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

Advertisements

Album Review – The Wandering Ascetic / Crimson (2019)

Drawing influences from the Hellenic Black Metal scene, here comes a Singaporean squad armed with their brand new album of dissonant and hypnotic sounds.

Formed in 2011 in Singapore by Kathir, vocalist and bassist for Rudra, an iconic Death and Black Metal act from the local scene, The Wandering Ascetic are making a name for themselves in the underground of heavy music by blasting a more exemplary black and thrash sonority without the Indian classical instruments seen in the music by Rudra, but still retaining their trademark spiritual fervor. Accompanied by guitarist Vinod (also from Rudra), bassist Jayakumar and drummer Kannan K, Kathir and his The Wandering Ascetic draw their influences from the Hellenic Black Metal scene (as well as obviously from Rudra), generating dissonant, hypnotic sound s infused with crushing riffs and grooves, elevating their music and art to a whole different level.

After the release of their debut EP titled Manifest Destiny, in 2013, it’s time for The Wandering Ascetic to smash our senses once again with their first full-length opus, the excellent Crimson, featuring a life-transforming artwork by Mark Riddick (Fetid Zombie) and layout by Turkka Rantanen (Demilich, Demigod). Comprised of 10 unrelenting songs ranging from pure old school Black Metal to modern-day Southern Rock and Groove Metal, Crimson is a solid and very entertaining statement by The Wandering Ascetic in a scene that seems stagnant at times, showing how powerful Singaporean metal can be and, as a consequence, opening several doors in the international market for the band.

Vinod begins his slashing attack accompanied by Jayakumar’s thunderous bass in Eva Braun, with Kathir roaring demonically for our total delight in a Black and Death Metal attack spiced up by hints of Progressive Metal, flowing darkly until its eerie end; then the tribal beats by Kannan K ignite another obscure composition named I Sing the Body Electric, showcasing an obscure rhythm inspired by old school Black and Doom Metal tailored for fans of the genre where the guitar lines by Vinod sound as flammable as they can be. Bringing elements form the music by Gojira, Mastodon and Tool we have the beautifully titled The Exorcism of Mrs. Doe, a very intricate and sulfurous tune where Jayakumar and Kannan K generate a dense and disturbing atmosphere with their weapons, followed by The Gods Bleed!, a song perfect for breaking your neck headbanging spearheaded by Vinod’s devilish riffs, while Kathir continues to vociferate like a demonic entity, not to mention how metallic and impactful Jayakumar’s bass punches sound and feel.

Beast of Burden presents more melody blended with sheer darkness in the form of modern-day Death and Black Metal, with Vinod being on absolute fire with his riffs and solos while the gnarls by Kathir only get more and more infernal, and The Wandering Ascetic keep hammering our heads with their crushing sonority in The Will to Live, where all four band members make sure we don’t stop banging our heads to their vicious music, with highlights to Kathir’s enraged growls and Vinod’s ass-kicking guitar solo. After such high level of devastation, it’s time to dive deep into the crypts of Hades with those Singaporean metallers in To Hell, Back and to Hell Again, a classic, straightforward metal extravaganza with elements from the dirty Rock N’ Roll played by bands like Motörhead and Chrome Division, which obviously means it kicks some serious ass.

Here for the Good Things keeps the album at a very good level of malignancy and hatred despite sounding a bit generic (or I should say less inspired than the other songs), with Vinod slashing his guitar in a very precise and aggressive manner; and the cutting sound of his guitar is once again the main ingredient in the visceral Assassins, displaying some hypnotizing instrumental parts, in special Vinod’s guitar solo, while Kannan K doesn’t let the energy go down by smashing his drums nonstop. Finally we have Orang Laut, an ominous and grim blast of extreme music highly inspired by classic Doom Metal, with Vinod and Jayakumar extracting the most Stygian sounds from their strings and with the music ending as dark as anyone can imagine.

It’s not always that we have the pleasure of facing high-end metal music from such distinct country, completely out of the North American and European markets, and we metalheads should not only thank The Wandering Ascetic for that by following them on Facebook, but mainly by purchasing their new album Crimson from their own BandCamp page, from the Transcending Obscurity webstore, or from other retailers like Target. Crimson might not be considered a true revolution in music, but the four guys from The Wandering Ascetic definitely put on a lot of energy, creativity and passion in the writing, composing and recording of the album to ensure they were not just playing “more of the same”. Quite the contrary, Crimson does sound very unique and compelling, elevating the name of Singapore in the world of heavy music and paving a very interesting future for the quartet.

Best moments of the album: I Sing the Body Electric, The Gods Bleed! and To Hell, Back and to Hell Again.

Worst moments of the album: Here for the Good Things.

