Category Archives: Album Reviews

Bio-Cancer – Tormenting the Innocent

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As my good colleague Dan Swinhoe recently noted in his stellar review of the new Reign of Fury album, it’s easy to have preconceptions about thrash albums based on the cover alone. The artwork for Greek quintet Bio-Cancer is exactly what you’d expect from a latter day thrash outfit; designed by genre stalwart Andrei Bouzikov, luridly coloured, biohazard symbol and a freakish, multi-limbed mutant. So far so Municipal Waste, right? Well you’d be wrong, for Bio-Cancer aren’t here to party; they’re here to rip your fucking head off.

It’s fairly safe to say that Tormenting the Innocent (Candlelight) is one of the most vicious sounding, aggressive thrash albums of all time. If you think this is hyperbole, do yourself a favour and listen to the barbaric, light-speed assault on the senses that is opening track ‘Obligated to Incest’ and if you’re still standing, strap yourself in for a further half-an hour or so of brutal, yet catchy riffs, devastating blast-beats and feral, demonic shrieks courtesy of the band’s ace in the hole; vocalist Lefteris who delivers his lines like Steve Sousa with a piranha forcibly inserted up his backside.

It’s not hard to see why the band has described their sound as “ear-piercing thrash” when tracks such as ‘Boxed Out’ and the ninety-second maelstrom that is ‘Haters Gonna… Suffer!’ are akin to having skewers inserted in your lugholes. But just when you thought you had them figured out, what sounds like an oboe commences ‘F(r)iends or Fiends’ and the band demonstrate just what superbly skilled musicians they are, as lethal melo-death style guitar lines, mature rhythmic interplay between bass and drums and a gloriously exuberant solo blow the roof off.

Deftly welding skull-crushing power with measured songwriting nous, Bio-Cancer are that rarest of things; a thrash band with its own identity. Disgustingly talented, full of beans and proof that being pissed-off can be pretty damn fun; these lads have a future as bright as the glow from a field of toxic waste ahead of them.

 

8.5/10

Bio-Cancer on Facebook

 

JAMES CONWAY


Manilla Road – The Blessed Curse

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Let’s make this absolutely clear from the start – Manilla Road are undisputed legends of Heavy Metal.  That their name does not carry the same mainstream recognition as some of their peers should not mean that it is spoken with any less reverence. Between 1983 and 1990 – following a slightly awkward but extremely interesting two-album start – they put out a run of classic Heavy Metal albums that is almost unmatched in terms of quality, consistency and a genuine sense of the mysterious.

Since returning in 2001 with Atlantis Rising (Iron Glory) and an entirely new line-up, founding member and authentic Metal hero Mark “The Shark” Shelton has never quite reached the heights of the classic material, but has nevertheless put out some captivating and powerful material that confirms both his lifelong devotion to arcane, true Heavy Metal and his talent for creating it.

Following the previous two albums, the worthy but patchy Playground Of The Damned and 2013’s disappointingly flat Mysterium (both Shadow Kingdom), I was starting to worry that Shelton was finally losing his way. But first, Manilla Road’s greatest blessing and curse (and I know you can see what I did there) has always been the same thing – they’re absolute refusal to do things the “right” way, or to make any attempt to meet their audience half-way.  It’s what invests their classic material with such charm and power, but it also leads them to settle for a muddy, washed-out production and to front out three of the least catchy songs on the album. Make it through to track four, however, and ‘The Dead Still Speak’ kicks in with riffing so primitive and ugly that it calls Hellhammer to mind – and then things get interesting.

As always, the strengths here are Shelton’s powerful riffs and distinctive vocals (complemented by Bryan “Hellroadie” Patrick since 2001, but here mostly falling into Shelton’s classic 80’s style, rather than the Death and Black Metal vocals they’ve experimented with on previous albums. There’s also a flow to the songs, a sense of continuity that extends across the tracks and makes The Blessed Curse (Golden Core) feel like an album again, rather than the disjointed collections that Playground… and Mysterium both came across as. There’s nothing “new” on here, but expecting there to be seems, frankly, unreasonable – neither Shelton nor Manilla Road have anything to prove.

