Album Review – Sepsiss / Badd Blood EP (2019)

Bang your head to the debut EP by this emerging American outfit that plays uncompromising metal combining a more traditional sound with modern rhythms and urban hardcore.

Founded by vocalist Melissa Wolfe and guitarist William Savant in 2011 in Manchester, a city in the southern part of the U.S. state of New Hampshire, the incendiary female-fronted Hard Rock and Alternative Metal band that goes by the name of Sepsiss has been wowing crowds across their home state since their inception, playing uncompromising metal that combines a more traditional sound with modern rhythms, light synths and a blend of urban hardcore. Now in 2019 this five-piece outfit comprised of the aforementioned Melissa on clean vocals and William on harsh vocals and on the guitar, accompanied by Cam Loud also on the guitar, Mr Goodbarz on keyboards and Robbert Pann on drums is unleashing a very dynamic and fun EP entitled Badd Blood, offering fans of modern metal music eight unique tracks which prove that female-fronted metal bands can offer some of the most powerful, intriguing and diverse sounds in the genre, just like what bands such as their rock heroes Heart and more recently Evanescence have always done.

A cinematic intro evolves into a feast of modern-day Hardcore and Alternative Metal entitled Fair To Say led by Melissa’s classic vocal lines, giving life to the song’s lovesick lyrics (“You are my favorite vice, / The way you’re squeezing me tonight. / The way you’re screaming songs slice the sky for me… / I fell in love with your void, / I filled it up on my own accord. / And you’re bored with being broken… / SO I’LL BREAK US UP!!!!”), as if Green Day met Evanescence. Then with William making a flammable vocal duet with Melissa we have To Write Hate On His Arms, showcasing straightforward and precise beats by Robbert while Mr Goodbarz adds a touch of delicacy and madness to the background with his keys, resulting in what’s in my humble opinion the best track of the EP.

William and Cam bring tons of heaviness to the band’s modern Hard Rock in Sky Is Falling, a song that’s considerably faster and more dynamic than its predecessors, with the music remaining vibrant and fresh for over five minutes in an interesting fusion of different styles like Metalcore, Melodic Death Metal and contemporary Hard Rock; followed by The Swarm, where the band switches their gears to a more alternative sonority with Mr Goodbarz and Robbert keeping the atmosphere as modern as possible in perfect sync with the guitar riffs. Black Light Invasion follows a similar pattern, with Melissa’s vocals getting sexier as the music progresses, sounding groovy and catchy from the very first second and, therefore, being highly recommended for hitting the dance floor while both William and Cam kick some serious ass with their riffs and solos. And in Falling Unloved the band accelerates their pace to a frantic fusion of the music by Evanscence with Hardcore, Punk Rock and even Ska, crushing their instruments mercilessly and offering their fans a good reason to crack their necks headbanging.

And their Rock N’ Roll party goes on in Force You To Lay Down, where the vocals by Melissa sound inebriating and captivating, while her bandmates make sure the energy level doesn’t go down not even a bit by pounding their instruments nonstop. Last but not least, Eyes Of Empathy closes the album with five minutes of first-class Hard Rock, showcasing lyrics that are as catchy as they can be (“Eyes of empathy can never reason why… / It could never mend the things I’ve seen tonight… / Forever quell the screams of your denial… / I won’t ever wake.”). Not only that, Melissa is on absolute fire on vocals, with the amount of electricity and rage brought forth by William, Cam and Robbert being beyond outstanding.

Do you have what it takes to enter the alternative and metallic lands ruled by Melissa, William & Co.? You can certainly show your total support to such up-and-coming band by following them through their official Facebook page, by subscribing to their YouTube channel, by listening to their music on Spotify, and obviously by purchasing Badd Blood from the band’s own webstore as a regular physical version or as an autographed edition. And let’s hope Sepsiss keep on rocking and inspiring more and more women to follow a similar musical path not only in their home state, but anywhere else in the world where good music is appreciated, all in the name of Rock N’ Roll.

Best moments of the album: To Write Hate On His Arms and Eyes Of Empathy.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Fair To Say 3:54
2. To Write Hate On His Arms 3:20
3. Sky Is Falling 5:17
4. The Swarm 2:27
5. Black Light Invasion 3:58
6. Falling Unloved 3:55
7. Force You To Lay Down 3:37
8. Eyes Of Empathy 5:03

Band members
Melissa Wolfe – vocals
William Savant – vocals, guitars
Cam Loud – guitars
Mr Goodbarz – keyboards
Robbert Pann – drums

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Album Review – Vessel of Iniquity / Void of Infinite Horror (2019)

Get ready for total annihilation, disembodiment and the disintegration of reality and existence in the form of a horrific strain of noise-infested black and death decimation.

Ritual black and death invocation. Terror noise-metal aimed at disintegrating one’s being and entire existence through the sheer force of hell in audial form. These are some of the words that can be used to describe the visceral music found in Void of Infinite Horror, the first full-length opus by British Black/Death Metal one-man sonic extermination entity Vessel of Iniquity. Formed in 2015 in Oxfordshire, a county in South East England, in the UK, Vessel of Iniquity is the brainchild of vocalist and multi-instrumentalist A. White, a talented musician who definitely knows  how to transform austere topics such as annihilation, disembodiment and the disintegration of reality and existence into a horrific strain of noise-infested black and death decimation.

Once again crafted and home-recorded in total seclusion, mastered by James Plotkin (Plotkinworks) and featuring layout and design by M. Alagna, Void of Infinite Horror offers the listener five unrelenting tracks of extreme music, sounding claustrophobic, abominable and twisted, all enfolded by a minimalist and dark cover painting by American artist Ellen Hausner named “Untitled (Monoprint series 1A)”. If you’re a fan of the massacring industrial noise scarification by entities like Gnaw Their Tongues, Sutekh Hexen and Abruptum, as well as the grandiose and bludgeoning sonic warfare of bands like Teitanblood and Impetuous Ritual, you’ll have a blast with Void of Infinite Horror, positioning this insanely heavy and wicked one-man army of darkness as one of the most promising names in the the vast but yet unexplored land of what can be labeled as “Terror Noise Metal”.

