were various forms of Prowler that toured in Europe and then the Middle East. It was the band in Europe including Martin who recorded “Victim Of The Night” (which is an FM radio number – not heavy at all). After that, brothers Trev and John Pattenden formed an original band called US (short for unserviceable) and recorded a single on vinyl called “Where Are You Now”. The single was produced by Peter Hinton (Saxon) and sold fairly well. none of the original members recorded anything after that but kept working internationally with various other bands. Most of their recording was as guests or session players for other people’s projects.
MMM: How many singles of the Prowler “Heartbreaker” single were there made in total?
Prowler: “Heartbreaker” was a run of 400.copies
MMM: Then, many years later, Prowler re-formed again, when was this and how did this come about. Was any new material recorded at that point and how was the career of the band furthered?
Prowler: We met up with Chris Tsangarides again in 2010 through the power of FB. From that point on, we were all working towards re-launching the band, with Chris pushing us on that. We were working on various proposals and songs right up until he passed away in 2018. The current status of the band is active, with a new debut album finished and ready to release. A 2nd album of newer material is being recorded as we speak. Original members are all involved with both projects. Not many NWOBHM bands can say that!
Prowler link:
https://www.facebook.com/prowler.nwobhm.5
Prowler: The name change happened at Heath Levy studios in the summer of 1980. The A&R guy thought Prowler wasn’t commercial enough as a name. So we sat down in the studio over a coffee and came up with Samurai. They liked that. At that point, there was no other band named Prowler; they came along pretty much after we broke up; we didn’t change the name because of another band. So we recorded as Prowler / Samurai on the tapes. We didn’t like the idea of the name change but it was suggested it would be a good diplomatic move with the record company. We finished the rest of 1980 as Prowler live, then changed to Samurai from the start of 1981. By late summer of 1981, the A&R guy had been fired from his job and that was that. We changed back to Prowler in September of 1981; in the Spring of 1982, we broke up
MMM: Were any Prowler songs transferred to the Samurai set and was any material released as a demo or rehearsal as Samurai? At that time, the musical concept had changed to a heavier, more Metal oriented style referring to “Bad Child Running”...
Prowler: We did a number of live recordings as Samurai. These included new Samurai songs and other Prowler favourites. Chris had said he was going to be full on busy with the new Thin Lizzy album, but he suggested we keep recording tracks from the live shows as studio time was expensive. We also kept recording tracks in our Whitmore Studios. (Some of these will be on the new album). Over the period from 1979 to '82 we became progressively heavier….and faster; Chris called us Motorhead part II.
MMM: As Samurai, the band got airplay on BBC radio and also seemed to have quite some success over in France; how did this happen and have you ever played over there?
Prowler: We did some promotional meet and greet tours in France; there was a couple of Rock clubs in and around Normandy, and the band did a small show.
MMM: At this point, which original Prowler members were still in the band?
Prowler: There were always 4 members in the band; Martin, John and Trev were there from '75 to '82. In that time there were 3 drummers; Rob Emery, Colin Smith and Mick Dowling.
MMM: What happened to the band or its other incarnations from '82 onwards? There is a single out there, released in '82 coupling “Victim Of The Night” and “Heartbreaker” and although not as Prowler, there was another single produced in '86, with “Where Are You Now” and “Losing Touch” as US
Prowler: In 1982 there were various forms of Prowler that toured in Europe and then the Middle East. It was the band in Europe including Martin who recorded “Victim Of The Night” (which is an FM radio number – not heavy at all). After that, brothers Trev and John Pattenden formed an original band called US (short for unserviceable) and recorded a single on vinyl called “Where Are You Now”. The single was produced by Peter Hinton (Saxon) and sold fairly well. none of the original members recorded anything after that but kept working internationally with various other bands. Most of their recording was as guests or session players for other people’s projects.
MMM: How many singles of the Prowler “Heartbreaker” single were there made in total?
Prowler: “Heartbreaker” was a run of 400.copies
MMM: Then, many years later, Prowler re-formed again, when was this and how did this come about. Was any new material recorded at that point and how was the career of the band furthered?
Prowler: We met up with Chris Tsangarides again in 2010 through the power of FB. From that point on, we were all working towards re-launching the band, with Chris pushing us on that. We were working on various proposals and songs right up until he passed away in 2018. The current status of the band is active, with a new debut album finished and ready to release. A 2nd album of newer material is being recorded as we speak. Original members are all involved with both projects. Not many NWOBHM bands can say that!
Prowler link:
https://www.facebook.com/prowler.nwobhm.5
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TOPAZ
This is the story of three bands that are all connected and first came into the scene in 1980 by the name of TOPAZ. Being an all original band from the very start, a whole repertoire of songs was penned, some of which which were captured as a demo tape that never got out there. In 1982, Topaz was no longer and out of the ashes came BOBO. Another demo was produced and shopped around, resulting in some serious interest from the big players, but nothing came out of this. A follow-up demo triggered another wave of major-label interest but a deal was never inked due to unfortunate circumstances and the absence of a manager and gigs in the London area. Not being able to take things a level up, singer Vic went on to join Tokyo Blade which marked the end of BOBO. It was there and then that original TOPAZ and BOBO guitarist Tim Walker started a new band, Harlequyn, that recorded a few demo tapes and a cassette album, venturing on a completely different musical concept that showed serious potential but did not fit into one particular category, making it difficult for interested labels to market. When, for the very same reasons, Harlequyn came to end, the band re-grouped as Architect, followed by a string of other bands that Walker started or was involved in. This is the classic scenario of a band that was tipped the next best thing but somehow always just missed out. Guitarist Tim Walker talks us through the history of the bands and his current projects.
Manic Mosh Metal: The very beginning of your musical career goes back to a band called TOPAZ, when exactly did you get this band together and who else were in the band?
Tim Walker: Topaz started at school in 1980 when we were 16, before we could play instruments. The line-up was Darren Palmer on vocals, me and Alan Dolby on guitars, Charles Southern on bass and Simon Branson on drums. We did one 'gig' in my parents' garage but couldn't really play and only had about 3 songs. Then we recruited Steve Powell on drums and Vic Wright on vocals.
MMM: Apparently, your first gig was in the dining hall of the Carlton-Bolling school youth club in 1981. How did that go down and when was the fist pub / club gig you did with Topaz? Also, did you have any original Topaz songs by then or was that first gig just covers?
TW: The Carlton-Bolling gig was the first real gig and went down well with all our schoolfriends. Vic was still 15 then. Our first pub gig was 'The Blue Bell' in Shipley. That was all our own songs, we never played covers.
MMM: So, how many original songs did you have in total before the band folded?
TW: I think Topaz had a set of about 9 or 10 songs, “Heavens Above”, “Sweet Lady”, “Mist”, “Who Knows The Secret?”, “Knightrider”, “Bloodlust”, “The Way To My Heart”, “Signposts”, “Precious Moments”. That's all I can remember. I think Bobo's “Candlelight” was originally written as a Topaz song.
MMM: In 1982, a demo was recorded with the songs “Mist”, “Heavens Above” and “Sweet Lady”; what happened with that demo?
TW: The demo was a 4-track, recorded by Andy from Vex (their drummer, Steve ended up playing for Madonna). It was never mixed, and never finished, so never used for anything, the quality was terrible anyway, I have a very bad rough mix somewhere I think.
MMM: Not too long after the release of the demo tape, Topaz folded; what was the reason for this?
TW: Topaz split because Charles and Steve wanted to be like Genesis and Yes. Me and Vic wanted to be raw, Blues based Rock like Free or Van Halen (I think the Bobo sound was somewhere between those 2). It was genuine musical differences, but we wanted to stay friends. Alas they haven't spoken to us since then. I have seen Alan Dolby at local gigs though, but he wasn't in any more bands after the split. Charles and Steve just did cover bands from then on. Me and Vic never wanted to do covers.
MMM: In 1982, you started BOBO with singer Vic Wright, was this straight after Topaz split and exactly when was this?
TW: Vic had been in Topaz and his best friend was a great drummer called Quintin Jamieson. According to an old diary, Topaz split on 17th Sept 1982 and Bobo formed immediately after with Quintin. Quintin knew a bassist called Chris Hannan, so we got together quite quickly.
MMM: With Bobo, you recorded the first demo tape in 1982 featuring the songs “Candlelight”, “Hollow Hearted Woman”and “When Toys Awaken”. Was this demo sent out to records labels, and did anything come out of this?
TW: The demos were recorded at Woodlands Studio by Neil Ferguson (Chumbawamba). We were amazed how they sounded. We went to London for a week and touted it round labels. We had some interest from a few - including Peter Hinton at Carrere - who had signed Saxon, but everyone wanted to see us live in London and we could barely get gigs in our home town of Bradford at that time.
Tim Walker: Topaz started at school in 1980 when we were 16, before we could play instruments. The line-up was Darren Palmer on vocals, me and Alan Dolby on guitars, Charles Southern on bass and Simon Branson on drums. We did one 'gig' in my parents' garage but couldn't really play and only had about 3 songs. Then we recruited Steve Powell on drums and Vic Wright on vocals.
MMM: Apparently, your first gig was in the dining hall of the Carlton-Bolling school youth club in 1981. How did that go down and when was the fist pub / club gig you did with Topaz? Also, did you have any original Topaz songs by then or was that first gig just covers?
TW: The Carlton-Bolling gig was the first real gig and went down well with all our schoolfriends. Vic was still 15 then. Our first pub gig was 'The Blue Bell' in Shipley. That was all our own songs, we never played covers.
MMM: So, how many original songs did you have in total before the band folded?
TW: I think Topaz had a set of about 9 or 10 songs, “Heavens Above”, “Sweet Lady”, “Mist”, “Who Knows The Secret?”, “Knightrider”, “Bloodlust”, “The Way To My Heart”, “Signposts”, “Precious Moments”. That's all I can remember. I think Bobo's “Candlelight” was originally written as a Topaz song.
