Music Release Reviews (Page 6)

Label: Xtra Mile Recordings

September 2022

Xtra Mile Recordings releases Primetime Entertainment, the follow-up album to 2021’s debut Fractured Party Music, by Essex Punk band Pet Needs. Johnny Marriott leads from the front, with brother George Marriott on guitar, Rich Gutierrez on bass and Jack Lock on drums. Johnny describes this release as their ‘London Calling’ – a much more personal reflection of fear, fatigue, adrenaline, failing and determination. A journey of profound psychological discovery. It is a purposeful conflict of loud and quiet textures of self-analysis. But there is always room for humour and irony. The album is produced by friend and mentor Frank Turner. It is available on Vinyl, CD and for Download...

Track List: 'Lost Again'; 'Ibiza in Winter'; 'Get on the Roof'; 'Tried and Failed'; 'Spirals'; 'Primetime Entertainment'; 'Only Happy'; 'The Argument'; 'Fear the Whole Damn World'; 'Dear Abi'; 'Thanks For the 

Invite'; and 'Nobody Ever Warned Us'.

I had the distinct pleasure of reviewing Fractured Party Music in 2021, and presented it with the full 10 out of 10 it deserved. The follow-up to a debut album isn’t called ‘The Difficult Second Album’ without good reason. The listener is used to the sound quality and energy, the songs are well-honed by the band before being recorded, and there is the question of whether the new material should be more of the same or make a subtle – or even drastic – change to supposedly keep it fresh. I’m pleased to report that all the things are in place which made the debut such a revelation, whilst taking a risk and pushing the boundaries somewhat.

It breaks out of the traps at a rate of knots, with the songs – if anything – even more defined. On the first album, it was all about the words, whereas this outing is complete and structured as a band. I love the typically English rooted accent; it makes the group sound like a Pop-Punk version of The Kinks, which in my eyes is quite an attribute and a definite complement. It would be so easy for these tracks to be ‘samey’, but it couldn’t be further from the truth. They are really inventive, and use all the natural skills to make the running order versatile. The title track is an experiment too far, perhaps. But it is very different and expresses the versatility of the combo. And Johnny expresses heartfelt emotion with the lyrical poetry of 'Dear Abi'.

The rest of the album is right up my street, with energy and melody aplenty. It brings a smile to the face, and that’s no mean feat in recent times. I didn’t think that Pet Needs would top Fractured Party Music, but they’ve comfortably placed this one at the top of the pecking order. 

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: BMG

October 2022

BMG releases Danse Macabre, a CD boxset by Swiss Extreme and Experimental Metal band Celtic Frost, incorporating three full albums, an EP and rehearsal recordings – all from 1984 to 1987. There are also other goodies incorporated. The set contains Morbid Tales (Full Remastered Album), To Mega Therion (Full Remastered Album, plus 'Tragic Serenades' bonus tracks), Into The Pandemonium (Full Remastered Album, plus 'I Won’t Dance' bonus tracks), Emperor’s Return(Full EP, plus bonus tracks), Grave Hill Bunker Rehearsals (1984), a 40-page book of brand new interviews with founding member Tom G Warrior and drummer Reed St Mark (contains rare and unseen photos from the era), a two-sided poster, ‘Necromaniac Union’ fan club enamel badge, and a ‘Danse Macabre’ sew-on woven patch...

Whilst being fully aware of the existence of Celtic Frost, I have never followed their music or seen them live (you can’t listen to them all!). Consequentially, I come to this review cold as the proverbial Frost. The early albums – up until the band’s initial split – are certainly diverse, giving credence to their reputation of an ever-changing and evolving entity. The boundaries are continually pushed until there exists a different sub-genre sound entirely. 

This material incorporates the releases under Noise Records. Morbid Tales I would describe as Extreme and Experimental, a mix of post-Hellhammer sound and an entirely new approach. Although Martin Ain was not involved in the second album (due to personal problems), To Mega Therion still cemented the group’s status, with a dark, heavy and orchestral feel. Doom is never very far behind, and you can’t help thinking of Black Sabbath at certain points. Into the Pandemonium is a shocking change, turning the sound at points into driving Rock/Metal – much more accessible to mainstream and possibly influenced by the record label.

Almost certainly, the real revelation here is the rehearsals recorded at the band’s Grave Hill Bunker. For any avid fans of Celtic Frost, this box set will prove invaluable. It’s nicely packaged, and what’s more there is an even better coloured vinyl box set option available. 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: BMG

September 2022

The original line-up of Metal band Venom consisted of Cronos (Conrad Lant) on bass and vocals, Mantas (Jeff Dunn) on guitar, and Abaddon (Tony Bray) on drums. Originating in Newcastle, Venom emerged with the New Wave of British Heavy Metal in the late 1970s and early 1980s – joining other luminaries such as Iron Maiden, Def Leppard, Angel Witch, Tygers of Pan Tang, Chariot, and many others. They are said to have invented the sub-genre of Black Metal...