And the opening track of the album, beautifully entitled Invocation of the Heart Girt With a Serpent, is already the perfect depiction of that so-called Terror Noise Metal, offering our ears a disruptive, eccentric and dissident avalanche of sounds and noises by A. White, with its drums sounding like a machine gun perforating our skulls mercilessly. Babalon is even darker and more menacing, presenting low-tuned sounds and deep, obscure roars that feel more like whispers, resulting in a modern-day Blackened Doom feast tailored for fans of devilish music. Hence, this track could easily be used as part of a horror movie score due to its strength, range and potential to instill fear in our hearts.

A. White’s demented onrush of sounds and noises goes on in Void of Infinite Sorrow, blending the most Stygian elements from Black and Doom Metal in its sluggish beats, thunderous riffs and bass, and malevolent rhythm, also presenting a menacing aura that ends up boosting its impact even more. If you think A. White and his Vessel of Iniquity will have to slow down at a given point to let us breathe you’re absolutely wrong, as his hurricane of dementia only gets stronger and darker as the music flows in Mother of Abomination, being utterly insane from start to finish, before the music switches from total chaos to an atmospheric and ethereal vibe in Once More Into the Abyss, where A. White delivers to our perturbed minds an endless amount of hypnotizing and damned sounds. Furthermore, I’m not sure if this can be called Atmospheric Black Metal, Drone, Noise, none of these, or even all at once, proving how unique and vile Vessel of Iniquity’s music can be.

If I had to summarize the music found in Void of Infinite Horror in one word, that would certainly be “chaos”, and if chaotic music is exactly what you crave in underground metal you must give Vessel of Iniquity a chance and support such distinct one-man act by following him on Facebook, and obviously by purchasing your copy of the album from the Sentient Ruin Laboratories’ BandCamp, from the Xenoglossy Productions’ BandCamp (in a fancy, old school cassette format), from CD Baby or from Discogs. No one knows exactly what lies ahead for A. White and his Vessel of Iniquity, as it’s not an easy task to predict what type of madness and experimentation musicians like him might add to their compositions, but at least we can rest assured that, as long as this cryptic metal entity is alive, chaos will reign.

Best moments of the album: Invocation of the Heart Girt With a Serpent and Babalon.

Worst moments of the album: None.

Released in 2019 Sentient Ruin Laboratories/Xenoglossy Productions

Track listing
1. Invocation of the Heart Girt With a Serpent 3:50
2. Babalon 4:26
3. Void of Infinite Sorrow 4:59
4. Mother of Abomination 4:55
5. Once More Into the Abyss 6:07

Band members
A. White – vocals, all instruments

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 03/27/2019)

One year after storming Toronto with their Cryptoriana World Tour for the first time, the one and only Cradle of Filth returned for another fantastic round of blasphemy, darkness and seductiveness.

OPENING ACT: Raven Black

First of all, I would like to ask anyone to explain to me why WEDNESDAY 13, the Hollywood-based Gothic/Dark Metal band led by Murderdolls’ frontman Joseph Michael Poole (aka Wednesday 13), didn’t open for the almighty Cradle of Filth last night at The Opera House like they’ve been doing together with Los Angeles-based Gothic/Dark Metal unity RAVEN BLACK during this second round of the Cryptoriana North American tour, nicely named CRYPTORIANA WORLD TOUR 2019 – THE SECOND COMING OF VICE. All websites showed Raven Black scheduled for 7pm, Wednesday 13 for 7:45pm and Cradle of Filth for 8:55pm, but what actually happened last night in Toronto was a huge (and tedious) delay that ended up with Raven Black playing at 7:45pm and Cradle of Filth at 8:55pm, with no sign of Wednesday 13 at all nor any communication from the venue or the organizers. Unless they played at 5pm when no one was there to watch them, or if they wanted to make a very bad joke with their own name saying they were “late” two weeks (as yesterday was Wednesday 27), there’s no official reason for their absence. Can anyone out there explain to me what happened, please?

Anyway, without Wednesday 13, Raven Black was left with the always demanding duty of warming up the fans at The Opera house for another night of wicked, sulfurous and dark metal music. Comprised of the stunning, talented and very sympathetic Raven on lead vocals, The Doctor on lead guitar and backing vocals, Stitches on bass and Muppet on drums and harsh vocals (plus another mysterious, unnamed guitarist who would go on and off stage depending on the song played), Raven Black put on a great show, entertaining the fans avid for the more extreme music by Dani Filth and his horde. Still promoting their 2018 album 13, Raven Black played a fairly different setlist from the ones of this same tour, either by changing the order of the songs or by adding new ones, such as their brand new single named Carnival (a very good song, by the way), probably due to Wednesday 13’s cryptic absence. And it was impossible not to keep your eyes turned to the darkly, darkly sexy Raven, who delivered a very entertaining performance impersonating an evil doll with a special artifact per song, including a hula hoop, handcuffs and a giant teddy bear. My favorite songs of their concert were Dollhouse and Twinkle Twinkle Little Scars, and if you also enjoy this type of freakish, circus-inspired metal music, go take a look at their BandCamp page not only to purchase those two songs but their entire (short but already solid) discography.

Band members
Raven – lead vocals
The Doctor – lead guitar, backing vocals
Stitches – bass
Muppet – drums, harsh vocals

CRADLE OF FILTH

After a short break it was time for British Extreme Metal warlocks CRADLE OF FILTH to haunt The Opera House once again for our total delight, still promoting their 2017 album Cryptoriana – The Seductiveness of Decay, almost exactly one year after their 2018 concert in the city, coincidentally also on a Wednesday night. The setlist was very close to their previous one, with a few changes to some of the songs such as the removal of Beneath the Howling Stars and The Death of Love and the inclusion of Nemesis and Honey and Sulphur. I love all those songs, so I was more than fine with those changes as it’s always a pleasure to see a fantastic band like Cradle of Filth playing different songs live, but there was one huge “mistake” made by the band, which was NOT closing the show with the all-time classic From the Cradle to Enslave. Sorry, Dani, but I can’t forgive you for that even after seeing your Instagram post where you say you were quite sick last night (so sick he said they dropped Saffron’s Curse instead of From the Cradle to Enslave). Just kidding, of course.