MMM: In 1982, a demo was recorded with the songs “Mist”, “Heavens Above” and “Sweet Lady”; what happened with that demo?
TW: The demo was a 4-track, recorded by Andy from Vex (their drummer, Steve ended up playing for Madonna). It was never mixed, and never finished, so never used for anything, the quality was terrible anyway, I have a very bad rough mix somewhere I think.
MMM: Not too long after the release of the demo tape, Topaz folded; what was the reason for this?
TW: Topaz split because Charles and Steve wanted to be like Genesis and Yes. Me and Vic wanted to be raw, Blues based Rock like Free or Van Halen (I think the Bobo sound was somewhere between those 2). It was genuine musical differences, but we wanted to stay friends. Alas they haven't spoken to us since then. I have seen Alan Dolby at local gigs though, but he wasn't in any more bands after the split. Charles and Steve just did cover bands from then on. Me and Vic never wanted to do covers.
MMM: In 1982, you started BOBO with singer Vic Wright, was this straight after Topaz split and exactly when was this?
TW: Vic had been in Topaz and his best friend was a great drummer called Quintin Jamieson. According to an old diary, Topaz split on 17th Sept 1982 and Bobo formed immediately after with Quintin. Quintin knew a bassist called Chris Hannan, so we got together quite quickly.
MMM: With Bobo, you recorded the first demo tape in 1982 featuring the songs “Candlelight”, “Hollow Hearted Woman”and “When Toys Awaken”. Was this demo sent out to records labels, and did anything come out of this?
TW: The demos were recorded at Woodlands Studio by Neil Ferguson (Chumbawamba). We were amazed how they sounded. We went to London for a week and touted it round labels. We had some interest from a few - including Peter Hinton at Carrere - who had signed Saxon, but everyone wanted to see us live in London and we could barely get gigs in our home town of Bradford at that time.
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photo above left: Topaz demo tape; photo right, Topaz live
MMM: The demo definitely showed 'commercial' potential and the music well fitted in the new, more melodic edged wave of U.K HardRock / Metal so you guys were pretty much around at the right time for things to happen and a song like “Candlelight” - which kind of reminds of Leppard's “Ride Into The Sun”- is proof of that; what happened?
TW: We were very naive but quite cheeky. We had blagged our way into major labels and we knew they liked us. So, then we set out to write more catchy songs and get more gigs, but we were all still very young and nobody had a driving licence so we just gigged locally.
MMM: What have been the inspirational sources of Bobo?
TW: I think Vic's favourite band back then was the Stones. I was a big fan of early Alice Cooper and Free. We had all been into the NWOBHM scene too and loved Marseille in particular. Someone at MCA said we sounded like Aerosmith. We'd never heard any at that time so Vic bought “Toys In The Attic” and we all loved it. Van Halen were a big influence too. Also Hendrix & AC/DC with Bon Scott.
MMM:You guys did frequent gigs in the local area, did you also play with bigger name / established bands at the time and when?
TW: Bobo's second gig was with Grim Reaper. Everyone said they were shocked how good we were. We also played with Baby Tuckoo, Excalibur and Spider. We were good friends with Tuckoo and Excalibur.
MMM: Another demo with the songs “Bright Lights & Insomnia”, “First Things First”, and “Tall Talk & Rocking Horse Tales” was produced; what year was this and did it trigger anything?
TW: The second demo was in '83. We went to London again and got some serious interest from Carlin publishers, also Virgin, MCA and some others. We still had the issue of not playing London gigs. Virgin wanted us to get a producer on board, so we gave a demo to John Verity who was a local 'Rock star' and producer, but he just laughed at us. We then made a video for 'Bright Lights' and 'First Things First' and went to London again. The A&R guy from Carlin was told to sign us, but he didn't and was sacked 6 months later...
MMM: Have you guys ever considered to release anything, like a 7” vinyl on a D.I.Y basis and did you have a manager at the time, as lack of promotion or 'push' seems to have largely limited the band.
TW: We had no manager and no experience. We talked about a 7" single but had no idea how to do it and no money.
In 1984 there were plans to record another demo or even a full-length record, what were the songs to be featured and why did neither of these materialize?
TW: We had a studio session booked for 3 more songs; “Tears For Souvenirs”, “Here Comes My Love” and “Sail Away”. I think it was about a week before the session that Vic got the call he was in Tokyo Blade. Him and Chris had been arguing a lot and Vic thought 'f*ck this' and answered the advert in Melody Maker.
TW: We were very naive but quite cheeky. We had blagged our way into major labels and we knew they liked us. So, then we set out to write more catchy songs and get more gigs, but we were all still very young and nobody had a driving licence so we just gigged locally.
MMM: What have been the inspirational sources of Bobo?
TW: I think Vic's favourite band back then was the Stones. I was a big fan of early Alice Cooper and Free. We had all been into the NWOBHM scene too and loved Marseille in particular. Someone at MCA said we sounded like Aerosmith. We'd never heard any at that time so Vic bought “Toys In The Attic” and we all loved it. Van Halen were a big influence too. Also Hendrix & AC/DC with Bon Scott.
MMM:You guys did frequent gigs in the local area, did you also play with bigger name / established bands at the time and when?
TW: Bobo's second gig was with Grim Reaper. Everyone said they were shocked how good we were. We also played with Baby Tuckoo, Excalibur and Spider. We were good friends with Tuckoo and Excalibur.
MMM: Another demo with the songs “Bright Lights & Insomnia”, “First Things First”, and “Tall Talk & Rocking Horse Tales” was produced; what year was this and did it trigger anything?
TW: The second demo was in '83. We went to London again and got some serious interest from Carlin publishers, also Virgin, MCA and some others. We still had the issue of not playing London gigs. Virgin wanted us to get a producer on board, so we gave a demo to John Verity who was a local 'Rock star' and producer, but he just laughed at us. We then made a video for 'Bright Lights' and 'First Things First' and went to London again. The A&R guy from Carlin was told to sign us, but he didn't and was sacked 6 months later...
MMM: Have you guys ever considered to release anything, like a 7” vinyl on a D.I.Y basis and did you have a manager at the time, as lack of promotion or 'push' seems to have largely limited the band.
TW: We had no manager and no experience. We talked about a 7" single but had no idea how to do it and no money.
In 1984 there were plans to record another demo or even a full-length record, what were the songs to be featured and why did neither of these materialize?
TW: We had a studio session booked for 3 more songs; “Tears For Souvenirs”, “Here Comes My Love” and “Sail Away”. I think it was about a week before the session that Vic got the call he was in Tokyo Blade. Him and Chris had been arguing a lot and Vic thought 'f*ck this' and answered the advert in Melody Maker.
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Photo above left and right: Bobo
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Above and below: Harlequyn
MMM: Shortly after Vic left the band to join Tokyo Blade, Bobo folded; so, where did its other members, including yourself venture off to; was it there and then that you formed Harlequyn?
TW: That was in early Summer '84 I think; the three of us auditioned some singers to carry on as Bobo but nothing came of it. I knew Paul Mother from school and he was a big fan of Bobo. He asked if I wanted to form a new band that was more Psychedelic / Glam influence. He was a big T-Rex fan and we both loved Hendrix etc, so I said I'd give it a go. Chris & Quintin were then snapped up (ironically) by John Verity's keyboard player, Andy (Wells) Tidswell, who had also been in Baby Tuckoo. I don't think their band lasted very long. Chris played in other bands after that. Quintin became a world-class drummer but moved to Australia and never played again – shame. Harlequyn became the new band with Dave 'DD' Wood on drums and Mark 'Sebastian' Yates on bass (later guitarist of Terrorvision).
MMM: Were there any demo-tapes produced as Harlequyn, or was the 1986 “Burn” single the first official release?
TW: We did the first demo 'The Masquerade Is On' at Woodlands, as we did the second demo 'And Still The Breeze Blows On'. Then we did a third demo at Flexible Response Studios (set up by Southern Death Cult). “Experience Revolver! was on that third demo. The A-side “Burn” was recorded at Pete Spencer's (Smokie) studio.
MMM: The musical style of Harlequyn seemed to have gone a different route and even touching upon New Wave whilst still retaining this Hard Rock root, listening to single B-side “Experience Revolver”.
TW: At that time we were surrounded by all the Alternative scene of the North of England; Southern Death Cult (The Cult), Skeletal Family, New Model Army, Dance Society, March Violets, Sisters Of Mercy, Ghost Dance. We were literally rehearsing next door to many of them, so the influences crept in - but we always had our Rock roots. We became a bit of an odd hybrid.
MMM: How many copies of the “Burn” single were there made in total?
TW: “Burn” was just a 1000 pressing but I think we had some extra white labels on top.
MMM: Just out of interest, the 'Burn' logo on the back made me think of Deep Purple's “Burn”, is that a funny coincidence or has Deep Purple been an influence in any shape or form?
TW: Yeah, we loved early Purple and other classic bands like Zeppelin etc. The old school was much more of an influence to us. We didn't like any 'big hair' American bands of the 80's - even though people thought we looked like them.
MMM: It seems there are quite a few versions of the single out there; some with a glossy cover, some with a matt cover, some with lyric sheet, flyer for the LP, info sheet...
TW: The single was essentially a self-release but financed by our manager Andy Farrow (now of Northern Music - Opeth, Paradise Lost etc). Paul got a printer friend to make full colour sleeves for the single so we could save money. It was all a bit DIY so we were printing lyric inserts when we could at the local community print centre.
MMM: It looks like, by that time (1986) you had the recordings for an 11-song album already in place, with an insert to the single announcing this; was this for the “One Incantation” album that supposedly was going to be released on vinyl, and ow many copies were made?
TW: The idea for “One Incantation” was to compile the first three demos as an album. We didn't have the money to do vinyl so it was released as a cassette album only, I think in a short run of about 250 copies.