Released in 2019 Transcending Obscurity Asia

Track listing
1. Eva Braun 5:18
2. I Sing the Body Electric 4:46
3. The Exorcism of Mrs. Doe 4:28
4. The Gods Bleed! 4:42
5. Beast of Burden 4:01
6. The Will to Live 3:15
7. To Hell, Back and to Hell Again 3:10
8. Here for the Good Things 4:10
9. Assassins 5:04
10. Orang Laut 3:12

Band members
Kathir – vocals
Vinod – lead & rhythm guitars
Jayakumar – bass
Kannan K – 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 – Afire / On the Road From Nowhere (2018)

Uniting the beauty of old school Rock N’ Roll and Hard Rock with a modern twist, this awesome Finnish band is ready to take you on a ride on the road from nowhere with their debut full-length album.

As I mentioned in my review for their debut self-titled EP last year, anyone who got in contact with the music by Finnish Hard Rock outfit Afire was probably desperate for more of their music in a not-so-distant future due to the extreme quality, energy and harmony flowing from the three tracks presented by the band at that time. Fortunately for all of us, admirers of our good old Rock N’ Roll, this electrifying Oulu-based band wasted no time and brought forth now in 2018 their debut full-length installment, titled On the Road From Nowhere, a lesson in Melodic Hard Rock perfect for hitting the road, the gym, a special party with your loved ones, or anywhere else where classy and vibrant rock music is certainly needed.

With the same lineup as their debut EP, that being the stunning Suvi Hiltunen on vocals, Sami Kukkohovi (Sentenced, Kypck) and Antti Leiviskä (Poisonblack) on the guitars, Harri Halonen (Impaled Nazarene) on bass and Tarmo Kanerva (Poisonblack) on drums, Afire are indeed on absolute fire in On the Road From Nowhere, uniting the beauty of old school Rock N’ Roll and Hard Rock with a modern twist and the always pleasant Scandinavian melodic waves in each one of the album’s ten powerful songs. Furthermore, bassist and songwriter Harri Halonen had a few nice comments about the album. “I’ve had a bunch of songs for quite a while, but for which I didn’t have an outlet, so we started Afire. With Suvi’s vocal lines and lyrics, the songs started molding into their current shape, and we finished them together. Lyrically the album is about leaving, departing. It’s not a theme album, but the lyrics do revolve around the subject anyhow,” said the talented Harri, inviting the listener to join the band in their rockin’ voyage.

And the album kicks off with a revamped version of their 2017 song The One to Take the Fall, sounding crisper and clearer than the original version thanks to the top-notch album production. Once again it’s a pleasure to listen to Suvi embellishing the airwaves with her vocals, while Sami and Antti deliver that catchy riff that made me enjoy this song so much from the very first listen last year. Their guitars keep invading our senses while Tarmo dictates the rhythm in the headbanging Not Coming Home, where they nailed it one more time in a lesson in modern-day Rock N’ Roll, setting the bar absurdly high in On the Road From Nowhere; followed by Let Me Be the One, a power ballad where Suvi shines with her passionate vocal lines while the rest of the band keeps the rhythm vibrant and impactful, with highlights to the potent bass punches by Harri, rumbling the ground like there’s no tomorrow.

Let’s keep raising our horns and enjoying a cold beer while witnessing Suvi and her henchmen kicking ass in Nowherefound, another classy and thrilling composition by the quintet where the stringed trio Sami, Antti and Harri are in total sync from start to finish, whereas Tired of Being Broken is a more serene and introspective born-to- be-a-radio hit tune, with Harri and Tarmo building a solid background for the guitar riffs and solos to soar high together with Suvi’s potent vocals. Then drinking from the fountain of renowned rock and metal acts such as Volbeat, Godsmack and contemporary Metallica the band offers us the awesome Veiling the Tears, adding elements from Southern Rock and Metal to their already thunderous sonority and with the solos by Sami and Antti bringing an extra dosage of electricity to the overall result. Once again venturing through the realms of power ballads we have Shining Through, bringing forward a solid instrumental that works well in providing Suvi what she needs to give another potent vocal performance, keeping the album at a sensational level of energy.

Following a similar pattern as its predecessor, Rotten to the Core also presents a dense and complete sonority; it sounds a bit too generic, though, when compared to the rest of the album, but its guitar solos are powerful and sharp as usual. Strangers Again, the second song from their debut EP, was also upgraded to a more metallic version, sounding crystal clear which means we can all appreciate Suvi’s vocals and the band’s riffs in more detail, translating the whole experience into sheer awesomeness, and closing the album we have another 2017 song the band re-recorded, Forevermore, a fantastic ballad showcasing a focused and talented band delivering beautiful and passionate Rock N’ Roll to soothe our souls.

Do you want to know more about Afire and listen to more of their stylish Hard Rock made in Finland? All you have to do is follow them on Facebook for news and tour dates (and I wouldn’t miss the chance to see them live if I lived in Finland, by the way), and buy your copy of their ass-kicking album On the Road From Nowhere, available also on Spotify, from Record Shop X, from the Inverse Records webstore, or from iTunes. And there you have Suvi and the boys ready to take you on a fun and pleasant ride “on the road from nowhere” anytime you want, all in the name of Rock N’ Roll.

Best moments of the album: The One to Take the Fall, Not Coming Home and Veiling the Tears.