Anyway, I can’t get tired of watching Dani growling like a demonic beast (even when he’s under the weather) while his bandmates make sure the atmosphere remains as obscure, devilish and aggressive as possible, with one of the nicest keyboardists in the world, Lindsay Schoolcraft, and the unstoppable guitarist Richard Shaw providing an extra touch of delicacy and madness to the show, respectively. Richard didn’t stop jumping up and down, spinning around, spitting and urging the crowd to go crazy into the circle pit, and all that while at the same time he was flawless with his riffs and solos. That’s what I call a true metalhead, my friends, providing Dani some effective support and relief due to his illness. If you were there, I bet their performance during the unparalleled 10-minute infernal beast Bathory Aria left you completely disoriented. That says it all.

In the end, although we didn’t have Wednesday 13 for some unknown reason, it was indeed another amazing night of Extreme Metal, with Raven Black and specially Cradle of Filth, of course, showing Toronto everything they got. When all was said and done (and after all the devastation the fans were promoting inside the endless circle pit in the center of the venue), everyone had a huge smile on their faces, and not even an exhausting day at work (like the one I had) could stop the crowd from enjoying the concert to its fullest. Furthermore, there were several amazing Cradle of Filth shirts being sold by their crew or worn by the fans as usual, but there was a guy wearing a very specific one that caught my attention, where in the back it said “DANI FILTH LOVES YOU”’. Well, how can we argue with that? He surely loves Toronto, and Toronto loves him and his iconic band back. That is pure, mutual respect and admiration that makes them come back to the city again and again. Hence, it’s been just less than a day after the concert was over, but I’m already eager to see the mighty Cradle of Filth possessing our souls once again here in our beloved Toronto.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Nemesis
Right Wing of the Garden Triptych
Heartbreak and Seance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That Witnessed Madness
Wester Vespertine
Dusk and Her Embrace
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Saffron’s Curse
Nymphetamine (Fix)
Honey and Sulphur
Her Ghost in the Fog
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Album Review – Blood Red Saints / Pulse (2019)

Enjoy this great album of Hard Rock highly recommended for anyone whose heart beats faster and whose veins pulse harder whenever good rock is played.

When British Melodic Hard Rock band Blood Red Saints was formed back in 2014 in the city of Manchester, having their name inspired by a semi-legendary motorcycle speedway team called The Blood Red Saints, formed in the late 1920’s in Brooklyn, New York, their main goal was to offer fans of our good old Rock N’ Roll a huge dosage of catchy choruses, groovy riffs and endless electricity, culminating with the release of their debut album Speedway, in 2015, followed by their sophomore installment Love Hate Conspiracies, from 2018. Now it’s time for this talented UK band comprised of vocalist and bassist Pete Godfrey, guitarists Lee Revill and Neil Hibbs, and drummer Andy Chemney to strike again with their third full-length album, titled Pulse, presenting a more modernized but still very melodious sound.

Featuring 11 tracks all written by Pete and Lee, Pulse has a more contemporary edge than the band’s previous efforts, pushing the boundaries of their trademark Melodic Rock and traditional Hard Rock. And the band summarized what you can except from Pulse in some very straightforward but meaningful words. “This album is more personal, dealing with life events of the past year but still maintaining a positive stance, everybody brought their best to this recording, no compromises, no excuses, simply the best 11 songs we could write and we are proud of the results, after all, without music and fun, what is there?” With that said, are you ready to rock with Blood Red Saints to the music from their brand new and well-balanced album of modern-day Rock N’ Roll?

Serene piano notes kick off the groovy and stylish Believer, with both Lee and Neil blasting raw but at the same time very melodic riffs in a feast of Melodic Rock infused with Southern Rock and even Sludge Metal elements, being absolutely fantastic for open air concerts; whereas Animals is highly inspired by 80’s and 90’s Hard Rock, sounding at times like a more Rock N’ Roll version of bands like Motley Crüe and Bon Jovi, with Andy keeping the energy level high with his precise beats (not to mention how piercing the guitars sound). Then, even more Bon Jovi-inspired than its predecessors, the ballad Cross To Bear has a romantic vibe led by Pete’s passionate vocals, being a born-to-be-a-radio-hit Hard Rock tune that also presents a soulful guitar solo to add an extra kick to its overall sound.

In the excellent Invincible we’re treated to a movie-inspired beginning that gradually morphs into a pleasant and very melodic display of contemporary Hard Rock, or in other words, it’s 80’s music with a modern twist led by Pete’s spot-on vocals and the fiery riffs and solos by the band’s guitar duo Lee and Neil. Then putting the pedal to the metal and sounding more hardcore and punk-ish the band offers us I’m Your Devil, a dancing and heavy tune where the backing vocals are exactly what Pete needs to boost his vocals; and after such thrilling ride it’s time to slow things down with another classic ballad by the quartet entitled Crash Into Me, a good song with heavy guitars intertwined with acoustic moments that unfortunately falls flat after a while. Things get back to normal (and by “normal” I mean “awesome”) with the title-track Pulse, a headbanging creation by Blood Red Saints that will please all fans of contemporary rock music, with its backing vocals once again being extremely effective from start to finish.

Message To God is another song perfect for enjoying a cold beer in the name of Rock N’ Roll, with both Lee and Neil slashing their strings beautifully, presenting more complex and progressive passages as well as the best guitar solo of the entire album in my humble opinion, while Warrior is an inspiring ballad showcasing a precise Andy on drums and another touching performance by Pete on vocals, with the sound of guitars bringing that always-welcome extra touch of epicness to the music. In the heavy What Have We Become the band goes full Southern Rock, but still maintaining their Hard Rock core essence intact, resulting in another one of those heavier-than-usual songs that could easily be played on any radio station worldwide, before the ballad Bring Me To Life closes this entertaining album of Hard Rock on a high note by providing the listener a beautiful amalgamation of heavy and acoustic sounds with Lee and Neil being in total sync and, therefore, allowing Pete to simply nail it on vocals.