Neither a full-on return to former glories nor a sign of complete redundancy, The Blessed Curse finds itself in the rather awkward position of being “just another” solid Manilla Road album – proof that this most idiosyncratic and individualistic of veteran Metal bands still has life in it, but not quite the statement of utter mastery that we hope they still have left in them. Fans will have bought it already, and won’t be disappointed, but anyone wanting to catch up on what they’ve missed would be better advised to start elsewhere.

 

7.5/10

Manilla Road on Facebook

 

RICHIE HR


Chiefs – Tomorrow’s Over

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There are some days when you get home and all you want to do is kick back and escape into another world. Chiefs’ album Tomorrow’s Over (Roosevelt Row Records) would make an excellent companion during such a time. My initial thoughts were along the lines of a blender full of Kyuss, Demon Cleaner, and Greenleaf but with Paul Valle’s vocals.

The song ‘Ride’ is aptly named and is perfect for one of those long drives through the night that you take when you need to figure things out. It is very easy to just let yourself go, get out of your own head, and enjoy those fuzzy riffs and groovy bass lines. I haven’t heard any of Chiefs’ older material as a duo but I can’t imagine them without Jeff Podeszwik on bass. I found myself listening to it over and over and I don’t think that it would have had the same impact on me if it were performed by just two men.

Things get a little heavier with one of my favorite tracks and submission holds, ‘Sharpshooter’. This is one of those songs that will immediately get your head moving and your body swaying. As much as this album is full of ear worms, I would argue that this is the strongest of them all and once it gets into your head, it’s going to be hanging out for a while. I can almost hear the deafening wall of sound and ringing of the ears that seeing this performed live would create. Here’s hoping they make it out to the east coast soon.

In all honest, I wouldn’t have expected this to be a début album with how polished and well written it is. Nothing feels out-of-place or unnecessary and the transitions from song to song are very smooth. I wouldn’t be surprised to see this band joining the ranks of other veteran stoner rockers in time. Tomorrow’s Over feels like something that could have just as easily have been released in the 90s and that is definitely not a bad thing.

7.5/10

ALEIDA LA LLAVE


Keep of Kalessin – Epistemology

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With the departure of long-time vocalist and fan favourite Thebon in 2013 as well as the inevitable backlash from the trve kvlt brigade after flirtations with that most Satanic of institutions Eurovision; the future was not looking bright for Keep of Kalessin. The gap was widening since previous album Reptilian in 2010 and many thought the band had blown it, a depressing development after their successful rebirth in 2003. However, founding member Obsidian Claw refused to admit defeat and after assuming vocal duties has released sixth full-length Epistemology (both Indie Recordings) along with seasoned veterans Vyl and Wizziac along for the ride. It’s a decision that looks set to pay off for the trio, for they have recorded one absolute belter of an album.

For those who would rather cut off their own nuts then listen to another turgid Darkthrone rip-off with an artificially engineered ‘raw’ production job or who refuse to accept that only one-man losers who have never got past copy-and-paste Burzum worship have a monopoly on black metal, Keep of Kalessin are the band for you. Firmly rooted in the melodic side of the genre, although crucially leaving the dual-lead guitars to the Dissection fan boys, the band knows how to pen relatively straightforward compositions that deftly merge brutality and bombast. In short, they are the band that Dimmu Borgir should have become after Death Cult Armageddon (Nuclear Blast). Factor in a high quality, widescreen production job that makes the bass-drum sound like a jack hammer and gives the wailing leads a truly grandiose feel, and you have all the ingredients for a stone-cold classic.

With pretty much all tracks, from the soaring clean vocals and brutal guitar lines of nine-minute opener ‘The Spiritual Relief’ to the choppy melo-death workout of the closing title, following the same expertly written path of pomp and bludgeon, Epistemology may appall traditionalists but will delight those who like to look to the stars as well as into the pits of hell. Thanks for sticking around, guys.

