Heavily rooted in the traditional Doom Metal-centered alignment, Athens-based Tèlma has consistently presented melancholic sounds with ceremonial atmospheres. They have been around for roughly eight years and are profoundly inspired by many names across the globe when it comes to musical influences – including Russia’s Scald, Finland’s Reverend Bizarre, and Chile’s Procession – though most listeners probably also can sense some Candlemass-esque hints of references in their sounds.
Enforcer has had some solid success in their career with their easily accessible traditional Heavy Metal style. With some many bands going back to more old-school stylings it’s easy for bands to get lost in the shuffle. Enforcer has been able to stand out ahead of the pack with consistent material and commitment to their style. While the band has constantly gone on record to state that they aren’t merely an old-school retro act, their latest album, entitled Nostalgia (Nuclear Blast) seems to beg to differ.
As with their 2019 full-length debut, Scarecrow’s second full-length album sees the Russian quartet deepen their commitment to a distinctly off-the-cuff, kitchen sink Occult Metal. Scarecrow II (Wise Blood Records) sits on the arcane line between Hard Rock and Heavy Metal best demonstrated by groups like Seventies-era Scorpions and Judas Priest. There are menacing riffs and banshee vocals galore indicative of Classic Metal but also experimental eccentricities that play like holdovers from the Psych Rock era.
James Durbin may have been the “metal guy” during his season on American Idol, but it’s been an uphill battle for him to get any sort of street cred in the actual scene. His subsequent solo albums seemed noncommittal in terms of style and his brief stint singing for Quiet Riot felt more like an odd novelty than a real step forward. It’s hard to tell how the reception towards The Beast Awakens (Frontiers Records srl) will compare but at the very least, it’s a notable turning point on his path to Heavy Metal legitimacy.
We had the honor of chatting with heavy metal legend Joey Vera of Armored Saint all about their new album Punching the sky (read our review here) out now on Metal Blade Records. Joey talked about the future of the music industry and what it might look like post-COVID19, how the band writes together, his personal preferences in production and recording styles, his take on livestreams, the progress he is making on his other projects such as Fates Warning and Motor Sister, and more! Buy the album here and check out our chat!Continue reading
Showing no visible signs of wear and tear, classic Los Angeles metallers Armored Saint return with eighth studio album Punching the Sky (Metal Blade). Noted for their consistency in both output and personnel, you have to go all the way back to 1987’s Raising Fear (Chrysalis) to find a studio album with a different line-up. A surprising level of stability considering two lengthy hiatuses and the untimely death of original guitarist Dave Prichard.
Whenever the subject of UK thrash metal arises, Bristolian act Onslaught are always one of the first names mentioned. From their 1985 debut to their split in 1991 and eventual reformation in 2005, the band have been one of the leading lights of the genre. Often heralded as the “English Slayer”, like their now defunct US counterparts, Onslaught draw from a history of both punk and classic metal to make their point.
Left to right:JB Christoffersson (Guitars, Vocals)Fox Skinner (Bass)Ludwig Witt (Drums)
Great Heavy Metal titans Grand Magus has announced a brand new album, Wolf God, due out on April 19th via their longtime label Nuclear Blast. Wolf God will be the follow up to 2017’s Sword Songs which saw the band tour extensively behind. This cover artwork was created by acclaimed artist and frequent Grand Magus collaborator, Anthony Roberts. The album was recorded at Sweetspot Studio in Sweden, together with producer Staffan Karlsson (Arch Enemy, Firewind, Spiritual Beggars). New music and pre-orders to follow soon.Continue reading
Sometimes there are things that together simply make the perfect combination; fish and chips, The Chuckle Brothers, and metal music and horror movies. The relationship between these two art forms has been deep-rooted ever since Iommi and company first unleashed those infamous single notes on the world, taking their band name and that song title famously from Spanish 60’s flick Black Sabbath. It’s a relationship that Acid Witch have firmly embraced throughout their existence, and paid homage too on Midnight Movies (Hells Headbangers).
Acid Witch have always shown a little bit of a tongue in cheek side to them but this collection of covers taken from cult horror b-movie soundtracks is still surprisingly cartoonlike. Most of this is down to their shedding of their own doom/death roots, instead choosing to perform true and familiar renditions of the likes of Sorcery and Fastway, with some additional eerie growls. Production wise this has quite a sheen but doesn’t detract from the old-school vibe and keeps its atmosphere; all the while sounding like they are having the time of their lives.
Far from the year’s most important release of course; this is a complete nostalgia trip to some of metal and horror’s campest and animated moments with four covers that stick to the original formula and prove just as grin inducing.
7.0/10
CHRIS TIPPELL
After subjecting us to a pointless intro that neither builds tension nor sets up the rest of the album (why do bands do this?) Death Curse (Dark Descent) hurtles into the title track with a feral blackened thrash riff that sets the tone for what is to follow over the remaining 35 minutes, a Repulsion inspired rager with a driving D-beat.
With deathly intent, the guitars of Hell Messiah and the wonderfully named C.C. DeKill rage and bluster through the rest of the album in the vein of Sodom, Venom and Kreator, with the odd nod to more Black Metal Bathory, particularly the middle section of ‘Unending Lust For Evil’.
It’s easy to feel this is nothing new, but the band would undoubtedly feel that “something new” is not the point, the point is worshipping at the altar of the old-school. Interestingly, though it is when Gravehill change things up that they reap the benefits, launching into a punky, bass-led ‘Fear The Reaper’, or slowing things down to an Autopsy slab-heavy stab for ‘Open Their Throats’ that they really distinguish themselves.
The problem for Gravehill is that there are too many bands around doing this. Some have been doing it for 30 years and are well established and worshipped, others are just better (Skeletonwitch, Aura Noir). There’s plenty of endeavour and spirit evident on Death Curse but with Mike Abomination’s vocals missing the mark and being unintentionally funny as his delivery turns into a weak throaty gargle more often than he hits the beastly roars, Gravehill have some work to do still.
For such a raw and energetic album Death Curse is well produced, which, while giving the riffs added “neck” and beef, further highlights Abomination’s short-comings, as he’s well and truly shown up by Kam Lee (Massacre) on ‘Unending Lust…’.
Yet, you feel Gravehill don’t care. The core of their ethos is middle-finger up and tongue in cheek. They’re happy churning out 30 year old riffs in homage to their heroes, wearing their leather, bullets and spikes.
And who can begrudge them that.
6.5 / 10
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STEVE TOVEY