MMM: In between the single and the debut, Harlequyn also appeared on a 7” compilation, “Thwak” with the song “The Fragrancer”; how did this come about?
TW: The Thwak EP was for Far North Music - which became Northern Music. We also played the Marquee on Wardour Street with those bands two months before it closed. The bar staff closed the bar to watch us. They said it had never happened before in the history of the Marquee club. We also got a great review in Kerrang! from Phil Wilding and Ross Halfin was there taking photos.
MMM: Is it correct that there was another demo tape out in 1989, and what tracks were on there?
TW: The fourth demo was where the songs for side 1 of the album came from. Also the Fragrancer E,P track was from that demo and a song called “Carouse”l - which later appeared on the CD's with 'Bradford's Noise of the Valleys' book.
MMM: Listening to “The Order Of The Golden Dawn”; the New Wave dominance aside, it seems like you guys were pretty much ahead of the whole Indie / Alternative / Grunge boom listening to a song like “Glass Island” which is the sort of thing that The Stone Roses / Janes Addiction would later do. Do you reckon that if this album was released say 2 years later, things would have looked different for the band?
TW: I never wanted us to sound like anyone else and we had such diverse influences by the time we did 'Golden Dawn' that it really confused some people. The Kerrang! review said we had an identity crisis. The Metal Hammer review called us 'Garage Grunge' in 1989. We just wanted to invent our own sound. Andy Ross at Food Records really loved us and almost signed us (I think we missed the boat because he'd just signed Blur). Looking back now I'd say we were really ahead of the game. 90's bands like Radiohead, Muse & Placebo all succeeded on that big 'Alternative Rock' sound that we were forging in the 80's. The industry couldn't put us in existing pigeon-holes at the time though. We were gigging with Ghost Dance one day, Tygers of Pan Tang the next, Uriah Heep the next, Dr & The Medics the next. We seemed to be in between everything and not quite fitting in anywhere.
MMM: “The Order Of The Golden Dawn” was privately released, how many copies were there made in total?
TW: 'Golden Dawn' was only a 1000 pressing. It did sell really quickly and we considered repressing just before we split. Generally speaking it got great reviews. Many people in the industry were intrigued to see what we would do next. But we were floundering by that time. We really thought we'd become a great live band with an exciting new sound - after being very cheesy and tongue-in-cheek early on. But we were exhausted after years of long tours and trying to convince people we were worthy of signing. We did way too many psychedelic drugs back then too, so we were starting to lose focus. Myself & Paul were building ourselves a studio at that time too, so we decided to take a break and re-think.
MMM: How was the response to the album?
TW: The album had put us on the map and still today is the thing that has left its mark. It was financed by our second manager, Bea Firth. She was great at getting us press and we were really picking up pace at the time we split. I think that happens to a lot of bands - they're at their peak just before they implode.
MMM: So, what happened happened afterwards?
TW: We built our studio in 1990 and I still run it today as Voltage Studios. 'Golden Dawn' was released on Voltage Records and that still continues today through Prosonic / Plastic Head Distribution. After Harlequyn, we re-grouped as a 5-piece called Architect. We did a 12" E.P and a CD album on Voltage. We also gigged with the likes of Big Country & Danielle Dax, but again never signed to a big label. I then started a Trance Techno project called 'Worm' with Carl Arnfield from Xentrix, which then became a Techno/Metal/Rap hybrid. We released 2 albums to great critical acclaim, but again were victims of not fitting into existing genres. I was also in a band called US with Rob Moore from Happiness Ad and Ricky Howard from LOUD. Harlequyn did some reunion shows a few years ago too, and some new recordings of old songs.
MMM: Are you active in any band(s) at the moment?
TW: Currently I'm playing in a new version of 80's Goth/Rock band Ghost Dance. Original vocalist Anne Marie Hurst wanted to do something after leaving Skeletal Family and her side project 'Killing Eve' with Andy Cousen from All About Eve had fizzled out. We recruited Dave Wood and Phil (Sargent) Noble from Harlequyn and Steven Derigg from Original Sin and started playing a Ghost Dance live set just before pandemic lockdowns. Original guitarist Gary Marx declined to be involved but was fine with us doing the project, so we're now writing new material under the Ghost Dance name for a new album and have a single 'Falling Down' out now. More gigs coming in 2022!
TW: That was in early Summer '84 I think; the three of us auditioned some singers to carry on as Bobo but nothing came of it. I knew Paul Mother from school and he was a big fan of Bobo. He asked if I wanted to form a new band that was more Psychedelic / Glam influence. He was a big T-Rex fan and we both loved Hendrix etc, so I said I'd give it a go. Chris & Quintin were then snapped up (ironically) by John Verity's keyboard player, Andy (Wells) Tidswell, who had also been in Baby Tuckoo. I don't think their band lasted very long. Chris played in other bands after that. Quintin became a world-class drummer but moved to Australia and never played again – shame. Harlequyn became the new band with Dave 'DD' Wood on drums and Mark 'Sebastian' Yates on bass (later guitarist of Terrorvision).
MMM: Were there any demo-tapes produced as Harlequyn, or was the 1986 “Burn” single the first official release?
TW: We did the first demo 'The Masquerade Is On' at Woodlands, as we did the second demo 'And Still The Breeze Blows On'. Then we did a third demo at Flexible Response Studios (set up by Southern Death Cult). “Experience Revolver! was on that third demo. The A-side “Burn” was recorded at Pete Spencer's (Smokie) studio.
MMM: The musical style of Harlequyn seemed to have gone a different route and even touching upon New Wave whilst still retaining this Hard Rock root, listening to single B-side “Experience Revolver”.
TW: At that time we were surrounded by all the Alternative scene of the North of England; Southern Death Cult (The Cult), Skeletal Family, New Model Army, Dance Society, March Violets, Sisters Of Mercy, Ghost Dance. We were literally rehearsing next door to many of them, so the influences crept in - but we always had our Rock roots. We became a bit of an odd hybrid.
MMM: How many copies of the “Burn” single were there made in total?
TW: “Burn” was just a 1000 pressing but I think we had some extra white labels on top.
MMM: Just out of interest, the 'Burn' logo on the back made me think of Deep Purple's “Burn”, is that a funny coincidence or has Deep Purple been an influence in any shape or form?
TW: Yeah, we loved early Purple and other classic bands like Zeppelin etc. The old school was much more of an influence to us. We didn't like any 'big hair' American bands of the 80's - even though people thought we looked like them.
MMM: It seems there are quite a few versions of the single out there; some with a glossy cover, some with a matt cover, some with lyric sheet, flyer for the LP, info sheet...
TW: The single was essentially a self-release but financed by our manager Andy Farrow (now of Northern Music - Opeth, Paradise Lost etc). Paul got a printer friend to make full colour sleeves for the single so we could save money. It was all a bit DIY so we were printing lyric inserts when we could at the local community print centre.
MMM: It looks like, by that time (1986) you had the recordings for an 11-song album already in place, with an insert to the single announcing this; was this for the “One Incantation” album that supposedly was going to be released on vinyl, and ow many copies were made?
TW: The idea for “One Incantation” was to compile the first three demos as an album. We didn't have the money to do vinyl so it was released as a cassette album only, I think in a short run of about 250 copies.
MMM: In between the single and the debut, Harlequyn also appeared on a 7” compilation, “Thwak” with the song “The Fragrancer”; how did this come about?
TW: The Thwak EP was for Far North Music - which became Northern Music. We also played the Marquee on Wardour Street with those bands two months before it closed. The bar staff closed the bar to watch us. They said it had never happened before in the history of the Marquee club. We also got a great review in Kerrang! from Phil Wilding and Ross Halfin was there taking photos.
MMM: Is it correct that there was another demo tape out in 1989, and what tracks were on there?
TW: The fourth demo was where the songs for side 1 of the album came from. Also the Fragrancer E,P track was from that demo and a song called “Carouse”l - which later appeared on the CD's with 'Bradford's Noise of the Valleys' book.
MMM: Listening to “The Order Of The Golden Dawn”; the New Wave dominance aside, it seems like you guys were pretty much ahead of the whole Indie / Alternative / Grunge boom listening to a song like “Glass Island” which is the sort of thing that The Stone Roses / Janes Addiction would later do. Do you reckon that if this album was released say 2 years later, things would have looked different for the band?
TW: I never wanted us to sound like anyone else and we had such diverse influences by the time we did 'Golden Dawn' that it really confused some people. The Kerrang! review said we had an identity crisis. The Metal Hammer review called us 'Garage Grunge' in 1989. We just wanted to invent our own sound. Andy Ross at Food Records really loved us and almost signed us (I think we missed the boat because he'd just signed Blur). Looking back now I'd say we were really ahead of the game. 90's bands like Radiohead, Muse & Placebo all succeeded on that big 'Alternative Rock' sound that we were forging in the 80's. The industry couldn't put us in existing pigeon-holes at the time though. We were gigging with Ghost Dance one day, Tygers of Pan Tang the next, Uriah Heep the next, Dr & The Medics the next. We seemed to be in between everything and not quite fitting in anywhere.
MMM: “The Order Of The Golden Dawn” was privately released, how many copies were there made in total?
TW: 'Golden Dawn' was only a 1000 pressing. It did sell really quickly and we considered repressing just before we split. Generally speaking it got great reviews. Many people in the industry were intrigued to see what we would do next. But we were floundering by that time. We really thought we'd become a great live band with an exciting new sound - after being very cheesy and tongue-in-cheek early on. But we were exhausted after years of long tours and trying to convince people we were worthy of signing. We did way too many psychedelic drugs back then too, so we were starting to lose focus. Myself & Paul were building ourselves a studio at that time too, so we decided to take a break and re-think.
MMM: How was the response to the album?
TW: The album had put us on the map and still today is the thing that has left its mark. It was financed by our second manager, Bea Firth. She was great at getting us press and we were really picking up pace at the time we split. I think that happens to a lot of bands - they're at their peak just before they implode.