 

8.0/10

Keep of Kalessin on Facebook

 

JAMES CONWAY

 


Unrest – Grindcore

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There is a certain confidence to naming your album after an entire style of music, particularly if the band are playing an already well-established genre. Taking the same tactic as Venom did with Black Metal (Neat) over 20 years ago, Unrest emerge onto the market with their debut album Grindcore (Unspeakable Axe). While Venom may have been appearing during the first wave of black metal, more influential to the genre than being a part of what black metal itself became, Unrest plant their music unquestionably in the realms of grind.

With the band containing members of Woe, TrenchRot and Crypt Sermon, the Philadelphia trio are already boasting some serious pedigree. 9 years in the making, Grindcore frantically charges through 26 minutes of chaotic guitars and duel vocal lines to produce a polished tribute to masters of the genre, Nasum. Despite the bands obvious shared love, Grindcore offers memorable tracks including the ceaseless vocals in ‘Protest Culture’, while ‘Inaction’ is stomping aggression, alongside the raw simplicity of the opening bass riff to ‘Nothing (That’s All You Have To Give)’.

While taking such a bold stance on their album name, Unrest risked seeming arrogant if they hadn’t pulled off their sound. While there are elements of Nasum’s formula streaking across the album, there is a healthy dose of other elements thrown in to give this release some serious punch in its own right. Grindcore might not be the defining album that Black Metal was, but any serious grind fan should still give this album the chance to take a solid boot to their eardrums.

 

7.0/10

Unrest on Facebook

 

CAITLIN SMITH


The Order Of Apollyon – The Sword And The Dagger

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With their homeland having become a noticeable entity for black metal at its most experimental, nauseating and evil best, it is no surprise that black/death metallers The Order Of Apollyon hail from the land of France. In fact, The Order… were actually instigated and led by a prime member of influential Asosoth, namely B.S.T, as their debut saw an impressive who’s who of extreme metal, but sadly with fine if uninspiring results. Five years on sees the follow up, The Sword And The Dagger (Listenable), an altered lineup, and a greater sound of purpose.

Surprisingly coming from the scene that they originate, TOOA’s sound is fairly accessible considering it is drawing from both death and black metal; at times simultaneously. Much of this is down to its precise, contemporary sounding production which avoids the sludgey, dissonant feel; sharing more with some of their ‘cleaner’ counterparts. Much can also be pointed towards its more tuneful segments which take their cues from melodic death metal, albeit from the heavier spectrum such as the likes of Hate.

Not that is easy listening by any stretch, as it veers from guttural death metal and piercing black metal with a subtle but definite experimental nature, such as on ‘Al’ankabout’ with its slight Middle Eastern vibes and a grinding, doom like crawling passage. This album has several sides to it, but displays it all with impressive fluidity, and, whilst it may have easy to spot reference points at times, it all comes off in a worthy and formidable manner.

With its extreme metal ranging from several different roots and its bouts of experimentation – combined with its comparatively polished production – The Sword And The Dagger proves not only a vast improvement over its predecessor, but also potential to be a valid entry point for metal fans who are looking for something a little more challenging.

A solid album, and a good grounding, that could be the beginning of something all the more special.

 

7.0/10

The Order of Apollyon on Facebook

 

CHRIS TIPPELL


Reign of Fury – Death Be Thy Shepherd

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From the cover of their new album – a zombie priest cradling a mutated octo-baby above a church font filled with radioactive goo – it’s easy to have plenty of preconceptions about Reign of Fury’s second album, Death Be Thy Shepherd (Static Tension); chief among them that it will sound like Toxic Holocaust or Municipal Waste.

But looks can be deceiving and the UK-based Melo-thrash quintet definitely value a catchy hook and clean vocal above Slayer-like shredding. There’s no shortage of heavy riffs, but the band has far more in common with the likes of Iron Maiden and the NWOBHM than the Bay Area or any Thrash-revivalists.