In a nutshell, Pulse might be exactly what you’re searching for in the alternative rock scene, bringing all elements from past and present in a very compelling and neat package. Hence, go grab your copy of such nicely crafted album (available for a full listen on Spotify) directly from the band’s official website, from the AOR Heaven webstore, from the Nuclear Blast webstore, from iTunes or from Amazon, and don’t forget to follow them on Facebook for news, tour dates and other nice-to-know details. Blood Red Saints sound modern, fresh and vibrant, but at the same time always loyal to the foundations of Rock N’ Roll, turning Pulse into a beyond recommended options for any fan of rock music whose heart beats faster and whose veins pulse harder whenever some high quality, very melodic Hard Rock and Rock N’ Roll music is played.

Best moments of the album: Invincible, I’m Your Devil and Message To God.

Worst moments of the album: Crash Into Me.

Released in 2019 AOR Heaven

Track listing
1. Believer 3:57
2. Animals 3:54
3. Cross To Bear 5:10
4. Invincible 4:34
5. I’m Your Devil 4:00
6. Crash Into Me 4:16
7. Pulse 3:13
8. Message To God 4:36
9. Warrior 5:08
10. What Have We Become 4:13
11. Bring Me To Life 4:07

Band members
Pete Godfrey – vocals, bass
Lee Revill – guitars, backing vocals
Neil Hibbs – guitars, backing vocals
Andy Chemney – drums, backing vocals

Album Review – Dead Witches / The Final Exorcism (2019)

One of the most infamous British covens returns to exorcise our demons with another fantastic lesson in Doom Metal.

The haunting vocals, heavy riffs, fuzzed bass and savage drumming blasted by the infamous British Occult Stoner/Doom Metal coven known as Dead Witches are back for our total delight in 2019 in their brand new sophomore opus titled The Final Exorcism, a follow up to their 2017 extravaganza Ouija. The brainchild of drummer Mark Greening, founding member of Electric Wizard, Ramesses and With The Dead, Dead Witches took the underworld of heavy music by storm with their debut album in 2017, but it’s now with The Final Exorcism that the quartet sounds even more powerful, damned and gloomy, just the way we like it in Doom Metal.

Featuring the aforementioned Mark on drums accompanied by bassist Carl Geary and newcomers Soozi Chameleone (from Satlan) on vocals and Oliver Irongiant (from Grave Lines, Sea Bastard and End the Agony) on the guitar, replacing Virginia Monti and Greg Elk (R.I.P.), respectively, The Final Exorcism is not only the epitome of everything Dead Witches stand for, but a highly recommended album for admirers of devilish and cryptic doom who simply love the night. Put differently, get ready to be dragged down to pitch black darkness with over 40 minutes of classic Doom Metal made in England split into seven distinct and beautifully crafted songs embraced by the somber artwork by Goatess Doomwych, who had already worked with the band in their previous effort.

A cryptic, horror movie-inspired intro named There’s Someone There sets the stage for the sluggish and grim title-track The Final Exorcism, where Oliver begins his riff-attack together with Carl’s reverberating bass punches, all enfolded by Soozi’s sexy and hellish vocals and roars. In other words, this is first-class neck-breaking Doom Metal, offering our ears over seven minutes of somber and atmospheric passages, pounding beats and endless obscurity. And the distorted guitar lines by Oliver keep dictating the rhythm in Goddess Of The Night, while Mark does what he knows best, which is smashing his drums slowly, steadily and fiercely. In addition, Soozi sings like she’s the true goddess of the night, embellishing the airwaves with her damned vocals. Then Dead Witches ask a simple question to us in the wicked When Do The Dead See The Sun, with the answer being quite easy (obviously never), and the music translates that fact into sheer melancholy, feeling like it was taken from a Tarantino movie and, consequently, warming up our senses for The Church By The Sea, where Mark and Carl generate a massive wall of sounds with their weapons while Soozi will put you on a trance in this Sabbath-inspired Doom and Stoner Metal aria. Also, don’t forget to check out this sick live footage recorded on February 22, 2019 during their performance at Heavy Psych Sounds Fest at The Borderline, in London. It’s doom in its rawest form.

The last part of the album is just amazing, starting with Lay, Demon, a brutal and visceral Doom Metal hymn led by Mark’s Stygian beats, while Oliver and Carl keep extracting absolute evil from their strings. “Lay, Demon was the second track that we wrote for the new record, The Final Exorcism,” said Mark. “This is a slab of old-school doom, with a heavy crushing swing to it, as it plods along to cast out any evil spirits that have entered your soul. Vocalist Soozi Chameleone adds lyrics that tell the tale of a demonic romance, and what happens when you become entranced by an evil spirit …”; whereas in Fear The Priest the whole band summons our spirits for one final exorcism, with its bass and riffs sounding menacing and thunderous from start to finish. Furthermore, the music remains disturbing and alluring for over nine minutes, with Soozi once again stealing the spotlight with her demonic vocal performance. As Mark himself said about this feast of blackened sounds, “Fear The Priest was the last track to be written to complete the album, the idea of the track is based around demonic possession, good vs evil, the fear the possessed person has towards the priest, it’s the longest track on the album, the riffs are pure evil and I think it’s the perfect track to let people know what to expect from the new album.”

You can have a blast with Dead Witches by listening to their brand new sonic exorcism in full on YouTube, by following them on Facebook, by subscribing to their YouTube channel or by listening to more of their music on Spotify, as well as of course by purchasing The Final Exorcism from the Heavy Psych Sounds Records’ BandCamp or webstore, from iTunes or from Amazon. It doesn’t really matter how you do it, as long as you join this talented coven hailing from the UK, a place where dark and damp days, exorcisms and doom are just around the corner waiting, readily available for everyone who loves top-of-the-line dark and sluggish metal music and whose soul has already been consumed by darkness and evil.

Best moments of the album: The Final Exorcism and Fear The Priest.

Worst moments of the album: None.

Released in 2019 Heavy Psych Sounds Records

Track listing
1. There’s Someone There 0:35
2. The Final Exorcism 7:32
3. Goddess Of The Night 8:08
4. When Do The Dead See The Sun 1:38
5. The Church By The Sea 7:33
6. Lay, Demon 5:47
7. Fear The Priest 9:29

Band members
Soozi Chameleone – vocals
Oliver Irongiant – guitar
Carl Geary – bass
Mark Greening – drums

Album Review – DeeVer / You Need This (2019)

If you also think Rock N’ Roll is not dead and you enjoy all modern shapes and forms of the genre, you definitely need this album made in the UK.