MMM: So, what happened happened afterwards?
TW: We built our studio in 1990 and I still run it today as Voltage Studios. 'Golden Dawn' was released on Voltage Records and that still continues today through Prosonic / Plastic Head Distribution. After Harlequyn, we re-grouped as a 5-piece called Architect. We did a 12" E.P and a CD album on Voltage. We also gigged with the likes of Big Country & Danielle Dax, but again never signed to a big label. I then started a Trance Techno project called 'Worm' with Carl Arnfield from Xentrix, which then became a Techno/Metal/Rap hybrid. We released 2 albums to great critical acclaim, but again were victims of not fitting into existing genres. I was also in a band called US with Rob Moore from Happiness Ad and Ricky Howard from LOUD. Harlequyn did some reunion shows a few years ago too, and some new recordings of old songs.
MMM: Are you active in any band(s) at the moment?
TW: Currently I'm playing in a new version of 80's Goth/Rock band Ghost Dance. Original vocalist Anne Marie Hurst wanted to do something after leaving Skeletal Family and her side project 'Killing Eve' with Andy Cousen from All About Eve had fizzled out. We recruited Dave Wood and Phil (Sargent) Noble from Harlequyn and Steven Derigg from Original Sin and started playing a Ghost Dance live set just before pandemic lockdowns. Original guitarist Gary Marx declined to be involved but was fine with us doing the project, so we're now writing new material under the Ghost Dance name for a new album and have a single 'Falling Down' out now. More gigs coming in 2022!
EXORCIST – 2021 “Nightmare Theatre” (re-issue)
label: High Roller records
Even though this album didn't really go places back in the 80's, it did get a fair bit of 'mystery band' exposure due to the fact that there was speculation of Exorcist being a 'project' band by 'established' musicians operating under monikers. Well, that much is true as Exorcist basically was a spin off from Virgin Steele. Knowing this, it is most remarkable to find the band tapping into a largely contrasting, and way more intense concept than that delivered by Virgin Steele, delivering a Thrash / Speed Metal sound that is cemented in fast tempos, staccato rhythm riffs and O.T.T effect growl vocals. The song “Possessed” slows to an up-tempo and leans towards Power Metal with the vocal growl still in place. The guitar-solo “Megawatt Mayhem” kind of gives away the Virgin Steele connection, knowing the guitar sound and style of Jack Starr. On the more extreme side of things is “Death By Bewitchment”, gelling Speed Metal with the occasional hint of Celtic Frost! Backwards playing fragments of “Spin Your Head” add to the Horror element of the LP whilst the bobbing “Queen Of The Dead” counts as one of the more modest, and accessible tracks which is lifted by its vibe. Musically, Exorcist moves somewhere in between Piledriver and Venom but lacks character and identity. Not a bad album but nothing out of the ordinary either. O.K
Paul van der Burght
label: High Roller records
Even though this album didn't really go places back in the 80's, it did get a fair bit of 'mystery band' exposure due to the fact that there was speculation of Exorcist being a 'project' band by 'established' musicians operating under monikers. Well, that much is true as Exorcist basically was a spin off from Virgin Steele. Knowing this, it is most remarkable to find the band tapping into a largely contrasting, and way more intense concept than that delivered by Virgin Steele, delivering a Thrash / Speed Metal sound that is cemented in fast tempos, staccato rhythm riffs and O.T.T effect growl vocals. The song “Possessed” slows to an up-tempo and leans towards Power Metal with the vocal growl still in place. The guitar-solo “Megawatt Mayhem” kind of gives away the Virgin Steele connection, knowing the guitar sound and style of Jack Starr. On the more extreme side of things is “Death By Bewitchment”, gelling Speed Metal with the occasional hint of Celtic Frost! Backwards playing fragments of “Spin Your Head” add to the Horror element of the LP whilst the bobbing “Queen Of The Dead” counts as one of the more modest, and accessible tracks which is lifted by its vibe. Musically, Exorcist moves somewhere in between Piledriver and Venom but lacks character and identity. Not a bad album but nothing out of the ordinary either. O.K
Paul van der Burght
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IRON LIZARDS – 2021 “Hungry For Action”
label: The Sign records https://www.facebook.com/thesignrecords
web: https://www.facebook.com/IronLizards
Twelve song debut-affair that rolls on an upbeat drive for most of the time, delivering a brand of Hard Rock 'n Roll with a Punk edge and the occasional Psychobilly side-step, as evidenced on “Deathride”, “Monster Hero” and “Iron Lizards”. Music is catchy and energetic, peppered with snappy, talk type vocals, a decent variation in programming and some solid drummage, as shown on the lightly Exciter tinged “No Motivation”. Cool.
Paul van der Burght
label: The Sign records https://www.facebook.com/thesignrecords
web: https://www.facebook.com/IronLizards
Twelve song debut-affair that rolls on an upbeat drive for most of the time, delivering a brand of Hard Rock 'n Roll with a Punk edge and the occasional Psychobilly side-step, as evidenced on “Deathride”, “Monster Hero” and “Iron Lizards”. Music is catchy and energetic, peppered with snappy, talk type vocals, a decent variation in programming and some solid drummage, as shown on the lightly Exciter tinged “No Motivation”. Cool.
Paul van der Burght
SAVE THE WORLD – 2021 “I”
label: Frontiers records
web: https://savetheworldband.com/
U.S based project band that opted to release 2 albums at once. Whether this is a smart move marketing wise is one thing, but sure thing is both albums deliver! Save The Word have not limited themselves to one specific sound or direction, sourcing the goods from A.O.R, U.S Radio Rock and modern Arena Rock. The band does not even shy away some 'mellowed' Alternative Rock early 00's in the styles of Avril Lavigne, hinting at the up-tempo “Circus Maximus”, the moderately paced “This Little Pill” and in particular, the Alternative Rock balladry of “In Pieces”. The band even takes it a level further concept wise, incorporating shades of industrial Pop a la Sisters Of Mercy on “Princes And Thieves”, with traces of The Beatles at the other end of the spectrum which finds its expression down Cecilia Weiss. Save The World dare to take cnances and manage to pull it off in style, backed with pitch-perfect, crisp upper mid-range vocals and a most competent instrumentation. Solid
Paul van der Burght
label: Frontiers records
web: https://savetheworldband.com/
U.S based project band that opted to release 2 albums at once. Whether this is a smart move marketing wise is one thing, but sure thing is both albums deliver! Save The Word have not limited themselves to one specific sound or direction, sourcing the goods from A.O.R, U.S Radio Rock and modern Arena Rock. The band does not even shy away some 'mellowed' Alternative Rock early 00's in the styles of Avril Lavigne, hinting at the up-tempo “Circus Maximus”, the moderately paced “This Little Pill” and in particular, the Alternative Rock balladry of “In Pieces”. The band even takes it a level further concept wise, incorporating shades of industrial Pop a la Sisters Of Mercy on “Princes And Thieves”, with traces of The Beatles at the other end of the spectrum which finds its expression down Cecilia Weiss. Save The World dare to take cnances and manage to pull it off in style, backed with pitch-perfect, crisp upper mid-range vocals and a most competent instrumentation. Solid
Paul van der Burght
SAVE THE WORLD – 2021 “II”
label: Frontiers records
web: https://savetheworldband.com/
Part II of the synchronized album release and although different in style and approach, equally bursting with quality arrangements and musicianship. In comparison, “II” is a bot heavier than “I”, mainly due to the heavier guitar hooks, most evidently on the slight progressive edged “Defenders of The Faith”, coupling U.S Hard Rock with a blend of Dokken. Once again, there is a fair chunk of U.S Radio Rock present on the disc, including the slightly Bad English tinged “Miss Muse”, the Mainstream “Automation”, the mid-paced “Illuminati”, the catchy up-tempo Rocker “Who's That Girl”, “the Rock balladry of “Longer” and the more Poppy sounding “Bones” and the semi-acoustic driven “Daphne Blue”. A step down memory lane in style, comes in the shape of the Boston 70's styled (Hard) Rocker “Man On An Island” showing strong similarities to Boston's “Feelin' Satisfied” in vocal delivery, guitar sound, vibe, tempo and sound. Highlight of the disc has got to be broad sounding and structurally 'climaxing' “When Amanda Hits The Stage” that has the vocals topping the scales in range well beyond impressive. In all, a very enjoyable disc well worth checking out.
Paul van der Burght
label: Frontiers records
web: https://savetheworldband.com/
Part II of the synchronized album release and although different in style and approach, equally bursting with quality arrangements and musicianship. In comparison, “II” is a bot heavier than “I”, mainly due to the heavier guitar hooks, most evidently on the slight progressive edged “Defenders of The Faith”, coupling U.S Hard Rock with a blend of Dokken. Once again, there is a fair chunk of U.S Radio Rock present on the disc, including the slightly Bad English tinged “Miss Muse”, the Mainstream “Automation”, the mid-paced “Illuminati”, the catchy up-tempo Rocker “Who's That Girl”, “the Rock balladry of “Longer” and the more Poppy sounding “Bones” and the semi-acoustic driven “Daphne Blue”. A step down memory lane in style, comes in the shape of the Boston 70's styled (Hard) Rocker “Man On An Island” showing strong similarities to Boston's “Feelin' Satisfied” in vocal delivery, guitar sound, vibe, tempo and sound. Highlight of the disc has got to be broad sounding and structurally 'climaxing' “When Amanda Hits The Stage” that has the vocals topping the scales in range well beyond impressive. In all, a very enjoyable disc well worth checking out.