Worst moments of the album: Rotten to the Core.

Released in 2018 Concorde Music Company

Track listing
1. The One to Take the Fall 3:30
2. Not Coming Home 3:42
3. Let Me Be the One 4:36
4. Nowherefound 4:50
5. Tired of Being Broken 4:36
6. Veiling the Tears 4:06
7. Shining Through 4:04
8. Rotten to the Core 4:12
9. Strangers Again 3:49
10. Forevermore 5:33

Band members
Suvi Hiltunen – vocals
Sami Kukkohovi – guitar
Antti Leiviskä – guitar
Harri Halonen – bass
Tarmo Kanerva – drums

Album Review – Moonshifter / Love Lust Fire Dust (2018)

A lesson in classic Hard Rock with a modern and fresh Australian twist, turning all the band’s love, lust, fire and dust into an ass-kicking Rock N’ Roll party.

Forged in the melting pot of some of Melbourne’s most notorious and rocking venues such as The Espy, The Tote, Bendigo Hotel and Cherry Bar, among many others, Australian Hard Rock act Moonshifter determined from their inception to always “keep it fun”, in line with everything that’s done by some of their biggest icons in rock music like AC/DC and Kiss. After a few singles that led to the band being played and interviewed on local community radio shows and TV stations, which of course also resulted in an increase in their number of live concerts, it’s time now for frontman Lachlan Cross, guitarists Wayne Elkin and Mark Cambruzzi, bassist Andy Baker and drummer Mike Cato to release their debut full-length album Love Lust Fire Dust, showcasing their focused brand of rock and groove with stratospheric lead vocals, hypnotic guitar solos, thundering bass and drums encased by addictive guitar riffs.

Are you ready to rock? That’s the main question Moonshifter have in the opening track Dirty Mind, a kick-ass blend of old school Rock N’ Roll and 80’s Hard Rock with the band’s inspired guitar duo blasting sheer electricity through their sharp guitars, while Lachlan beautifully declaims the song’s lyrics about how he wants a woman with a filthy, lustful mind. Then in I Am Yours, You Are Mine we’re treated to a 70’s-inspired Rock N’ Roll extravaganza led by the griping beats by Mike, while Wayne and Mark keep blowing our ears with their riffs and solos, not to mention how catchy the song’s chorus is; followed by Mountain, where hints of Progressive Rock the likes of Rush are added to the band’s classic Hard Rock, resulting in a great choice for any road trip playlist, also presenting a solid performance by Lachlan on vocals as well as Andy and his soulful bass lines.

Leave You Baby is a song to dance with your loved one like in a 60’s or 70’s rock n’ roll party, but of course with a modern (and consequently more incendiary) twist thanks to the flammable guitar lines and fierce beats fired by Moonshifter. After dancing the night away it’s time to take a break from all the band’s rockin’ madness with a melancholic ballad titled I Keep This Light, led by the passionate vocals by Lachlan, who’s by the way nicely supported by the spot-on backing vocals by the rest of the band and by the stunning guitar solos by Wayne and Mark, while in So Much More they get back to their unrelenting Rock N’ Roll mode, with vocals and drums overflowing groove and electricity. Put differently, this is a short and sweet ode to rock and metal that will certainly put everyone to dance or slam into the pit during their live concerts. And in Burnin’ Alive, a song tailored for sharing a beer with your pals and banging your head nonstop, there’s more vibrant rock music for your avid ears, this time inspired by Southern Rock, which proves how versatile Moonshifter are as a band.

Whoever Emily is, she might be very happy with the tribute Moonshifter paid to her in the form of a modern Hard Rock hymn named Oh Emily, where Andy and Mike are responsible for crafting a strong base for the guitars to shine while Lachlan declaims his twisted love for our main character. Then with their guitars sounding metallic and crisp, the band offers the listener Let You Down, another display of modern-day rock music with highlights to the solid drumming by Mike, albeit not as vibrant as the rest of the album, followed by You Feel It, a song so dynamic it can be used both as the opener or the closing tune of their live setlists, presenting a more-than-inspired Lachlan on vocals, electrified riffs and solos, and tons of feeling form start to finish. Lastly, rev up your engines and ride on the waves of Hard Rock with the amazing Ride, or also “Ride (With Me)” if you prefer, with Mike simply smashing his drums while the stringed trio Andy, Mark and Wayne slash our ears with their thrilling sounds, closing the album in a majestic way.

If you want to know more about such promising group from Down Under, go check what they’re up to on Facebook, listen to more of their music on ReverbNation, and obviously purchase their exciting new album from their own BandCamp page or from CD Baby. In a nutshell, Love Lust Fire Dust is a lesson in classic Hard Rock with a modern and fresh twist, turning all the band’s love, lust, fire and dust into an ass-kicking Rock N’ Roll party perfect for dancing, slamming into the pit or having a beer with your friends. And that’s what our good old Rock N’ Roll is all about.

Best moments of the album: Dirty Mind, Leave You Baby, So Much More and Ride.

Worst moments of the album: Let You Down.