Hailing from Darlington, a large market town in County Durham, in North East England, Deever are a modern Hard Rock band with Heavy Metal influences who are making a name for themselves in their homeland, delivering an onslaught of aggressive riffs and captivating hooks with a distinct British edge highly recommended for fans of Foo Fighters, Muse, Shinedown and several other bands that play a heavier version of our good old Rock N’ Roll. Now in 2019 it’s time for vocalist and guitarist Wil ‘Billy’ Taylor (from Inglorious) together with his henchmen Stevie Stoker on the guitar, Phil Appleton on bass and Dan ‘Higgy’ Higgins on drums to show us what they got with their debut album, titled You Need This, all in the name of rock and metal music.

“I love the classics when it comes to rock music, and I’ll always appreciate my time with Inglorious. All of the guys are extremely talented musicians and we shared some things most people don’t get the opportunity to do. Things change though, and I knew I wanted to do something different that suited me, something more contemporary based musically. Now I’m in a band back home with some of my best mates, hammering out the hard stuff and having a great time doing so. It’s reminded me of all the reasons why I wanted to do music in the first place! We all love what we are doing and are very excited for where DeeVer is heading,” commented Billy about his new band and what to expect when you hit play and let the music found in You Need This invade your senses.

Rev up your engines to the sound of the dirty riffs by Billy and Stevie, who lead a Stoner Metal and Hard Rock onrush of sounds titled Fire At Will, a song perfect for sharing a beer with your friends at a rock n’ roll pub while Higgy pounds his drums like a beast. Then Phil shakes the foundations of the earth with his groovy bass, igniting another modern and vibrant rockin’ party entitled All Come Running, with its guitars and bass walking hand in hand, therefore generating a fun atmosphere for our total delight; and it’s Phil who once again kicks things off in the also thrilling Alright, a well-balanced and dense mix of Hard Rock and Rock N’ Roll infused with Southern Rock, Grunge and even Progressive Metal nuances, or in other words, a born-to-be-a-radio-hit beautifully crafted by the quartet.

Back Down presents hints of Glam and Hair Metal but without sounding cheesy at all; quite the contrary, it’s a vibrant feast of razor-edged riffs and rhythmic beats perfect for dancing the night away, with Billy kicking some ass with his spot-on vocals, whereas in Waves the band speeds things up a bit, even bringing elements from Punk Rock to their sound, with Billy, Stevie and Phil being on fire with their stringed weapons while Higgy keeps the energy level truly high through his precise beats. And the party goes on with Parachute, where a headbanging start gradually morphs into a more melodic musicality, alternating between heavier and more serene passages (which is also reflected in Billy’s vocals), getting too radio-friendly at times but still very enjoyable; and back to a more aggressive, rockin’ attitude, the band offers our avid ears the fast and punk-ish Only Enemy, where Billy’s vocals get an amazing support from the backing vocals by the rest of the band, while the song’s slashing riffs and thunderous bass punches will pierce you head, reaching deep inside your mind.

Drinking from the fountain of Alternative Rock and Metal, Phil and Higgy build a rumbling background for Billy and Stevie to attack with their stringed weapons in We Are, setting the tone for the next tune, simply titled Jim, a fast-paced, straightforward Rock N’ Roll composition tailored for fans of bands like foo Fighters and Breaking Benjamin where the sound of guitars nicely complements the precise vocals by Billy. Put differently, it could easily be part of the soundtrack of any teen or rock n’ roll movie in my humble opinion. Lastly, I Am The Cavalry, the closing song of the album, brings more of the band’s modern-day Hard Rock, being led by Higgy’s potent beats while the rest of the band continues to extract sheer electricity and thunder from their strings.

In a nutshell, if you’re a fan of both old school and contemporary rock music, as the title itself already says, “you need this” album in your collection, and in order to grab your copy of such electrifying display of modern-day heavy music simply go to the band’s Big Cartel, to iTunes or to Amazon, and show your support to DeeVer by following them on Facebook and by listening to their music on Spotify. Billy and the boys did an amazing job in You Need This, proving one more time that as long as there are people out there who love, live and breathe rock and meta; like the guys from DeeVer, Rock N’ Roll will never die.

Best moments of the album: All Come Running, Back Down and Only Enemy.

Worst moments of the album: Parachute.

Released in 2019 Independent

Track listing
1. Fire At Will 3:47
2. All Come Running 3:45
3. Alright 3:44
4. Back Down 3:44
5. Waves 3:24
6. Parachute 3:44
7. Only Enemy 3:30
8. We Are 3:26
9. Jim 3:33
10. I Am The Cavalry 3:50

Bonus track
11. Only Enemy (Radio Edit) 3:27

Band members
Wil ‘Billy’ Taylor – vocals, guitar
Stevie Stoker – guitar, vocals
Phil Appleton – bass, vocals
Dan ‘Higgy’ Higgins – drums

Album Review – Master’s Call / Morbid Black Trinity EP (2019)

Behold the rise of a new Black Metal entity from the UK and their debut EP, encompassing the darkness of faith, body and spirit with three powerful tracks that each tell a different potent story.

Originally conceived by guitarists John Wilcox and Dave Powell in the birthplace of metal itself, Birmingham, England, in 2014, but only reaching its full shape and form in 2016 after recruiting lead singer Shayan, bassist Adam Tricklebank and finally  drummer James Williams, Wolverhampton-based Black Metal unity Master’s Call walk forth through the flames beyond the gates with conviction and grit on their side, going against all odds and standing strong no matter what. For instance, vocalist Shayan, born in Tehran, the capital of Iran, where rock and metal music are banned (especially where anti-religious lyrics are concerned as the country’s hardline Islamic government considers it blasphemy), didn’t stop writing and performing Black Metal even with the potential risk of jail or even execution, proving how obstinate and passionate for extreme music Shayan and his bandmates from Master’s Call are.