Paul van der Burght
MALICE MACHINE – 2021 “Chemical Violence”
label: private
web: https://www.facebook.com/MaliceMachine
This album was initially to be released as a 6-song E.P but ended up as a full album after lockdown. “Chemical Violence” presents some classic Industrial / Electro Rock that blends in with the sound / concept by White Zombie / Rob Zombie / Ministry which does not come much as a surprise as some three songs on there were co-produced and mixed by Ministry's John Bechdel. The main difference with the aforementioned however is that this whole thing sounds incredibly intense without guitar riffage. There is some chunky distortion guitar hooks in there but in minimal quantities as the greater part of the music is given a similar effect by the heavy, grainy electronics. The moments the guitar distortion is added, things sound really beefed up, as evidenced on the mid / up-tempo “Restrict”, but it is also the guitar that accents the Doomy atmosphere that surrounds the slow & sludgy “Lament Box”. Completely in accordance with the genre, the vocalage is distorted and talk-type with a moody, assertive appearance. There's quite a few twists in concept going either Industrial or Electronic, a combination of both, or a more atmospheric approach, as displayed on “Lament Box” and “Nothing”, and then there's also this Electronic Sludge Metaler in the shape of “Decay”. Cool.
Paul van der Burght
label: private
web: https://www.facebook.com/MaliceMachine
This album was initially to be released as a 6-song E.P but ended up as a full album after lockdown. “Chemical Violence” presents some classic Industrial / Electro Rock that blends in with the sound / concept by White Zombie / Rob Zombie / Ministry which does not come much as a surprise as some three songs on there were co-produced and mixed by Ministry's John Bechdel. The main difference with the aforementioned however is that this whole thing sounds incredibly intense without guitar riffage. There is some chunky distortion guitar hooks in there but in minimal quantities as the greater part of the music is given a similar effect by the heavy, grainy electronics. The moments the guitar distortion is added, things sound really beefed up, as evidenced on the mid / up-tempo “Restrict”, but it is also the guitar that accents the Doomy atmosphere that surrounds the slow & sludgy “Lament Box”. Completely in accordance with the genre, the vocalage is distorted and talk-type with a moody, assertive appearance. There's quite a few twists in concept going either Industrial or Electronic, a combination of both, or a more atmospheric approach, as displayed on “Lament Box” and “Nothing”, and then there's also this Electronic Sludge Metaler in the shape of “Decay”. Cool.
Paul van der Burght
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BREATHLESS – 2021 “Breathless” (re-issue)
label: Dying Victims Productions
https://www.dying-victims.de/
One of Belgium's best kept secrets from the 80's', engaging the early Speed Metal sound in all its glory, loaded with all the trimmings. As this concerns the early wave of the genre, there is still a fair bit of HardRock / Metal rooted material in there, either in fragments or in full as is the case on the Euro HardRocker “Bring Me Back Home” (which actually sounds like a Bluesy PowerMetal workout) and the mid-paced, balladry laced “The Night Crusader” that somehow connects with UFO's “Doctor, Doctor” in its amplified sections. The brilliance of the band and its concept spark off the classic Euro-HEadbanger “Nobody's Perfect” that moves somewhere in between MF Fate and Tyrant's Reign, and “Devil's Seed On Her Body” that has MF Fate written all over it, both vocally and concept wise with an added Doom element. The vocalage is the prime mover on the LP, delivering a falsetto / siren layered vocal tone that is fairly similar to King Diamond (MF Fate). There's a good, all round differentiation throughout the disc, from Headbangers and Speed Metal to moderately and mid-paced Metal, all of which is dressed with most distinctive and pitch perfect vocals, plenty of guitar action and a good technical / structural sense. This album was criminally overlooked back in the day even though it oozed quality. Excellent!
Paul van der Burght
label: Dying Victims Productions
https://www.dying-victims.de/
One of Belgium's best kept secrets from the 80's', engaging the early Speed Metal sound in all its glory, loaded with all the trimmings. As this concerns the early wave of the genre, there is still a fair bit of HardRock / Metal rooted material in there, either in fragments or in full as is the case on the Euro HardRocker “Bring Me Back Home” (which actually sounds like a Bluesy PowerMetal workout) and the mid-paced, balladry laced “The Night Crusader” that somehow connects with UFO's “Doctor, Doctor” in its amplified sections. The brilliance of the band and its concept spark off the classic Euro-HEadbanger “Nobody's Perfect” that moves somewhere in between MF Fate and Tyrant's Reign, and “Devil's Seed On Her Body” that has MF Fate written all over it, both vocally and concept wise with an added Doom element. The vocalage is the prime mover on the LP, delivering a falsetto / siren layered vocal tone that is fairly similar to King Diamond (MF Fate). There's a good, all round differentiation throughout the disc, from Headbangers and Speed Metal to moderately and mid-paced Metal, all of which is dressed with most distinctive and pitch perfect vocals, plenty of guitar action and a good technical / structural sense. This album was criminally overlooked back in the day even though it oozed quality. Excellent!
Paul van der Burght
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KARLOFF – 2021 “The Appearing”
label: Dying Victims www.dyingvictims.com
web: https://www.facebook.com/karloffpunk
Punk-Meets-Metal in a traditional style that is neat and organized yet brutal and bare-knuckle in appearance. Think a mix of Venom, Hellhammer and Warfare with Punk-riffed guitars (chords), growling vocals and a clear, razor sharp production. Material is not just all fast and has catchy moments alongside old-school style Black Metal. Cool and convincing debut by this German act.
Paul van der Burght
label: Dying Victims www.dyingvictims.com
web: https://www.facebook.com/karloffpunk
Punk-Meets-Metal in a traditional style that is neat and organized yet brutal and bare-knuckle in appearance. Think a mix of Venom, Hellhammer and Warfare with Punk-riffed guitars (chords), growling vocals and a clear, razor sharp production. Material is not just all fast and has catchy moments alongside old-school style Black Metal. Cool and convincing debut by this German act.
Paul van der Burght
KNECHT – E.P. 2021 “Knecht”
label: private
web: https://www.facebook.com/profile.php?id=100063462994085
Solo project by multi-instrumentalist Joseph Knecht, laying down the bass, lead guitar and keys, pairing with the drums of Jason Stewart. The E.P starts off with some sludgy, pounding Power Metal / Thrash (“Transformation”) that reminds of the 90's Marty Friedman stuff with some Progressive / Technical twists thrown in the mid-section of the song. Some more 90's styled technical Shred Metal going down on “Working Title”. These count for being the heaviest offerings on the E.P, balanced out by some Southern grooves, subtle shred, Blues edged Hard Rock (complete with Hammond) and some early Satriani esque features (“Destruction”), complimenting the all round variety that runs through this 6-songer. It all sticks together very well, and basically is a retrospective of the instrumentals released back in the 90's so this one kind of brings it all back to life again.
Paul van der Burght
label: private
web: https://www.facebook.com/profile.php?id=100063462994085
Solo project by multi-instrumentalist Joseph Knecht, laying down the bass, lead guitar and keys, pairing with the drums of Jason Stewart. The E.P starts off with some sludgy, pounding Power Metal / Thrash (“Transformation”) that reminds of the 90's Marty Friedman stuff with some Progressive / Technical twists thrown in the mid-section of the song. Some more 90's styled technical Shred Metal going down on “Working Title”. These count for being the heaviest offerings on the E.P, balanced out by some Southern grooves, subtle shred, Blues edged Hard Rock (complete with Hammond) and some early Satriani esque features (“Destruction”), complimenting the all round variety that runs through this 6-songer. It all sticks together very well, and basically is a retrospective of the instrumentals released back in the 90's so this one kind of brings it all back to life again.