Released in 2018 Independent

Track listing
1. Dirty Mind 4:00
2. I Am Yours, You Are Mine 3:46
3. Mountain 3:51
4. Leave You Baby 4:09
5. I Keep This Light 5:42
6. So Much More 2:35
7. Burnin’ Alive 4:10
8. Oh Emily 4:18
9. Let You Down 4:13
10. You Feel It 4:59
11. Ride 4:56

Band members
Lachlan Cross – vocals
Wayne Elkin – guitar
Mark Cambruzzi – guitar
Andy Baker – bass
Mike Cato – drums

Album Review – High Reeper / High Reeper (2018)

Reeper, deadly reeper, it’s time to rumble to the flammable fusion of Stoner Rock and Doom Metal by this up-and-coming five-piece act from Philadelphia.

Formed in 2016 in the city of Philadelphia, Pennsylvania’s largest city, in the United States by Zach Thomas on vocals, Pat Daly and Andrew Price on the guitars, Shane Trimble on bass and Napz Mosley on drums, Hard Rock/Doom Metal act High Reeper originally started as a studio band, but it rapidly became apparent that their music was meant to be heard live and loud, making their debut in the Philly stoner rock scene in early 2017 with success and, as a consequence, being followed up by the release of their self-titled debut album now in 2018. Deeply rooted in modern Stoner Rock but still giving a nod to the early days of Black Sabbath, the band’s first offering is driven by pounding rhythms, thick guitars and soaring, screeching vocals, meant to be played loud and to be played often.

In other words, High Reeper is an unapologetic punch in the face for fans of early 70’s proto-metal, with the sound and smell of leather, weed, boozing, gambling and death permeating the record from start to finish. Produced, engineered and mixed by bass player Shane Trimble at TTR studios in Philadelphia as well as his home studio Delwood Sound in Delaware, the sound is laced with old school elements while still maintaining the focus of a modern-sounding release, being highly recommended for fans of the aforementioned Black Sabbath, as well as other noisy and obscure bands like Saint Vitus and Orchid. Throughout its 42 minutes of music split into nine unique tracks, each one with its own purpose and soul, High Reeper will take you on a psychedelic and stoner musical journey, running from up-tempo straight-ahead rock, to slowed down, heavy, early doom.

Otherworldly riffs kick off the flammable Doom Metal feast titled Die Slow, a fun tune that will certainly put you into a trance where Shane with his rumbling bass and Napz with his rhythmic beats set the stage for the Ozzy-inspired vocals by Zach; and enhancing their electricity and stamina to a whole new level, the quintet delivers a rockin’ hymn titled Chrome Hammer, showcasing a great riffage by the guitar duo comprised of Pat and Andrew in what’s in my humble opinion the best song of the entire album. Keep in mind the party is just starting, as in Soul Taker we’re treated to another excellent Black Sabbath-like anthem by High Reeper, with Napz smashing his drums and Pat and Andrew delivering pure feeling with their strings.

The title-track High Reeper is sluggish and somber as expected in good old Doom Metal, ignited by the low-tuned bass by Shane before it becomes a drum feast by Napz, flowing into a thrilling, metallic ending; whereas in Reeper Deadly Reeper a dark and menacing intro evolves into a hard rockin’ Stoner and Doom Metal mass, with Zach putting his heart and soul into his performance, therefore enhancing the song’s already powerful vibe considerably. Then we have Weed & Speed, where the name says it all, with the weed part coming in the form pure Stoner Metal flowing from their instruments, while the speed appears every now and then amidst the most sluggish and soulful riffs you can think of. However, the final result doesn’t feel as cohesive as the other songs, falling flat after a while.

In the fantastic Double Down And Let It Ride, simply let their doomed sounds and noises invade your senses, led by the always thrilling guitars by Pat and Andrew. This is what I would call the perfect depiction of a hybrid between old school Doom Metal with modern Stoner Metal and Southern Rock, and a path High Reeper should definitely keep exploring in their future releases. Black Leather (Chose Us) is an ode to the 70’s lifestyle where heavy rockers used to wear black no matter what, translated into top-tier Stoner Rock full of crisp riffs and solos, rhythmic beats and the inebriate vocals by Zach. And last but not least, closing this feast of witchcraft and psychedelia we have another solid tune titled Friend Of Death, where we’re able to enjoy all the dexterity by the band’s guitar duo as well as the precision and feeling of Napz on drums for over six minutes, not to mention Shane with his blackened low-tuned punches, with its last part being a thing of beauty for fans of the genre.

You can easily enter the psychedelic world ruled by High Reeper by visiting their Facebook page and by purchasing their incendiary album through the Heavy Psych Sounds BandCamp or webstore (as a regular version or as a bundle that includes the album plus a T-shirt and a patch), as well as on iTunes, on Amazon, and on other retailers like Saturn and Best Buy. Because, you know, it’s time to rumble to the flammable fusion of Stoner Rock and Doom Metal by this excellent band from Philadelphia, and once you get into their vibe there’s no way out.