Now in 2019 it’s time for this unrelenting British horde to unleash hell with their debut EP Morbid Black Trinity, an album highly recommended for fans of bands like Cradle Of Filth, Dimmu Borgir, Conjurer and Behemoth, encompassing the darkness of faith, body and spirit with three powerful tracks that each tell a different potent story. Recorded and mixed by Neil Haynes at The Parlour Studios in Northampton, mastered by Peter In De Betou at Tailor Maid Productions (Necrophobic, Dimmu Borgir, Watain) in Sweden, and featuring a creepy artwork created by the band’s own John Wilcox and Adam Tricklebank, Morbid Black Trinity is not just another fantastic extreme music album from the independent scene, but a beyond solid statement that Master’s Call are among us to stay and to keep spreading darkness and rage in the name of their beloved Black Metal.

An ominous intro morphs into a thrilling fusion of Black and Death Metal the likes of Behemoth in the first track, From Once Beneath The Cursed, led by Shayan’s sulfurous roars and James’ thunderous beats, while Dave and John extract the most metallic sounds you can imagine form their scorching hot guitars. Depicting the incarnation of a physical embodiment conjured from the underlying madness, hate and evil of the world, the entire song couldn’t sound more imposing than that, with poetry and darkness flowing as one from its vile lyrics (“Rise oh ferocious beast that lies within / At last we have reached the time to strike this mortal coil / So let loose the pain, gathering the serpents below / Sweet death shall conquer them all / May its annihilation bless our hearts / For we have snuffed long in slumber / Of the prison of life that you call a gift / We’ll burn it! / Scorch the solar as we have awakened”).

Rising from the depths of hell once again, Master’s Call offer our avid ears the fulminating The Spire Cranes, representing the holy buildings that tower high to cast the reach of their oppressive symbols of faith afar, but can be broken down through the cracks in their holy walls. Dave and John’s riffs dictate the song’s vibrant rhythm while James keeps crushing his drums mercilessly and Adam makes the ground tremble with his bass lines, all enfolded by Shayan’s deep, demonic vociferations. And lastly, the icing on the cake comes in the form of almost seven minutes of visceral Blackened Death Metal blasted by Shayan and his horde in My Eyes Are The Night, with Dave and John bringing hints of Thrash Metal in their amazing riffs, sounding violent and somber from start to finish. Assuming the perspective of a hunter that stalks the night, preying on victims who have lost themselves amid the atrocities of the world, by manipulating them into sacrificing themselves for the false hope of a greater existence beyond our own, this austere aria of darkness makes it impossible not to break your spinal cord headbanging to the brutal beats by James, ending the EP in a beyond demonic vibe.

In a nutshell, the gates to the underworld are open thanks to the awesome music crafted by this unstoppable group of musicians from the UK in Morbid Black Trinity,  and if you want to know more about such up-and-coming act you should definitely follow them on Facebook, and of course if you’re already a longtime fan of both classic and modern-day Black Metal go grab your copy of their debut EP directly from their BandCamp page. Although short in duration, Morbid Black Trinity already shows all the potential Master’s Call have and how furious and obscure their music can be, leaving us eager for more of their malevolent compositions in the form of another EP or full-length release and, consequently, pointing to a bright (or maybe I should say dark) future for this sharp and dauntless Black Metal entity.

Best moments of the album: From Once Beneath The Cursed.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. From Once Beneath The Cursed 5:50
2. The Spire Cranes 5:07
3. My Eyes Are The Night 6:41

Band members
Shayan – vocals
Dave Powell – guitars
John Wilcox – guitars
Adam Tricklebank – bass
James Williams – drums

Album Review – Bast / Nanoångström (2018)

Set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, the new album by this three-piece act from the UK has everything you crave in Sludge and Doom Metal.

Founded in 2008 in London, England, the three-piece experimental vortex of blackened intensity and forlorn, mournful doom known as Bast returns now in 2018 with Nanoångström, the follow-up to their 2014 critically acclaimed debut release Spectres, continuing the band’s trajectory into narrative driven arrangements and experimental compositions. Including a beautiful artwork designed and directed by the band’s own lead singer and guitarist Craig Bryant, and also featuring an exclusive piece by Manga legend Shintaro Kago as well as guest vocals by Chris Naughton of England’s leading purveyors of Black Metal Winterfylleth, Nanoångström is set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, all enfolded by the crushing fusion of Sludge and Doom Metal blasted by Craig and his bandmates Gavin Thomas on bass and Jon Lee on drums and backing vocals.

Low-tuned, melancholic and whimsical sounds invade our senses in the intro Distant Suns, warming us up for the crushing Far Horizons, a 10-minute Sludge Metal exhibit led by the rip-roaring riffs and growls by Craig, while Jon flawlessly pounds his drums in a delicate but fierce way at the same time, with the song’s crisp and flammable riffs being intertwined with somber and more serene passages, even presenting hints of Atmospheric Black Metal. Then featuring the aforementioned guest vocals by Chris Naughton we have The Beckoning Void, an explosion of contemporary Sludge and Doom Metal where the bass punches by Gavin sound truly menacing and thunderous, while Craig keeps shredding his strings mercilessly. Moreover, the song also presents nuances of classic Black Metal added to the drumming by Jon, hammering our heads and piercing our minds mercilessly, with the song’s second half getting more progressive and vibrant until its majestic finale.

The title-track Nanoångström begins as sluggish, introspective and obscure as possible, with the band’s stringed duo extracting Stygian tones from their instruments, while Jon slowly and steadily smashes his drums. In addition, Craig’s anguished growls get more and more desperate as the music progresses, before everything evolves into a Progressive Sludge Metal extravaganza that would make the guys from Tool really proud. Then rumbling guitars and bass lines permeate the air in the also sluggish Doom Metal tune titled A Red Line Through Black, remaining at a truly obscure tone until a wave of progressiveness takes over and the music morphs into a hard-hitting feast of classic Sludge Metal riffs, frantic and intricate beats, and enraged roars. Put differently, it can’t get any heavier nor more eccentric than this. Lastly, Chris joins Bast once again in The Ghosts Which Haunt the Space Between the Stars, where the band brings forth 12 minutes of crude, melodic and cutting Progressive Sludge Metal, a full-bodied headbanging hymn spearheaded by Craig and his aggressive, harsh growls, while Jon keeps extracting sheer Black Metal sounds from his beats. And their sonic havoc goes on ruthlessly, not giving us a single second of peace until its abrupt and powerful ending.