Paul van der Burght
TRANCE – 2021 “Metal Forces”
label: Metalopolis
web: https://www.facebook.com/tranceliveandheavy/
Newest work from classic German Metalers Trance that released the highly acclaimed albums “Break Out and "Power Infusion" back in the early 80's. Fast forward to 2021 and there's not much that reminds of the 'trademark' Trance sound. This is a decent album but it has got nothing to do with Trance, sounding much like any other NWOTHM band out there, offering a combination of properly produced PowerMetal and Heavy Metal with deserving up-range vocals. Second song in “Troublemaker” reminds more of Malmsteen than it does of Trance; a great track and well played but again, nothing that reminds.... The mid-paced “Death Machine” has bit of a Glenn Hughes, powered up Blues vibe with some really good drummage running underneath. “Deep Dance” is a bit of a overproduced and overly stretched sing along thing that does not work. Better picks of the album are the pounding Headbanger “The Fighter”, the rhythmic and twin-guitar layered pounder “Believers” and the bobbing title-track “Metal Forces” (with solo's!!). For a Trance album, there is not much focus on the guitars and songs that date back to the early material are the mid-paced “As Long As I Live” but again, without the guitar action to spice it up; a thing that is put right on closing tune “Ballad For A Group”, alternating heavy balladry with accelerated Metal. O.K
Paul van der Burght
label: Metalopolis
web: https://www.facebook.com/tranceliveandheavy/
Newest work from classic German Metalers Trance that released the highly acclaimed albums “Break Out and "Power Infusion" back in the early 80's. Fast forward to 2021 and there's not much that reminds of the 'trademark' Trance sound. This is a decent album but it has got nothing to do with Trance, sounding much like any other NWOTHM band out there, offering a combination of properly produced PowerMetal and Heavy Metal with deserving up-range vocals. Second song in “Troublemaker” reminds more of Malmsteen than it does of Trance; a great track and well played but again, nothing that reminds.... The mid-paced “Death Machine” has bit of a Glenn Hughes, powered up Blues vibe with some really good drummage running underneath. “Deep Dance” is a bit of a overproduced and overly stretched sing along thing that does not work. Better picks of the album are the pounding Headbanger “The Fighter”, the rhythmic and twin-guitar layered pounder “Believers” and the bobbing title-track “Metal Forces” (with solo's!!). For a Trance album, there is not much focus on the guitars and songs that date back to the early material are the mid-paced “As Long As I Live” but again, without the guitar action to spice it up; a thing that is put right on closing tune “Ballad For A Group”, alternating heavy balladry with accelerated Metal. O.K
Paul van der Burght
THE TD9 ROCK SHOW
web: https://www.facebook.com/TD9Rockshow
The TD9 ROCK SHOW is a weekly radio show playing the finest selection of Classic Rock, Hard Rock and Heavy Metal. The TD9 Rock show is part of the TD9 Hawick Community Radio and is put together by DJ Wullie Robertson. The show airs every Thursday from 19:00 – 22:00 and can be listened to live via on-line streaming here: https://td9radio.online/presenters/wullie
web: https://www.facebook.com/TD9Rockshow
The TD9 ROCK SHOW is a weekly radio show playing the finest selection of Classic Rock, Hard Rock and Heavy Metal. The TD9 Rock show is part of the TD9 Hawick Community Radio and is put together by DJ Wullie Robertson. The show airs every Thursday from 19:00 – 22:00 and can be listened to live via on-line streaming here: https://td9radio.online/presenters/wullie
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STORM – single 2021 “Here I Am”label: private
web: https://www.facebook.com/StormBandBG
Third single by this Bulgarian three-piece that have powered up their sound with this one. The moderately fast paced “Here I Am” sounds like mid 80's melodic Heavy / PowerMetal, dressed with mid-range vocals, double-bass drums and a lot of guitar that includes, propelling rhythm riffage, twin harmonies and a solo-section that clicks with Iron Maiden. Storm have kept things quite balanced and in place enhancing that 80's feel. Think a mix of Blind Guardian, Helloween and Maiden with a prominent role for the guitar, and that is where you will find Storm. Nice
Paul van der Burght
web: https://www.facebook.com/StormBandBG
Third single by this Bulgarian three-piece that have powered up their sound with this one. The moderately fast paced “Here I Am” sounds like mid 80's melodic Heavy / PowerMetal, dressed with mid-range vocals, double-bass drums and a lot of guitar that includes, propelling rhythm riffage, twin harmonies and a solo-section that clicks with Iron Maiden. Storm have kept things quite balanced and in place enhancing that 80's feel. Think a mix of Blind Guardian, Helloween and Maiden with a prominent role for the guitar, and that is where you will find Storm. Nice
Paul van der Burght
WITCH CROSS – 2021 “Angel Of Death”
label: High Roller records
web: http://www.witchcross.dk/
This is the very same band that released the '84 “Fit To Fight” LP that kind of got lost in the abundance of Metal albums produced at the time. But also did the band seem to have a stronger sound and delivery on their '83 “Are You There” single and their demo tapes that sparked a solid fanzine exposure back then. The band's 2013 come-back album “Axe To Grind” departed from the original Witch Cross sound, and fast-forwarding to the current, 2021 album, there's not much that clicks with the original Witch Cross concept. The new sound is melodic edged Hard Rock / Metal with quite chunky guitars and has more than one parallel with Saxon (and less a measure Iron Maiden), as witnessed on “Angel Of Death”, “Evil Eye”, “Phoenix Fire” and “Eye Of The Storm”. To some degree, this might be due to the deserving, mid-range vocals. The album moves in either a mid or up-tempo drive with a slow burner in the shape of “Siren's Song” that accelerates halfway down, gelling the likes of Iron Maiden and Mercyful Fate. The album does not spark and actually is rather standard but somehow grows on you with a bit more oomph delivered on the second half of the set.
Paul van der Burght
label: High Roller records
web: http://www.witchcross.dk/
This is the very same band that released the '84 “Fit To Fight” LP that kind of got lost in the abundance of Metal albums produced at the time. But also did the band seem to have a stronger sound and delivery on their '83 “Are You There” single and their demo tapes that sparked a solid fanzine exposure back then. The band's 2013 come-back album “Axe To Grind” departed from the original Witch Cross sound, and fast-forwarding to the current, 2021 album, there's not much that clicks with the original Witch Cross concept. The new sound is melodic edged Hard Rock / Metal with quite chunky guitars and has more than one parallel with Saxon (and less a measure Iron Maiden), as witnessed on “Angel Of Death”, “Evil Eye”, “Phoenix Fire” and “Eye Of The Storm”. To some degree, this might be due to the deserving, mid-range vocals. The album moves in either a mid or up-tempo drive with a slow burner in the shape of “Siren's Song” that accelerates halfway down, gelling the likes of Iron Maiden and Mercyful Fate. The album does not spark and actually is rather standard but somehow grows on you with a bit more oomph delivered on the second half of the set.
Paul van der Burght
SONIC HAVEN – 2021 “Vagabond”
label: Frontiers records
web: https://www.facebook.com/SonicHavenofficial
Germany's Sonic Haven are a relatively new band but their sound harks back to the 80's and into the early 90's; think a mix of Rainbow, Helloween, Malmsteen and Impellitteri, sauced with a lot of guitar action and muscular vocals. This is one very energetic, riff oriented affair that is mainly up-tempo driven with the speed cranked up to a semi-Headbanging modus on “Blind The Enemy” and opening track “Vagabond”, gelling 80's Power / Speed Metal that borrows from both the classic Euro and U.S Metal sound. The whole thing is nicely diversified, and apart from the heavy balladry of “Save The Best For Last”, quite unique in delivery, backed with a solid musicianship and a full / bombastic production. In all, a very complete album well worth investigating.
Paul van der Burght
label: Frontiers records
web: https://www.facebook.com/SonicHavenofficial
Germany's Sonic Haven are a relatively new band but their sound harks back to the 80's and into the early 90's; think a mix of Rainbow, Helloween, Malmsteen and Impellitteri, sauced with a lot of guitar action and muscular vocals. This is one very energetic, riff oriented affair that is mainly up-tempo driven with the speed cranked up to a semi-Headbanging modus on “Blind The Enemy” and opening track “Vagabond”, gelling 80's Power / Speed Metal that borrows from both the classic Euro and U.S Metal sound. The whole thing is nicely diversified, and apart from the heavy balladry of “Save The Best For Last”, quite unique in delivery, backed with a solid musicianship and a full / bombastic production. In all, a very complete album well worth investigating.
Paul van der Burght
CALIDA ROCKS – Rock and Metal Radio Show
Calida Rocks is a Rock and Metal show that broadcasts on FM radio in Spain, with a world-wide base of listeners via live internet streaming. The show Airs every Friday evening from 19:00 – 22:00 hrs (Spanish time / CEST) and is voiced and hosted in English by presenter James Whittall. The show plays a mixture of high-tempo Hard Rock and Metal with a mixture of the best new music, mixed in with the classics of yesteryear.
Show can be heard on FM 90-100 (Spain) and streamed live via this link:
http://www.costacalidaradio.com/
by clicking the play button.
CALIDA ROCKS 'The baddest Rock Show on the Planet'!
Calida Rocks is a Rock and Metal show that broadcasts on FM radio in Spain, with a world-wide base of listeners via live internet streaming. The show Airs every Friday evening from 19:00 – 22:00 hrs (Spanish time / CEST) and is voiced and hosted in English by presenter James Whittall. The show plays a mixture of high-tempo Hard Rock and Metal with a mixture of the best new music, mixed in with the classics of yesteryear.
Show can be heard on FM 90-100 (Spain) and streamed live via this link:
http://www.costacalidaradio.com/
by clicking the play button.
CALIDA ROCKS 'The baddest Rock Show on the Planet'!
HEAVEN & EARTH – 2021 “V”
label: Frontiers records
web: https://www.facebook.com/officialheavenandearth
International band with its members residing across Europe and the U.S.A. As its title gives away, “V” is their fifth album / collaboration, delivering a concept that harks back to the classic Hard Rock sound that moves somewhere in between Rainbow and Malmsteen. Accordingly, this comes with the occasional Hammond backing and Richie Blackmore styled guitar solos. The upper mid-range toned vocals come with a bit of a raised roar, adding a certain, unpolished 70's finish to the music. A bit different in approach are the more Mainstream oriented “Nothing To Me” and the Rock-Opera esque Rock Ballad that is “Never Dream Of Dying”. The Malmsteen thing is pushed forward on the atmospheric laden “Poverty” with the vocals upping it in a Mark Boals (Malmsteen) kind of style. The album dips down a bit halfway through the set as it mainly rotates the mid – up tempo with an absence of more fiery tempos or twists to spice up the repertoire. “V” is a decent release, but just feels like it is a bit static and restricted in relation to the genre(s) and the musicianship that runs through it. OK
Paul van der Burght
label: Frontiers records
web: https://www.facebook.com/officialheavenandearth
International band with its members residing across Europe and the U.S.A. As its title gives away, “V” is their fifth album / collaboration, delivering a concept that harks back to the classic Hard Rock sound that moves somewhere in between Rainbow and Malmsteen. Accordingly, this comes with the occasional Hammond backing and Richie Blackmore styled guitar solos. The upper mid-range toned vocals come with a bit of a raised roar, adding a certain, unpolished 70's finish to the music. A bit different in approach are the more Mainstream oriented “Nothing To Me” and the Rock-Opera esque Rock Ballad that is “Never Dream Of Dying”. The Malmsteen thing is pushed forward on the atmospheric laden “Poverty” with the vocals upping it in a Mark Boals (Malmsteen) kind of style. The album dips down a bit halfway through the set as it mainly rotates the mid – up tempo with an absence of more fiery tempos or twists to spice up the repertoire. “V” is a decent release, but just feels like it is a bit static and restricted in relation to the genre(s) and the musicianship that runs through it. OK
Paul van der Burght
RIAN – 2021 “Twenty Three”
label: Frontiers records
web: https://www.facebook.com/rianisalive/
Swedish melodic Rock outfit that present the 1st out of a multi-record deal with Frontiers records, following the release of their “Out Of The Darkness” debut in 2017. Rian plays a mix of radio friendly 80's Chart Rock / Melodic (Hard) Rock American style. Songs are mostly up-tempo driven with the pace slowing down during the (semi) balladry of “For Your Heart” and “My Ocean”. The album holds some nice compositions and is nicely played with functional, but not overly convincing mid-range vocals and some nice guitar-work with shades of Neal Schon. The whole thing sounds a little careful and ordinary in places but does come along all right. Fair.