There’s still plenty of bite – this isn’t a cheesy Swedish retro-metal record – but this isn’t for people who like their thrash gritty. ‘Harbinger of Decay’ has some definite Maiden references – especially in Bison Steed’s Bruce Dickinson-esque phrasing during the verses, ‘Hypnotise The Masses’ and “The Love of a Dying God’ have an aura of early 90s Megadeth and classic Anthrax. Guitarists Fury and Bielby know their stuff and aren’t afraid to show off their ability to interplay throughout a song. ‘All is Lost’ starts as a slow ballad Metallica would have been proud of before the second half introduces some nice twin guitar solos and harmonies.

As well as melody, the band have some progressive ambitions; only one of the album’s eight tracks clock in under six minutes long yet the band play with such energy you don’t really notice. As with most thrash and heavy metal outfits, the majority of the album is repackaging familiar sounding riffs with some new hooks. It’s no bad thing – Reign of Fury have plenty of catchy choruses, ambition and a vault full of quality riffs at their disposal.

Historically, UK Thrash has never been much to shout about. Reign of Fury haven’t really changed that, but in Death Be Thy Shepherd they have a pretty decent modern heavy metal record that pays tribute to the classics but brings plenty of energy to the proceedings.

 

7.5/10

Reign of Fury on Facebook

 

DAN SWINHOE


A Forest of Stars – Beware The Sword You Cannot See

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Given Britain’s tendency to produce eccentrics, the emergence of Leeds troupe A Forest of Stars in 2007 may have caused a few heads to turn, but their glorious weirdness, even in a scene as narrow and regimented as black metal, has always worked to their advantage. Existing in their own interpretation of Victorian England where decadence, occult magick and narcotic experimentation reigned supreme, the septet’s three previous albums were all well received, with plaudits given for their enthralling storytelling and atmosphere as well as explorations into psychedelic territory and pastoral folk amid the crushing black metal dynamics. Further accolades look set to follow, for fourth effort Beware the Sword You Cannot See (Lupus Lounge/Prophecy) is an unabashed masterpiece.

With a concept heavily focused on death and rebirth, this is the album that shows A Forest of Stars transcending the rigid parameters of their earthly shackles and soaring off into the unknown with aplomb. The thunderous tremolo picking and double-bass assault evident on tracks such as ‘A Blaze of Hammers’ leaves the listener in no doubt that the band aren’t going to do an Opeth on us, but it’s the surging progressive flourishes and sense of ambition that makes this such a special listening experience, as demonstrated by the ascending chords and lush female vocals courtesy of violinist Kathryne Queen of the Ghosts on the magnificent album opener ‘Drawing Down the Rain.’ Speaking of ambition, the six part odyssey that is ‘Pawn on the Universal Chessboard’ which comprises the latter half of the album is mind-boggling in scope, ranging from spacy Tangerine Dream style synths on ‘Mindslide’, masterful dark prog on ‘Have You Got a Light, Boy?’ to pummelling black metal orthodoxy on ‘Lowly Worm.’

Special mention must go to vocalist Mr Curse for a truly astonishing performance where he shrieks, yelps and dips heavily into theatrical spoken word delivery to tell the story of the album, producing some fantastic lyrics (“Fuck you and the worms you rode in on!”) and acting as demonic ringleader to this spectacular carnival of unearthly delights. It may be too early to call A Forest of Stars the British answer to Enslaved but if they keep on producing records as excellent as this then their status will be in no doubt.

Early contender for one of the albums of the year.