In a nutshell, Nanoångström has everything fans of contemporary and dark Sludge and Doom Metal are always craving, elevating Bast to new heights and positioning them as one of the most interesting exponents of the genre. If Bast’s sluggish music is your cup of tea, you can grab your copy of Nanoångström from their own BandCamp page or from the Black Bow Records’ Big Cartel, and after you do that just remember your days will never be bright or peaceful again. Well, I guess those are not the sensations you want to fell while listening to first-class Doom Metal, which means Bast more than succeeds in taking you to the most obscure side of music with Nanoångström.

Best moments of the album: The Beckoning Void and The Ghosts Which Haunt the Space Between the Stars.

Worst moments of the album: None.

Released in 2018 Black Bow Records

Track listing
1. Distant Suns 2:40
2. Far Horizons 10:24
3. The Beckoning Void (feat. Chris Naughton) 10:53
4. Nanoångström 11:10
5. A Red Line Through Black 9:56
6. The Ghosts Which Haunt the Space Between the Stars (feat. Chris Naughton) 12:34

Band members
Craig Bryant – vocals, guitars
Gavin Thomas – bass
Jon Lee – drums, vocals

Guest musician
Chris Naughton – guest vocals on “The Beckoning Void” and “The Ghosts Which Haunt the Space Between the Stars”

Album Review – Bouquet of Dead Crows / Motus Octo (2018)

Enjoy the “eight movements” of modern-day rock music presented by this talented Cambridge, England-based Alternative Rock and Metal squad.

If you’re not only a fan of all the aggressiveness and speed of more extreme forms of metal music, but also an admirer of the melodious and gentle waves of Alternative Rock and Metal, you’ll be extremely pleased to know that Cambridge, England-based alternative rockers Bouquet of Dead Crows are finally back after three long years with a brand new album  titled Motus Octo, the follow-up to their 2015 debut album Of The Night. The title, referring to the fact that there are eight tracks on the album, essentially means “eight movements”, or eight emotions, and that’s exactly what you’ll get throughout the entire album, with each of its tracks awakening different emotions and reactions from deep inside your heart and mind.

Featuring a beautiful packaging designed by Stewart Harris Designs, Motus Octo is a very different beast to the band’s previous work, moving into more of a progressive direction but still showcasing all the characteristics that made people enjoy their first album, such as the huge wall-of-sound guitar riffs by Neil Bruce, the pounding bass lines by Graeme Clarke and the bat-shit drumming by Andrew Coxall, all sitting beautifully underneath vocalist Antoinette Cooper’s soaring vocals. Furthermore, the quartet goes from the heavier waves of Alternative Metal to the charm of British Rock and the melancholy of Blues, extracting crisp and vibrant sounds from their instruments throughout the entire album, keeping us hooked on their music and always eager for more.

Distorted, whimsical waves ignite the fun Faultlines, before Graeme and Andrew come crushing with their bass lines and beats respectively in a modern display of British Rock infused with alternative elements from bands like Garbage and Hole, while Neil slams and slashes his guitar mercilessly. And their music gets even more piercing and rumbling in The Devil’s in the Detail, with the beautiful voice by Antoinette leading the band in this Alternative Rock feast while Neil fires his classic solos, presenting hints of Ska and traditional Rock N’ Roll; followed by No Tomorrow, a song perfect for enjoying a nice and relaxed road trip with your loved ones, once again showcasing an inspired Antoinette on vocals and a precise and groovy Andrew on drums. Then Bouquet of Dead Crows deliver an introspective and enfolding ballad titled Slow Motion Ghosts, where all band members provide Antoinette all she needs to thrive, exhaling passion and delicacy through her vocals until the music gently fades away.

Fragments (Black Hole Eyes) contains some very welcome elements from the music by AC/DC blended with contemporary Rock N’ Roll and even Stoner Rock, not to mention how inspired Neil is with his stylish riffs and solos, while Andrew pounds his drums with tons of precision, therefore turning it into one of the best songs of the album. In Cold Inside, the band slows things down a bit in another gentle rock ballad, with highlights to the solid synchronicity between Neil and Graeme with their strings, getting considerably heavier at times in special when Neil is firing his guitar solos; whereas in Incessant Desire things get groovier, faster and heavier, which obviously translates into awesomeness, being highly inspired by classic Ska and Rock N’ Roll music from the 90’s, spearheaded by Neil and Andrew while Antoinette sounds extremely sexy with her fiery vocal lines. And lastly we have Undone, bringing forward an eerie intro to the thunderous sounds of Graeme’s bass punches and the passionate vocals by Antoinette, evolving into a Stoner Rock extravaganza perfect for headbanging while enjoying a cold beer (or even a strip-tease, it’s up to you), until wicked noises put an end to the song and, obviously, to the entire album.

As you already know, all you need to do to keep in touch with Bouquet of Dead Crows and stay informed about their plans for the future, tour dates and other shenanigans is follow them on Facebook and subscribe to their YouTube channel, but of course if you want to show your true support to one of the most promising names from the current British Rock scene, you should definitely purchase your copy of Motus Octo from the German Shepherd Records’ BandCamp page, as well as from the band’s own webstore in CD or vinyl. In addition, in order to celebrate the release of Motus Octo, the band will be playing a special launch gig at The Blue Moon  in Cambridge on November 24, where they’ll play the full album live. If you’re going to be around the Cambridge area that day, why not joining Antoinette, Neil & Co. for a night of kick-ass rock music accompanied by good food, cold beer and nice people? You can buy your ticket HERE, get ready to rock, and show your “eight movements” on the dance floor, how about that? That’s the way our good old Rock N’ Roll should always be enjoyed, and Motus Octo is the perfect soundtrack for that.

Best moments of the album: The Devil’s in the Detail, Fragments (Black Hole Eyes) and Incessant Desire.