Paul van der Burght
label: Frontiers records
web: https://www.facebook.com/rianisalive/
Swedish melodic Rock outfit that present the 1st out of a multi-record deal with Frontiers records, following the release of their “Out Of The Darkness” debut in 2017. Rian plays a mix of radio friendly 80's Chart Rock / Melodic (Hard) Rock American style. Songs are mostly up-tempo driven with the pace slowing down during the (semi) balladry of “For Your Heart” and “My Ocean”. The album holds some nice compositions and is nicely played with functional, but not overly convincing mid-range vocals and some nice guitar-work with shades of Neal Schon. The whole thing sounds a little careful and ordinary in places but does come along all right. Fair.
Paul van der Burght
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NON SEI NORMALE radio-show
Non Sei Normale is a Hard Rock and Heavy Metal radio show hosted live, every Monday evening from 21:00 to 23:00 hrs (CET) on Radio Torre Macauda 97.6 FM from Sciacca, Italy, and presented by Marco Gulino. The show can be streamed live via the following link and by clicking the player button www.radiotorremacauda.it After the end of each episode, the podcast will be posted and shared on Soundcloud here: https://soundcloud.com/marco-gulino-535998989 |
RICK SANTERS – 2021 “Lovesick” (the single)
web: https://santers.com/rick-santers/
Newest work from Canadian melodic Rock veteran Rick Santers who, back in the early 80's, wowed the scene at a global scale with the Santers albums “Shot Down In Flames”, “Racing Time” and “Guitar Alley”. Fast forward to 2021, Rick has launched a new track, “Lovesick” that moves in the traditional Hard Rock fashion, sauced with melodic vocals, Bluesy guitar hooks and a lot of groove that thickens during the solo. “Lovesick” is easy on the ear and radio-friendly with a catchy chorus and a rolling, moderately paced beat, reminding of the old Santers stuff with added muscle and groove. Cool.
Paul van der Burght
The “Lovesick” single-track is available here:
https://open.spotify.com/album/3gY42UXFm0Vm5FiBLnWk45
https://music.apple.com/us/album/lovesick-single/1568494002
https://music.youtube.com/watch?v=iVexPlFfhK8
web: https://santers.com/rick-santers/
Newest work from Canadian melodic Rock veteran Rick Santers who, back in the early 80's, wowed the scene at a global scale with the Santers albums “Shot Down In Flames”, “Racing Time” and “Guitar Alley”. Fast forward to 2021, Rick has launched a new track, “Lovesick” that moves in the traditional Hard Rock fashion, sauced with melodic vocals, Bluesy guitar hooks and a lot of groove that thickens during the solo. “Lovesick” is easy on the ear and radio-friendly with a catchy chorus and a rolling, moderately paced beat, reminding of the old Santers stuff with added muscle and groove. Cool.
Paul van der Burght
The “Lovesick” single-track is available here:
https://open.spotify.com/album/3gY42UXFm0Vm5FiBLnWk45
https://music.apple.com/us/album/lovesick-single/1568494002
https://music.youtube.com/watch?v=iVexPlFfhK8
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THY ROW – 2012 “Unchained”
label: Rockshots records / Rubicon Music (Japan)
web: https://www.facebook.com/ThyRowBand/
Finland based unit that made their debut with a self-titled E.P in 2019 and have now emerged with a full-length album. The main chunk of the set seems to have drawn its inspiration from 80's Metal with parallels to Dio and Malmsteen. This not only reflects in the songwriting (the mid-paced “The Round” and “Unchained”) but also in the vocal department, with singer Mikael Salo delivering a rough-edged muscular vocal tone that clicks with Mark Boals (Malmsteen) in places. The bobbing title-track kind of blends Dio and Malmsteen with a modern Metal finish; a feature that also sauced the opening tune “Road Goes On”. Thy Row delivers a perfect mix of melody and power with the Goth esque Rock Ballad “Down On My Knees” on side side, and the album's heaviest pairing; “The Downfall Part. II” - a heavy Power Metal cruncher with shades of Vicious Rumors - and the rhythm riffed SpeedMetaler “Blue Blood” (which actually is a X Japan cover sung in Japanese!) on the far end of the musical spectrum. In between this, is a variety of songs, including stompin' Hard Rockers (“Horizons”, “The Downfall Part II”) and a Blues infused, Alternative edged Rocker (“Hidebound”). The musical performance is top level but never overdone with some nice guitar work throughout. This is one very entertaining album with a diverse palette of styles and tempos. Great!
Paul van der Burght
label: Rockshots records / Rubicon Music (Japan)
web: https://www.facebook.com/ThyRowBand/
Finland based unit that made their debut with a self-titled E.P in 2019 and have now emerged with a full-length album. The main chunk of the set seems to have drawn its inspiration from 80's Metal with parallels to Dio and Malmsteen. This not only reflects in the songwriting (the mid-paced “The Round” and “Unchained”) but also in the vocal department, with singer Mikael Salo delivering a rough-edged muscular vocal tone that clicks with Mark Boals (Malmsteen) in places. The bobbing title-track kind of blends Dio and Malmsteen with a modern Metal finish; a feature that also sauced the opening tune “Road Goes On”. Thy Row delivers a perfect mix of melody and power with the Goth esque Rock Ballad “Down On My Knees” on side side, and the album's heaviest pairing; “The Downfall Part. II” - a heavy Power Metal cruncher with shades of Vicious Rumors - and the rhythm riffed SpeedMetaler “Blue Blood” (which actually is a X Japan cover sung in Japanese!) on the far end of the musical spectrum. In between this, is a variety of songs, including stompin' Hard Rockers (“Horizons”, “The Downfall Part II”) and a Blues infused, Alternative edged Rocker (“Hidebound”). The musical performance is top level but never overdone with some nice guitar work throughout. This is one very entertaining album with a diverse palette of styles and tempos. Great!
Paul van der Burght
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Real Rock Music On A real Radio Station web: https://www.facebook.com/10Radioclassicrock/ www.10radio.org UK based Classic Rock Radio show airing live on 10Radio 105.3 FM, every other Friday at 22.00 pm BST. Raised ON Rock flies the flag for Classic Rock past and present, playing the best of the new releases shoulder to shoulder with the best tracks from the golden era of Classic Rock. The show delivers 'all killer no filler Classic Rock' with at least 60/40 % in favour of new material; mostly melodic Rock but also traditional Metal, Symphonic Metal, Blues and Prog Rock reaching listeners all across the globe. Raised ON Rock brings back the vibe of the classic BBC Radio 1 Friday Rock Show that was presented by Tommy Vance and follows the same principle, “It's the music that matters”. Raised ON Rock is also uploaded to mixcloud which allows one to listen to the show at any time. Check it out! |
THE METAL ASYLUM radio show
https://www.the-metal-asylum.com/
https://www.facebook.com/themetalasylum
The Metal Asylum is a weekly internet radio Metal show, airing on Metal Devastation Radio, every Sunday from 17:00 – 20:00 hrs (U.K time) and presented by 'The Metal Priestess'. 'If you like your music Metal and your Metal heavy, you have come to the right place'
UNDER A SPELL – 2021 “The Chosen One”
label: Pure Steel records
web: https://www.facebook.com/underaspellband/
This album was first released in 2019 in digital format and has now been now materialized by Pure Steel records. Under A Spell are a female fronted U.S band that play a blend of Stoner Power Metal, Doom and 70's Psychedelic Rock, sauced with NWOTHM. Whether intentional or not, the production sounds pretty much like a home recording which adds to the vibe of the whole thing but equally limits the impact of the music, particularly in the drum department which is either buried in the mix or rather plastic in appearance. The 'haunting' vocals of singer Pam Rosser accent the atmosphere and 70's vibes, delivering a distinctive voice that kind of 'makes the music'. The up-tempo Power Metal Doomster “The Chosen One” has somewhat of a Priest flavour and is among the heavier picks of the album. “Cast A Spell” and “Crushed By The Stones” show the creative element of the band which is there but somehow does not entirely come off in both production and performance. “The Chosen One” sounds like the 80's rehearsal type basement tape which sometimes works in the now, whether it does here is questionable. Fair
Paul van der Burght
label: Pure Steel records
web: https://www.facebook.com/underaspellband/
This album was first released in 2019 in digital format and has now been now materialized by Pure Steel records. Under A Spell are a female fronted U.S band that play a blend of Stoner Power Metal, Doom and 70's Psychedelic Rock, sauced with NWOTHM. Whether intentional or not, the production sounds pretty much like a home recording which adds to the vibe of the whole thing but equally limits the impact of the music, particularly in the drum department which is either buried in the mix or rather plastic in appearance. The 'haunting' vocals of singer Pam Rosser accent the atmosphere and 70's vibes, delivering a distinctive voice that kind of 'makes the music'. The up-tempo Power Metal Doomster “The Chosen One” has somewhat of a Priest flavour and is among the heavier picks of the album. “Cast A Spell” and “Crushed By The Stones” show the creative element of the band which is there but somehow does not entirely come off in both production and performance. “The Chosen One” sounds like the 80's rehearsal type basement tape which sometimes works in the now, whether it does here is questionable. Fair
Paul van der Burght
HOOFMARK – 2021 “Evil Blues”
label: Miasma Of Barbarity records
web: https://www.hoofmark.org/
Portugal's one man project Hoofmark is back with another creative album that goes far beyond the regular sound and interpretations of genres. Having produced a rather experimental Black Metal album prior to this one, Nuno is back in form with another twist to the Black / Death Metal thing. This time around, there's an even more experimental modus with some trippy, unusual twists on the sombre, guitar / agony vocal combination that is “No 5, 2019”. There's not always a full-instrumentation present on this album, and this is mainly where the experimentation is let loose, alongside all out (Nordic) BlackMetal scorchers such as “Porch Fire” and “Anguished Demon Blues”, and a more Doom-laden approach as presented on “Best Kept Out”. The 'Blues' reference of its title does not really reflect in the music apart maybe for the Psychobilly twists on a song such as “Drop By At Night”. Whichever way you look at this album, it has its heavy moments but it definitely is not for everyone for it is an acquired taste and pretty unusual in places with clean vocals and guitar only. Different
Paul van der Burght
label: Miasma Of Barbarity records
web: https://www.hoofmark.org/
Portugal's one man project Hoofmark is back with another creative album that goes far beyond the regular sound and interpretations of genres. Having produced a rather experimental Black Metal album prior to this one, Nuno is back in form with another twist to the Black / Death Metal thing. This time around, there's an even more experimental modus with some trippy, unusual twists on the sombre, guitar / agony vocal combination that is “No 5, 2019”. There's not always a full-instrumentation present on this album, and this is mainly where the experimentation is let loose, alongside all out (Nordic) BlackMetal scorchers such as “Porch Fire” and “Anguished Demon Blues”, and a more Doom-laden approach as presented on “Best Kept Out”. The 'Blues' reference of its title does not really reflect in the music apart maybe for the Psychobilly twists on a song such as “Drop By At Night”. Whichever way you look at this album, it has its heavy moments but it definitely is not for everyone for it is an acquired taste and pretty unusual in places with clean vocals and guitar only. Different
Paul van der Burght
INNER TORTURE – CD E.P 2020 “Stain”
label: private
web:https://innertorture.bandcamp.com/ https://www.facebook.com/InnerTorture
Some 90's styled Thrash Metal presented here by this French outfit featuring a female singer that is capable of delivering a gruff DeathMetal growl, alongside Gothic like, almost operatic sounding modes. It is the vocalage that adds the 'novelty' factor to this E.P that is a debut and sounds like it. The E.P could have benefited from a proper production (that suffers in the drum department) and timing. Track #2, “Fear” has some cool riffage and vocal variety and comes out as one of the stronger offerings but is not enough to uplift the product as a whole.