Right from the start Venom were different, centring on a heavy thrash format (with lesser Punk elements) which suited their motif of dark occult themes and satanic lyrics. They are almost certainly the first band to appear in publicity photos and on stage covered in theatre blood – a trend which would catch on with other (mostly American) bands in the late 1980s and into the early 1990s. Although Cronos fell-out with his band mates, taking Venom through an alternative line-up, he reformed with them for one album. This was to seal their permanent separation. Even though Chronos is as passionate about Venom as ever he still has warm memories of those ground-breaking early days.

If these opening paragraphs sound familiar it’s because in 2019 I reviewed the deluxe vinyl boxset of In Nomine Satanas. This release is a 6-CD + DVD Boxset version of the same release, via BMG. Included are Venom’s original Neat Records releases: Welcome to Hell; Black Metal; At War with Satan; Possessed; Eine Kleine Nachtmusik (Live); and Sons of Satan – as well as the Black Metal (Deluxe Edition) 7th Date of Hell – Live at The Hammersmith Odeon, 1984. There are also new interviews.

The studio albums track listing is: 'Sons of Satan'; 'Welcome to Hell'; 'Schizo'; 'Mayhem with Mercy'; 'Poison'; 'Live Like an Angel'; 'Witching Hour'; 'One Thousand Days in Sodom; Angel Dust; In League with Satan; Red Light Fever; Black Metal; To Hell and Back'; 'Buried Alive'; 'Raise the Dead'; 'Teacher’s Pet'; 'Leave Me in Hell'; 'Sacrifice'; 'Heaven’s On Fire'; 'Countess Bathory'; 'Don’t Burn the Witch'; 'At War With Satan'; 'Rip Ride'; 'Genocide'; 'Cry Wolf'; 'Stand Up (And Be Counted)'; 'Women, Leather and Hell'; 'Aaaaaarrghh'; 'Powerdrive'; 'Flytrap'; 'Satanachist'; 'Burn This Place (To the Ground)'; 'Harmony Dies'; 'Possessed'; 'Hellchild'; 'Moonshine'; 'Wing and a Prayer'; 'Suffer Not the Children'; 'Voyeur'; 'Mystique'; 'Too Loud (For the Crowd)'; Plus live tracks, demos, and church hall rehearsals. 74 tracks in all.

Original Black Metal (sometimes known as Extreme Black Metal) is quite different to the current form of Black Metal , which is much closer to a dark Pagan Metal. As a long-time Metalhead I have enjoyed many bands from different sub-genres; however, you can’t like everything. I had previously heard some of Venom’s output but never really gelled with their format, and that’s still the case now. I’m well aware of their music and influence on a host of subsequent emerging bands though. They still maintain a host of fans, and are revered by bands such as Celtic Frost, Behemoth and Metallica.

The limited-edition vinyl boxset of these albums is undoubtedly more collectable containing, as it does, additions such as a very nice colour book, posters, a shaped picture-disc and other items. However, if you’re not into vinyl check out this very nice CD boxset. The cover presentation has wood-effect artwork in line with the design for the vinyl set released in 2019. This is assuredly a treasure for the existing fanbase and curious newcomers. There’s no better way to trace the legacy of the band from its 1979 church hall rehearsals in 1979 to the Possessed album in 1985 and the following year’s live recordings. And for those collectors there is a separate 40th anniversary release of the album Black Metal on silver and black swirl coloured vinyl. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Supreme Unbeing

August 2022

Svart Records releases Mal de Vivre (meaning losing the taste for life), the debut album by Italian Extreme Metal band Red Rot. The band was formed by Luciano Lorusso George and Davide Tiso, formerly of Ephel Duath, and completed by Ron Bertrand on drums and Ian Baker on bass. Described as a blend of early Morbid Angel, Paradise Lost and Voivod, the record was written, recorded and mixed between October 2020 and May 2021 by producer Jamie King at Basement Studio in Salem, North Carolina, whilst the world still reeled from the COVID-19 pandemic. Their name, Red Rot, relates to the vegetable-tanned leather of old books which eventually rotted into itself in the manner of sulphuric acid. The damage caused by red rot is irreversible, and Tiso likes to think Red Rot can do the same. Themes of mental illness, psychological deviance, rage, gloom and paranoia are explored with agonised conviction...