Best moments of the album: Chrome Hammer, Reeper Deadly Reeper and Double Down And Let It Ride.

Worst moments of the album: Weed & Speed.

Released in 2018 Heavy Psych Sounds Records

Track listing
1. Die Slow 5:28
2. Chrome Hammer 2:53
3. Soul Taker 3:27
4. High Reeper 4:37
5. Reeper Deadly Reeper 6:09
6. Weed & Speed 5:37
7. Double Down And Let It Ride 4:40
8. Black Leather (Chose Us) 3:28
9. Friend Of Death 6:07

Band members
Zach Thomas – vocals
Pat Daly – guitar
Andrew Price – guitar
Shane Trimble – bass
Napz Mosley – drums

Album Review – Not My Master / Disobey EP (2018)

An aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a new four-piece act hailing from the always metallic U.S. state of Texas.

It’s time for The Headbanging Moose to head to Texas, the second-largest state in the United States by both area and population where several amazing heavy bands were born such as D.R.I., Devourment, Pissing Razors, Galactic Cowboys and, above all, the mighty Pantera, to slam into the pit to the aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a four-piece act that goes by the name of Not My Master. Playing what the band members themselves call Texas Metal, or in their own words, “dirty nasty satanic devil music you would find on Pornhub, if Pornhub played dirty nasty satanic devil music”, Not My Master are releasing their straightforward, vicious and extremely aggressive debut EP, titled Disobey.

Formed in 2016 in the city of El Paso, situated in the far western corner of Texas, the band comprised of Chris Kidwell on vocals, Chelo Styles on the guitar, Rudy Barajas on bass and Charlie Gonzalez on drums has been spreading their “Texas Fuckin’ Metal” throughout the whole state for a while, having already shared the stage with bands like Soulfly, Death Angel, Puddle Of Mudd and Rotting Christ, and also played in festivals such as Zia Music Fest, KILL This Festival, MUDD Fest and HaloHeavy Fest. With Disobey, the band not only aims at solidifying their name in the local Texan scene, but also to spread their ruthless music all over the world, effectively summarizing in its seven distinct tracks what the band is capable of offering to fans of heavy music.

The marching beats by Charlie are gradually joined by the slashing riffs by Chelo and the menacing bass punches by Rudy in the opening track, entitled Acadence, before Chris begins firing some enraged growls in a solid display of Extreme Groove Metal, perfect for fans of bands like Lamb Of God. Then the band keeps pounding our heads with their visceral music in Revenge, with lots of groove flowing from both guitar and bass while Chris switches back and forth from deep, rabid growls to clean, dark vocals, reminding me of the most obscure songs by Pantera (which obviously translates into sheer awesomeness); followed by the acid Where’s God Now, with the guitar lines by Chelo inspiring you to break your neck headbanging, not to mention how the metallic sounds blasted by all instruments increase the impact of Chris’ screams.

Then we have an eerie start to what’s the darkest composition in the EP, titled Morning Star, suddenly exploding into a heavy and aggressive hybrid of Groove and Southern Metal with hints of modern Doom Metal, led by Chris and his demented gnarls, whereas in Lies the raw and dirty guitar lines by Chelo build a demonic atmosphere for the rest of the band to blast hatred and evil in a fantastic display of Sludge Metal. Moreover, the low-tuned bass punches by Rudy sound insanely heavy, bringing even more ferocity to the overall result. And as a “bonus” don’t forget to listen to the two creepy alternative versions of this song on YouTube by clicking HERE and HERE.

Not My Master then treat us with an excellent cover version for How the Gods Kill, by Danzig (check the original version HERE), and on a side note, this classic was also covered by Polish Death/Black Metal project +MROME+ in their 2016 album Noetic Collision on the Roof of Hell (as you can see HERE). With that said, which version do you prefer? In my humble opinion, both kick some serious ass, with Not My Master sounding more melancholic in its first half before becoming a beautiful storm of Southern Metal throughout the rest of the song. And lastly, closing this obscure and very enjoyable EP we have another wicked tune named Consume, a vicious sample of what they call Texas Metal with Chelo burning our skin with his scorching hot riffs while Chris and Rudy sound like an earthquake with their growls and bass lines, respectively.

Are you curious to know more about Not My Master? I surely am, and I can’t wait to see when those Texan metallers will release their first full-length album, kicking everyone in the head with their relentless fusion of Southern and Groove Metal. You can follow Not My Master on Facebook and get to know more about the band members, their tour dates and other details, as well as listen to their music and watch their videos on ReverbNation. High-quality heavy music made in El Paso, Texas is furiously knocking at your door, but be careful because once you open it, there’s no escape from Not My Master’s vicious attack.

Best moments of the album: Revenge and Lies.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Acadence 4:18
2. Revenge 3:08
3. Where’s God Now 3:49
4. Morning Star 5:15
5. Lies 4:38
6. How the Gods Kill (Danzig cover) 5:55
7. Consume 4:41

Band members
Chris Kidwell – vocals
Chelo Styles – guitar
Rudy Barajas – bass
Charlie Gonzalez – drums

Album Review – Magick Touch / Blades, Chains, Whips & Fire (2018)

A “magickal” music journey to the golden years of rock and metal, reminding us all why we love those electrifying sounds so much.