Paul van der Burght
label: private
web:https://innertorture.bandcamp.com/ https://www.facebook.com/InnerTorture
Some 90's styled Thrash Metal presented here by this French outfit featuring a female singer that is capable of delivering a gruff DeathMetal growl, alongside Gothic like, almost operatic sounding modes. It is the vocalage that adds the 'novelty' factor to this E.P that is a debut and sounds like it. The E.P could have benefited from a proper production (that suffers in the drum department) and timing. Track #2, “Fear” has some cool riffage and vocal variety and comes out as one of the stronger offerings but is not enough to uplift the product as a whole.
Paul van der Burght
THE MIDLANDS METALHEADS 'EARLY BIRD BREAKFAST SHOW'
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THE MIDLANDS METALHEADS 'EARLY BIRD BREAKFAST SHOW' web: www.mmhradio.co.uk https://mmhradio.co.uk/podcasts/the-early-bird/ Start your weekend with a hearty dose of Morning Metal on 'The Early Bird Breakfast. Every Saturday from 11:00 -12:00 GMT / 12:00 – 13:00 CET, Tina Culbertson rocks the airwaves with an eclectic mix of Classic Rock, Metal and anything in between. Tune in to listen live or catch up via the links above. |
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FLESHWOLF – 2020 “Fleshwolf”
label: private
web: www.facebook.com/fleshwolf
High Octane mix of classic Thrash, Death Metal, Power Metal and HardCore with a swing that is very much its own as this is a one-man Death Metal project tagged by the man himself as ' Swedish Death Metal played by an Irish fella'. This self-titled 8 songer, released in May 2020 truly is a throwback to the 90's Death Metal sound from the Northern regions with a lot of Thrashy guitar, growling vocals raps and a razor sharp production. This stuff is intense and fast but also has some atmospheric / Doomy twists thrown in there for compensation, as evidenced on “The Rot” and “Of The Night”. Quite surprising is to find traces of Fear Factory in there as well, referring to “Transcend” and “Dark Corners” but it all fits within the concept. The whole thing is well played and never overdone, adding to the quality of this album. Solid.
Paul van der Burght
label: private
web: www.facebook.com/fleshwolf
High Octane mix of classic Thrash, Death Metal, Power Metal and HardCore with a swing that is very much its own as this is a one-man Death Metal project tagged by the man himself as ' Swedish Death Metal played by an Irish fella'. This self-titled 8 songer, released in May 2020 truly is a throwback to the 90's Death Metal sound from the Northern regions with a lot of Thrashy guitar, growling vocals raps and a razor sharp production. This stuff is intense and fast but also has some atmospheric / Doomy twists thrown in there for compensation, as evidenced on “The Rot” and “Of The Night”. Quite surprising is to find traces of Fear Factory in there as well, referring to “Transcend” and “Dark Corners” but it all fits within the concept. The whole thing is well played and never overdone, adding to the quality of this album. Solid.
Paul van der Burght
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FLIGHT OF ICARUS - 2021 "Cleo"
label: Blindfoldead International
web: https://www.worldoficarus.com/
Newest work from this Sweden based act, presenting a fine blend of Gothic edged Pop Rock, with a strong, symphonic undertone. As almost standard with the genre, the female vocals are in the centre of attention. Things are occasionally beefed up in subtle manner by a 'propelling' Euro PowerMetal fragments of double bass and rhythm riffs as on “Our Burning Star”. Music has a commercial appeal and has a radio-friendly U.S.Mainstream / A.O.R vibe that is backed by a Scandinavian smoothness in both musical appearance and production, and songs are accessible and catchy with inviting, sing along refrains. The American / A.O.R sound is pushed forward on the 80's styled rock balladry of “Fly Away” and “Stay With Me” which also toys with hints of Folk in the vocal department, as does closing tune “Come Give Me Love” which does so in overall approach and is sung in native tongue. Throughout the disc, the vocals are neat and functional and never overdone or operatic, but tend more towards classic U.S PopRock / Mainstream on the majority of tunes with the odd trace of Heart in there. Quite a surprise is the inclusion of a narrated story as a complete track; “The Story Of Cleo”. Overall, Nicely done and pleasant to the ear.
Paul van der Burght
label: Blindfoldead International
web: https://www.worldoficarus.com/
Newest work from this Sweden based act, presenting a fine blend of Gothic edged Pop Rock, with a strong, symphonic undertone. As almost standard with the genre, the female vocals are in the centre of attention. Things are occasionally beefed up in subtle manner by a 'propelling' Euro PowerMetal fragments of double bass and rhythm riffs as on “Our Burning Star”. Music has a commercial appeal and has a radio-friendly U.S.Mainstream / A.O.R vibe that is backed by a Scandinavian smoothness in both musical appearance and production, and songs are accessible and catchy with inviting, sing along refrains. The American / A.O.R sound is pushed forward on the 80's styled rock balladry of “Fly Away” and “Stay With Me” which also toys with hints of Folk in the vocal department, as does closing tune “Come Give Me Love” which does so in overall approach and is sung in native tongue. Throughout the disc, the vocals are neat and functional and never overdone or operatic, but tend more towards classic U.S PopRock / Mainstream on the majority of tunes with the odd trace of Heart in there. Quite a surprise is the inclusion of a narrated story as a complete track; “The Story Of Cleo”. Overall, Nicely done and pleasant to the ear.
Paul van der Burght
LEGENDRY – 2021 “Mists Of Time”
label: High Roller records
web:https://www.facebook.com/legendryband https://legendry.bandcamp.com
Re-release of the 2016 debut album by this Pittsburgh, Pennsylvania based band that are rooted in the Epic Metal sound produced by bands such as Brocas Helm, Warlord, Cirith Ungol and Manilla Road. Right from the opening tunes of “Cimmeria, the Manilla Road vibe is evident, particularly in the vocal department. Add to this a blend of Candlemass in all round atmosphere and that pretty much sums up the album which goes quite deep and dark at times with a mystical charm to bring it back to Epic Metal territories. Twists to the concept come with particles of the 70's thing (“Attack Of The Necromancer”) and the 60's, the latter which is funnelled through instrumental ad-lib wah wah guitar and psychedelic vibes. Yet, there's enough power and Metal delivery that allows such side-steps without affecting the impact of the album that peaks on heavier offerings such as the 80's Headbanger / Speed Metaler “Phoenix On The Blade” and the moderately paced grinder “Attack Of The Necromancer” that somehow links to Celtic Frost merged with NWOBHM. The album has moments it sounds like a debut but it is the concept that kind of put things right here for it is quite a daring and refreshing mix that works. The well presented cover of Manilla Road's “Necropolis” crowns the concept on offer here. Cool.
Paul van der Burght
label: High Roller records
web:https://www.facebook.com/legendryband https://legendry.bandcamp.com
Re-release of the 2016 debut album by this Pittsburgh, Pennsylvania based band that are rooted in the Epic Metal sound produced by bands such as Brocas Helm, Warlord, Cirith Ungol and Manilla Road. Right from the opening tunes of “Cimmeria, the Manilla Road vibe is evident, particularly in the vocal department. Add to this a blend of Candlemass in all round atmosphere and that pretty much sums up the album which goes quite deep and dark at times with a mystical charm to bring it back to Epic Metal territories. Twists to the concept come with particles of the 70's thing (“Attack Of The Necromancer”) and the 60's, the latter which is funnelled through instrumental ad-lib wah wah guitar and psychedelic vibes. Yet, there's enough power and Metal delivery that allows such side-steps without affecting the impact of the album that peaks on heavier offerings such as the 80's Headbanger / Speed Metaler “Phoenix On The Blade” and the moderately paced grinder “Attack Of The Necromancer” that somehow links to Celtic Frost merged with NWOBHM. The album has moments it sounds like a debut but it is the concept that kind of put things right here for it is quite a daring and refreshing mix that works. The well presented cover of Manilla Road's “Necropolis” crowns the concept on offer here. Cool.
Paul van der Burght