Worst moments of the album: Cold Inside.

Released in 2018 German Shepherd Records

Track listing
1. Faultlines 7:14
2. The Devil’s in the Detail 3:29
3. No Tomorrow 3:56
4. Slow Motion Ghosts 5:42
5. Fragments (Black Hole Eyes) 3:49
6. Cold Inside 8:37
7. Incessant Desire 3:40
8. Undone 6:14

Band members
Antoinette Cooper – vocals
Neil Bruce – guitars
Graeme Clarke – bass
Andrew Coxall – drums

Album Review – Pantheist / Seeking Infinity (2018)

After almost a decade, this London-based Funeral Doom institution returns to their musical roots with a 60-minute cinematic journey through obscure and atmospheric landscapes.

A pantheist is someone who believes that God and the universe are the same, or in other words, that “All Is God”, as pantheism literally means “God Is All” (pan means all and Theos means God when translated from Greek). Brought to life in the year 2000 in Antwerp, Belgium by vocalist and keyboardist Kostas Panagiotou, but currently based in London, England, the dark and vile Progressive/Funeral Doom Metal entity known as Pantheist, one of the standard bearers of the Funeral Doom sound, is among us to prove that “All is Doom” with their brand new opus entitled Seeking Infinity, their fifth full-length album and their first release in seven years. Seeking Infinity is a 60-minute cinematic journey through Funeral Doom landscapes, a decisive return to Pantheist’s musical roots whilst still incorporating the atmospheric and progressive elements that have become an integral part of their sound over the years.

The long journey leading to the creation of this album started all the way back in the summer of 2012, when Kostas announced to his then band members an outline for a new concept album. A lot of things have changed since then and the concept and sound have evolved dramatically until the creation of the album; however, despite the changes, the philosophy behind this concept album and its singular purpose have remained intact. Recorded, mixed and engineered by drummer Daniel “Dan” Neagoe (Shape of Despair, Clouds) and enhanced with the enchanting artwork of the band’s visual artist Cheryl, the album sounds and looks both modern and familiar, surely to fill with nostalgia fans of old-school traditional Funeral Doom/Death Metal, while also drawing to its mystical sound new followers for the years to come.

An ominous intro named Eye of the Universe keeps growing in intensity, with an eerie and somber narration setting the stage for the sluggish, obscure and visceral Control and Fire, a lesson in Funeral Doom with Kostas sounding demonic with both his deep growls and his phantasmagorical keys, while Dan keeps the rhythm as lugubrious as it can be with his slow and potent beats, being effectively supported by Frank Allain and his slashing riffs, with the music flowing darkly and smoothly until 500 B.C. to 30 A.D.- The Enlightened Ones comes crushing with its beyond atmospheric start on the piano, complemented by its cryptic words darkly declaimed by Kostas (“You can run, but you can’t hide from the quiet flow of time / the dark tentacles of fate push you towards your destiny / and when you think you are free to live your life as you please / you’ll find you’re nothing but a pawn of history / There is a fire, a desire in my head / eat my battered body, drink my wasted blood / and tell me endless tales of who I am: / the man who feels inside him that change has come”). Put differently, this is a funeral march of metal music tailored for admirers of the genre, with its second half getting creepy and enigmatic, beautifully exploding into classy Blackened Doom.

Amidst obscure background elements and nuances, the acoustic guitar by guest Pete Benjamin (Voices, Akercocke) kicks off another multi-layered feast of Doom Metal by Pantheist titled 1453: an Empire Crumbles, also showcasing the deep Gregorian chant-inspired vocals by the other guest Andy Koski-Semmens (Syven, Pantheist), offering the listener six minutes of what can be called a Stygian and mesmerizing mass. Then the serene keys by Kostas are the main ingredient in the also slow and dense Emergence, with the low-tuned bass lines by Alexsej creating a menacing ambience in paradox with the delicacy of the piano notes. In other words, Pantheist will crush your senses mercilessly throughout the entire song in the perfect depiction of how visceral and vibrant Doom Metal can be. And lastly we have Seeking Infinity, Reaching Eternity, another deep and full-bodied display of Funeral Doom led by Kostas’ anguished roars and church-like keys, giving life to the song’s imposing, poetic lyrics (“I hear the sound of horns, I see a beast appearing from the sea / it has ten horns and seven heads / looks like a lion, like a leopard it crawls / I stretch out my shaking hand / and touch the body of the dancing Shiva / I want to scream, but I can’t / instead I cry, shake and shiver”), with Dan pounding his drums in perfect sync with Frank’s harmonious and fierce riffs and, therefore, keeping the atmosphere vibrant and thunderous until its climatic finale.

Pantheist are a Funeral Doom institution that’s certainly worth a shot, no doubt about that, and the extremely high quality of the music found in Seeking Infinity is a solid statement that this very talented band is here to stay, living up to the legacy of all classic and old school Doom Metal, Funeral Doom and Blackened Doom bands from all over the world. Having said that, I highly recommend you follow the band on Facebook and subscribe to their YouTube channel for more details about them and to enjoy more of their music. And, of course, purchase your copy of Seeking Infinity from their own BandCamp or webstore, from The Vynil Division’s BandCamp or webstore, from iTunes or from Discogs, and may the somber and lugubrious sounds and tones blasted by Pantheist permeate your thoughts whenever you visit the darkest corners of your mind.

Best moments of the album: 500 B.C. to 30 A.D.- The Enlightened Ones and Emergence.

Worst moments of the album: None.

Released in 2018 Melancholic Realm Productions

Track listing
1. Eye of the Universe 1:59
2. Control and Fire 11:45
3. 500 B.C. to 30 A.D.- The Enlightened Ones 13:13
4. 1453: an Empire Crumbles 6:04
5. Emergence 12:17
6. Seeking Infinity, Reaching Eternity 14:39

Band members
Kostas Panagiotou – vocals, keyboards
Frank Allain – guitars
Aleksej Obradović – bass
Daniel “Dan” Neagoe – drums

Guest musicians
Pete Benjamin – acoustic guitar on “1453: an Empire Crumbles”
Andy Koski-Semmens – vocals on “1453: an Empire Crumbles”