In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.

Formed in 2014 in Bergen, a southwestern coastal town in Norway, Magick Touch are HK Rein on guitar and vocals, Christer Ottesen on bass and vocals, and Bård Nordvik on drums, blending in their music several elements from the most classic forms of Heavy Metal and Rock N’ Roll with a strong focus on the synchronicity between their vocal lines and the slashing power of their guitar riffs. This Norwegian trinity of rock will take you on a journey to the golden years of rock music through the 10 electrifying tunes featured in Blades, Chains, Whips & Fire, always reminding you why you love the gripping sounds of rock so much in your life.

And the Rock N’ Roll running through their veins becomes latent in the opening track, the upbeat Under The Gun, bringing the purest form of rockin’ riffs and the high-pitched, electrified vocals by HK, with the bass punches by Christer knocking us out within seconds, and keep banging your freakin’ heads nonstop and raising your beers to the soulful guitar lines by HK in The Great Escape, while Bård keeps pounding his drum kit mercilessly. Following such electrified start to the album we have Midnite Sadusa and its Cat Scratch Fever-inspired main riff, an ode to 70’s and 80’s Rock N’ Roll where Christer and Bård are responsible for creating a massive wave of rumbling tones perfect for the classic vocals by HK. Put differently, this is one of those songs that would have been an all-time classic if written 30 years ago.

Leaning towards more contemporary Hard Rock with hints of the sonority by bands like Nickelback and Breaking Benjamin (but also showcasing the band’s old school core essence), Believe In Magick is a song tailored for dancing together with your boyfriend or girlfriend at a rock n’ roll party; whereas the roaring bass by Christer takes the lead in this potent fusion of Southern Rock, Stoner Metal and Hard Rock titled Polonium Blues, which will certainly please all fans of the golden years of Southern Rock. In Siren Song we’re treated to a thrilling intro that keeps growing in intensity until groovy Rock N’ Roll fills our ears, presenting sharp guitar lines with psychedelic elements while the vocal lines sound hard and heavy just the way we all love in rock music. And speeding up their pace, Magick Touch deliver a flammable rockin’ chant named Lost With All Hands, with its guitar and bass slashing our brains while the beats by Bård don’t let us stop dancing for a single second.

Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.

I guess I don’t need to say you should definitely let your rockin’ heart be touched by the electrifying and magical waves crafted by Magick Touch in Blades, Chains, Whips & Fire, and in order to do that simply go visit their Facebook page, YouTube channel, Spotify and SoundCloud for news, tour dates, videos and, above all that, first-class Rock N’ Roll. Blades, Chains, Whips & Fire, which is already on sale through several online stores such as the band’s own BandCamp page, the Edged Circle Productions’ webstore (in CD or LP format) and the Season of Mist’s webstore, as well as on Amazon, on iTunes or at Discogs, doesn’t aim at revolutionizing rock and metal music. Quite the contrary, Magick Touch’s main goal with their new album is simply to remind the whole world how awesome our good old Rock N’ Roll is and will always be, and the band not only nailed it, but they also provided us all a “magick” soundtrack to our days and moments on the road, at work, at school or anywhere else good music is needed.

Best moments of the album: Under The Gun, Midnite Sadusa and Electrick Sorcery.

Worst moments of the album: After The Fire.

Released in 2018 Edged Circle Productions

Track listing
1. Under The Gun 2:53
2. The Great Escape 2:56
3. Midnite Sadusa 3:39
4. Believe In Magick 3:36
5. Polonium Blues 4:17
6. Siren Song 4:30
7. Lost With All Hands 3:13
8. After The Fire 4:10
9. Electrick Sorcery 4:26
10. Blades, Chains, Whips & Fire 6:18

Band members
HK Rein – guitar, vocals
Christer Ottesen – bass, vocals
Bård Nordvik – drums, vocals

Album Review – 5 Star Grave / The Red Room (2017)

The six pricks from Hell are back in town, hic sunt the motherfuckers.

This is one of those bands that, as soon as you listen to their flammable music for the very first time, you become addicted to their electricity and rebellious attitude, especially if you’re already a huge fan of the sound by bands like the Misfits, Social Distortion, the Ramones, Minot Threat and so on, but with a heavier and more melodic approach. I’m talking about Italian Melodic Death Metal six-piece wolf pack 5 Star Grave, who have just released a Rock N’ Roll party-catalyst entitled The Red Room, an album that will surely put you to dance, bang your head, slam into the pit, drink a few beers and do everything else we love so much in heavy music. In other words, the six pricks from Hell are back in town, hic sunt the motherfuckers, and there’s nowhere to run, nowhere to hide from them.