Track List: 'Ashes'; 'Undeceased'; 'Near Disaster'; 'Everlasting Creature'; 'After the Funeral'; 'Alpha Predator'; 'Greatest Failure'; 'Behind the Secret'; 'Conversation With the Demon'; 'Dualism'; 'Emotional Neglect'; 'Gruesome Memento'; 'Dishonourably Discharged'; 'Maelstrom'; 'Dysmorphia'; 'Under Attack'; and 'Peregrin'.

A moderate-paced menace piece introduces us to the band via clean and growled vocals, discordant guitars and changeable drums which dictate the changes in pace. There is certainly a diverse crossover of Metal sub-genres present here. The tone of growled vocals, for me, often dictates whether or not I’m going to the like the entire sound of the combo. Here, they are comfortable listening to anyone used to the concept. I like the disparaging conflict of pace and vocal style. Amongst the Thrash, Death, and Black influences can be found Goth Metal in the style of Paradise Lost, and even Jazz! However, rather than individualising the tracks, all of the eggs are utilised in one single basket, so that each song incorporates the same elements. It reminds me of Cradle of Filth without the electronic symphonic element.

That is not to say this album is devoid of originality. There are nice elements of light and shade, particularly in the vocals and the differences between verse and chorus. Dreamscapes are at times created by the guitars and, undoubtedly, the drums lead the way. With seventeen tracks on this album, it has a Punk timing element ranging between one minute and around five or six. It does allow the full-on assaults to be separated. I like the sound but it needs to be more variable in all manners. Most songs structure as pacing, galloping and thrashing. This is early days for Red Rot, so it will be interesting to see what they come up with next.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Mobilization Recordings

August 2022

Regent Records releases Just a Revolution, the debut full album by home-grown, Southampton-based Indie Rock band, Regent. The line-up incorporates Ben Rooke on vocals, Chris Woolf on lead guitar/keyboards/piano, Luke Trundell on bass/guitar, and George Grattan on drums. Some of the themes explored across the twelve tracks include love, loss, good times and dark times – based upon the singer’s own experiences. The music itself ranges from catchy feel-good anthems to darker, more vulnerable moments. Regent have emerged as one of their region’s finest acts, gaining favourable radio play from Frank Skinner’s Absolute Radio show, Radio X, the BBC, RTE2 in Ireland and SiriusXM in the US. Their previous singles have been played on sports shows such as BBC 1’s Match of the Day, the BBC’s Six Nations Rugby, Soccer AM, and Sky Sports Darts. Just a Revolution is available for download and streaming...

We begin with the title track, 'Just a Revolution'. A raucous, fuzz and over-driven riff blasts through with comforting energy. The vocals are slightly more restrained in the verses and contain a modicum of reverb. The diverse inflection of the vocals is great, with heart and emotion there for the chorus parts. 'Dirty Little Sinner' has a marching pace much more suited to a Pop/Rock genre sound. The vocals turn colloquial – almost modern cockney. The guitar solo is short and sweet, without losing touch with the quirky stance of this great short piece. Is that a single? It should be. 'Let’s Go Out' returns to the grinding fuzz, but with a commercial bass line. I’m impressed with the changes to the vocal style with each track. Many bands have one set vocal sound which soon turns the music stale. This is alive and invigorating. 'Today' is an electro-acoustic ballad, with a moderate pace and rolling vocals. The pace picks up a little towards the end with an added injection of energy, before stripping back to the acoustics once more. Very nice, I must say.

'She Rocks My Souls' incorporates a stomping beat into a choppy Rock number. The vocals are, again, very good and different to what has gone before. The guitar solo is a great way to end this song. 'Again' is a light and lazy step summer song which would sound great played in the car (where I play most of my music). 'I Told You So' is another stomping beat. These seem to work so well in this sub-genre. They drag you along for the ride and, before you know it, your head is nodding and toes tapping. 'You Blow My Mind' is different again; a restrained song that emits more soul – even with the fuzz guitar making a periodic return. The song is more full-blown and emotional as it goes on. I’m really impressed with this album. 'No Going Back' reminds me of many a garage rock band sound. Like many of these songs, it contains a rawness which tends to be over-produced out of so many promising groups.

'Seven Seas' has some lovely atmospherics and heartfelt sounds while still retaining its energy and melody. 'You Wanna Play With Me' couldn’t be more different in style, but it’s just as good. A choppy, almost Punky style which works so well. This music will satisfy heavy fans and Pop fans alike, I think. It’s certainly genre-spanning. 'Yes, it’s Love' caps-off with great style a very impressive album. I can’t recommend this debut album from Regent enough. It will be interesting to see where the band goes with the notoriously difficult second album. 