 

9.0/10

 

JAMES CONWAY


Harm’s Way – Rust

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Being very picky with hardcore music, I am very quick to pass up opportunities to listen to new hardcore music and just appreciate what I have in my library. Having said that, I am very fortunate to have been provided quite an addition with the latest album, Rust (Deathwish), by Chicago hardcore outfit, Harm’s Way. It does not take long for this album to ramp up and put you in a stranglehold. Whether the beat is punky, heavy, or just a crushing breakdown, these guys certainly bring to light what it is to be hardcore. Another aspect of the sound that makes up Harm’s Way is the guitar tone. I feel like the tone has that great crust feel to it without going so far as to turning into sludge. If that wasn’t going to sell this band’s sound to me, then looking at their Facebook page certainly did. In the about section, under “artists we also like,” only Nails is listed. It was like a match made in Hell!

The entire journey that is Rust clocks in at just over 33 minutes over the course of ten adrenaline injecting tracks. The overall flow of the album does not allow the listener to take many breaks as each track blends right into the next with minimal down time during intros. Another impressive trait for this release from Harm’s Way is that each track in the album has its own identity without repetitive riffs or even covered with the predictable breakdown. Due to this I could honestly speak about every track on Rust and explain how I felt the need to deconstruct each song. No need to fear as I like to keep my reviews quick rather open ended so it makes readers potentially go out and listen for themselves. What I can tell you is the moment the first track ‘Infestation’ starts its build up and gets moving, this avalanche of crusty hardcore does not stop until the 5th track, ‘Cancerous Ways.’ This track only gives you a slight break for air before leaping off the next cliff and drags you with it. Not to take away from the second half of the album, but the final two tracks back to back absolutely blew me away and end the album with an explanation point. ‘Turn To Stone’ builds up to an interlude with a female vocalist (which I cannot seem to place at time of writing this) pleading for help only to meet a grizzly breakdown. This then fades into the closer, ‘Ease My Mind’ which is the culmination of every previous track with catchy riffs, crusty guitar tones, some crafty foot work behind the drum set, and a groovy yet epic outro to what Harm’s Way calls Rust. Just as quickly as this album takes over your ears, it leaves you just as quickly in silence.

Harm’s Way has clearly done a great job of impressing me only after about a half hour of my time. Quite frankly, it only took a few songs in for me to headbang through highway traffic and actually say the word “Wow” at the end of some of the tracks. I will certainly be spinning these tracks for the rest of the year, as Rust battles to earn its keep in my end of the year list. In fact, I’m going to go hit play right now.

9.0/10

TIM LEDIN


Kjeld – Skym

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After forming in 2003, Dutch quintet Kjeld has finally got round to releasing their debut album, with the wait presumably down to the difficulty the band has had in translating their lyrical concepts of anti-cosmic mysticism and the nature of death into the Friesian language, a difficult tongue to master. Well, the wait was worth it, for Skym (Hammerheart) is a suitably grim piece of Second-wave worship that fans of Gorgoroth and Enthroned will lap up like blood from a chalice.

With a knack for imbuing searing black metal riffs with a feeling of unease and coldness like the true greats of the genre, the band members have evidently put a lot of thought and effort into crafting the songs for this debut effort. The slightly murky production, with the snare drum in particular high in the mix, ensures that the atmosphere is claustrophobic and full of dread while the pace remains varied throughout.

Although rooted in the light-speed riffing of the Norwegian great and good, as demonstrated on the aggressive opening salvo of ‘Tûzen Sinnen’ and the title track, the lurch into mid-paced suicidal depressive black metal territory on the Forgotten Tomb-worshipping ‘Gerlofs Donia’ is evidence that the band have a few tricks up their sleeves, further demonstrated by the monolithic power of classy album closer ‘Bern Fan Freya.’

While their fellow countrymen Sammath failed to stake a claim for the importance of black metal from the Low Countries with the disappointing Godless Arrogance (Hammerheart), Kjeld has proven that relatively gimmick-free black metal still has a future and that there’s a lot to be said in waiting to ensure you get your debut release right instead of rushing things and being disappointed with the result. On that basis, Kjeld have begun their career in just the right way.

 

7.0/10

Kjeld on Facebook

 

JAMES CONWAY