Formed in 2005 in Cuneo, a city and comune in Piedmont, Northern Italy, under the name Ground Zero, changing to 5 Star Grave in 2007, the band already released in their decade of existence the full-length albums Corpse Breed Syndrome, in 2008, and Drugstore Hell, in 2012, as well as a single with a cover version for one of the biggest hits by the Ramones, the classic Pet Sematary, before releasing The Red Room now in 2017. Bringing forth a weird and fun combination of several styles like traditional Heavy Metal and Punk Rock with industrial atmospheres, the band comprised of frontman Claudio Ravinale (who’s also the lead singer for Death Metal act Disarmonia Mundi and Industrial Metal outfit The Silverblack), bassist Andrea Minolfi, guitarists Thierry Bertone and Alessandro Blengino, keyboardist Hervè De Zulian and drummer Domenico Fazzari aims at charging the listener with their relentless hardcore/horror punk-influenced metal highly inspired by the golden years of 80’s metal and shock rock, which they more than achieve with The Red Room.

Wicked noises are suddenly joined by the slashing riffs by Thierry and Alessandro in the opening track, beautifully titled Hic Sunt The Motherfuckers, with Hervè and his keys giving it a futuristic aura. Moreover, this amazing tune brings forward the two main characteristics of Melodic Death Metal, those being aggressiveness and harmony, helping the band in breaking down the walls in fantastic fashion. Following that superb start we have the also whimsical and modern Eat You Alive, where Claudio screams like a maniac supported by the potent backing vocals by Andrea, not to mention the song’s fiery guitar solos and catchy chorus; and Once Upon A Time, with Claudio sounding even more demented on vocals, enhancing the song’s impact while Domenico smashes his drums with tons of dexterity, being highly recommended for admirers of modern and alternative music.

The Ballad Of The Vampire is not a ballad at all, but an ode to the fusion of Heavy Metal, Punk Rock and Hardcore blasted by bands like the Misfits, a fast-paced and electrifying hymn showcasing great performances by Claudio and Domenico that will set their live concerts on fire without a shadow of a doubt, while in Alice the keys by Hervè make it sound more melodic and consequently less violent than the other tunes, but still a heavier-than-usual version of punk music perfect for an insane rockin’ party with its guitars burning our ears nonstop. And adding progressiveness to their high-octane Rock N’ Roll sonority, 5 Star Grave offer us Through The Eyes Of The Monster, where Thierry and Alessandro steal the spotlight with their sick riffs while Hervè brings a touch of lunacy with his synths. Put differently, it’s quite impossible to stand still to this explosion of modern metal music.

And those guys definitely know how to blend the music by the Misfits with modern Metalcore like what can be seen in He Never Died, which means you should start banging your head and screaming together with the band as the party doesn’t have a time to end. In Hell On Heels, a mid-tempo rockin’ tune with hints of Southern Rock, we have an acoustic intro as a variation to their trademark rowdy sounding, and at this point of the album you’ll realize 5 Star Grave cannot craft bad music; whereas For Better Or Worse sounds like the soundtrack to a demented circus act, again inspired by old school punk and metal. In addition, the strident sound of guitars increases the song’s temperature quite a bit, with Domenico taking the lead with his spot-on beats. And before all is said and done we have a semi-ballad entitled There Is No Heaven, which despite presenting their rumbling sounds and growls is slightly below the rest of the album in terms of creativity. Actually, to be fair I wouldn’t consider that a problem at all, as the other songs of the album are way too awesome.

In a nutshell, grab your leather jacket, your fighting boots, make sure the beer is crisp and cold, put on your warrior makeup or mask, and join the uncontrollable party held by 5 Star Grave in The Red Room by following them on Facebook, by listening to their music on YouTube, SoundCloud and Spotify, and by purchasing this excellent album of modern metal music on BandCamp, on iTunes or on Amazon. And after having The Red Room on your hands, simply hit play and get the party started, motherfuckers.

Best moments of the album: Hic Sunt The Motherfuckers, The Ballad Of The Vampire and Through The Eyes Of The Monster.

Worst moments of the album: There Is No Heaven.

Released in 2017 Sliptrick Records

Track listing
1. Hic Sunt The Motherfuckers 4:14
2. Eat You Alive 4:17
3. Once Upon A Time 3:58
4. The Ballad Of The Vampire 1:43
5. Alice 4:03
6. Through The Eyes Of The Monster 3:39
7. He Never Died 3:00
8. Hell On Heels 4:16
9. For Better Or Worse 4:36
10. There Is No Heaven 4:20

Band members
Claudio Ravinale – vocals
Andrea Minolfi – bass, vocals
Thierry Bertone – guitars
Alessandro Blengino – guitars
Hervè De Zulian – synth
Domenico Fazzari – drums

Album Review – Olde / Temple (2017)

Putting society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, here comes a Canadian Doom Metal brigade ready to crush our skulls with their heavy-as-hell new album.

Inspired by a recording session with long-time Stoner Metal stalwarts Sons of Otis, guitarist and producer Greg Dawson (Cunter, Grift, BWC Studios) began to handpick and assemble Canadian Doom/Stoner Metal brigade Olde, emphasizing a powerful and economic approach to doom music. Enlisting the help of drummer Ryan Aubin (Sons of Otis), bassist Cory McCallum (Five Knuckle Chuckle), guitarist Chris “Hippy” Hughes (Moneen) and vocalist Doug McLarty (Jaww), this Malton-based band began to take form, releasing their debut full-length album simply titled I, in 2014, followed by the EP Shallow Graves, in 2016.

Always true to their heavy, bludgeoning roots, Olde are back in 2017 with a brand new full-length instalment, the pungent and resonant Temple, an album where Olde put society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, and how the ranks of the disguised, with their ulterior motives, aren’t exacting worried about the average Joe in their quest for self-preservation and “progress”. Olde’s sound has also grown since the band’s inception, encompassing more abstraction and harmony, whilst never forgetting to bludgeon their fans, as needed, with riff after riff, driven by the sophisticated-caveman drums of Aubin and the harsh, yet always clear, vocals of lyricist McLarty. Featuring an eye-catching artwork by Joshua Wilkinson, Temple will undoubtedly punch you in the face with all its doomed strength, like it or not.

Heavy, sluggish and thunderous from the very first second thanks to the amazing stringed trio comprised of Chris, Greg and Cory, the opening track Subterfuge is an excellent Doom and Stoner Metal composition, bringing the best elements of both genres to our avid ears, but it’s when Doug begins vociferating the lyrics that things get really dark and serious (“The blood you seek is out there, / On the frayed edges of town / Just point your boots, and follow… / Your rotten heart”). Ryan kicks off the following tune, the obscure Now I See You, with his pounding, damned beats, before Doug offers more of his grumpy and raspy vocals perfect for the music being played. Furthermore, I love when it’s possible to listen to those metallic bass punches like the ones blasted by Cory due to the album’s crisp production, but of course without losing the band’s amazing rawness. Also, if I were you, I would check Olde playing this excellent song at the NP music studio for the National Post Sessions, in order to fully enjoy the band’s catchy sonority and refined technique.

The Ghost Narrative is an excellent depiction of the most sluggish and deranged form of Stoner Metal, where Chris and Greg are kicking ass on guitars with their riffs and solos in an overdose of heaviness flowing from all instruments, which is also present in Doug’s enraged vocals; followed by the title-track Temple, the longest of all songs, starting in a somber manner through the bass sounds crafted by Cory and quickly morphing into a neck-breaking Sludge and Stoner Metal hymn. Its hostile sounding, led by the beats by Ryan, only gets more belligerent when joined by the vocals by Doug, hitting you hard and mercilessly until its dark ending. And increasing their aggressiveness and speed, Centrifugal Disaster presents modern and poetic lyrics (“The world heaves under the weight of our existence / A population siphoned from, stretched beyond all reason / Exploit everything for a fraction of what it’s worth / Rallying cry of modern Man: / Give me convenience, or give me Death”), piercing guitars and rumbling bass lines boosted by the intricate drumming by Ryan, culminating in a Stoner Metal extravaganza highly recommended for fans of the genre.

Bringing hints of Southern Rock and old school Rock N’ Roll, Maelstrom reminds me of some of the classic tunes by Down, with highlights to the excellent job done once again by Chris and Greg on guitars. Put differently, this is a song perfect for enjoying a cold beer and banging your head vigorously together with the band, presenting an excellent guitar solo at the end as the icing on the cake. And lastly, closing the album Olde brings forward an ode to darkness titled Castaway, reaching deep into our most deviant thoughts. This low-tuned and slow composition is led by the potent drumming by Ryan and the rabid, deep growls by Doug, while the rest of the band makes sure the atmosphere remains as cold-hearted, gloomy and unhappy as possible.

You can always keep up to date with everything Olde are doing, including their tour dates (especially if you live in the Greater Toronto Area), by following them on Facebook, and purchase your copy of Temple through their BandCamp page, the STB Records’ BandCamp page or Big Cartel, or the Medusa Crush Recordings’ BandCamp page. Temple is not only a top-notch album of Stoner and Doom Metal made in Canada, but it also cements Olde’s name in the Canadian independent scene, opening the doors for the band to reach new heights and to properly explore new markets in a not-so-distant future, like the United States and the UK, where their music style is extremely appreciated. And, of course, to support Olde in their mission to crush everyone’s head with their heavy-as-hell damned music wherever they go.

Best moments of the album: Subterfuge, Now I See You and Centrifugal Disaster.

Worst moments of the album: None.

Released in 2017 STB Records/Medusa Crush Recordings

Track listing
1. Subterfuge 4:06
2. Now I See You 4:27
3. The Ghost Narrative 4:17
4. Temple 7:48
5. Centrifugal Disaster 5:04
6. Maelstrom 6:16
7. Castaway 7:05

Band members
Doug McLarty – vocals
Chris Hughes – guitars
Greg Dawson – guitars
Cory McCallum – bass
Ryan Aubin – drums, guitar solo on “Maelstrom”

Guest musician
Simon Talevski – guitar solo on “Castaway”