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022)  

Label: Royal Mountain Records

August 2022

New Heavy Sounds releases In a Bizarre Dream, the third album by self-professed Doom Witch Duo from Osaka, Black Lab. If the debut album from Yuko Morino (guitar and vocals) and Chia Shiraishi (drums and percussion), Under the Strawberry Moon, was reminiscent of Black Sabbath riffs, and their follow-up, Abyss, was lo-fi Hardcore Punk – this third offering sees the band finding its feet with a Doom/Hardcore/Sludge/Stoner combination incorporating all of their influences. It is released as a two-colour blue and yellow cosmic swirl deluxe vinyl version, with full colour sleeve and lyrics, as well as on CD and for download/streaming...

'Cold Rain' leads us into a Doom-laden heavy fuzz, with both screamed and clean vocals. The riff is straight out of the Black Sabbath hymn book. It even has the allegro moment which Sabbath did with such aplomb. 'Abyss Woods' maintains that bass and riff-driven sound, but ventures in an unusual direction courtesy of the female clean vocals. There is a purposefully discordant brief guitar solo. This one has more of a groove. 'Dark Clouds' is the perfect single, fast and ferocious, with plenty of distorted guitar and a mix of vocal styles. Simple but enjoyable. 'Evil 1' begins with atmospherics and a beating drum which the rest of the instruments join as a show riff. It shortly turns into a chugging tempo and then a much faster pace, with nice drums. Black Lab’s other influence, Stereolab (yes, you heard that right), joins the fray from this point. We would assume 'Evil 2' to be a continuation of the previous song, but it’s quite different – a more moderate and restrained piece with heavy Sabbath influences again. This is easily the best example thus far.

'Crows, Sparrows and Cats' actually feels like the beginning of a different album, prominently down to the Rockier beat and the Indie Pop vocals. It features Laetitia Sadier of Stereolab. This is much more fun than copying Sabbath, a band no one’s likely to justifiably emulate with any success. 'Lost' continues the more upbeat and energetic sound with a Sludge genre song that manages to be both low and dirty and yet catchy. 'In a Bizarre Dream' is a brief instrumental interlude or introduction to 'Monochrome Rainbow'. There is an Electronica opening to the latter and, again, the drumbeat is the first instrument to introduce this fuzz-laden slow stomp. The last third proves to be the most engaging with much more of a galloping beat. It’s a shame the vocal style doesn’t change with the change in direction. 'Collapse' is the final offering. Electronica approaching from afar gives the guitar opening more atmosphere. When it suddenly turns traditional Black Metal, it’s quite disconcerting whilst being a welcome change. Much of the melody is lost in the ultra-low bass and over-driven guitar sound.

It doesn’t seem that long ago when I was reviewing Dark Lab’s previous album. This is a strange one to quantify. Many of the same tactics are employed, but every now and then something pops-up to surprise you. 'Evil 2' and 'Crows, Sparrows and Cats' are examples of completely different styles, and are the stand-out tracks. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: New Heavy Sounds

March 2022

New Heavy Sounds releases The Harvest, by Psychedelic/Space Rock Metal band Mammoth Weed Wizard Bastard (who have condensed their name to the acronym MWWB). Hailing from Wales, the group consists of Paul Michael Davies on synthesizer and guitar, Jessica Ball on vocals, bass and synthesizer, Stuart Sinclair on bass, and Dom McCready on drums. Wez Leon (synthesiser and guitar) and James Carrington (synthesiser and drums) were unable to take part on the album. Contrary to the belief that the last release – the third of a trilogy – would be the end of this combo, they have returned with the album they state they have always wanted to make. The release is delayed due to the life-changing injuries suffered at the hands of COVID-19 by guitarist Dave. This time, as well as their preferred genres, there is an emphasis on soundtrack music and the addition of Progressive Rock. The release is available on Limited Edition Deluxe Coloured Vinyl in two colour variants, on CD, and for Digital Download...

A very atmospheric Space effects sequence and a voiceover introduces us to 'The Harvest', a nice bombastic and yet gloomy track. With its basic theme and sound effects an all-encompassing low and bass sequence with repeating riff and female vocals is created. The originality of this just begins to wear off when the Space noise returns with the original riff. It’s a song with diminishing returns, and it’s at this point you realise the whole thing should be listened to as one uninterrupted piece. 'Interstellar Wrecking' follows with dark foreboding Electronica and a variation on the 2001: A Space Odyssey theme but achieved in a John Carpenter-influenced style. This segues into the opening riff of 'Logic Bomb', an ultra-low Doom fizzing number. The vocals are reverbed and floating over the top, a similar format to those in 'The Harvest'. The bass synth wave effects are excellent though, offering the whole a space travelling otherworldly quality. I’m not certain that the dreamlike vocals really work as well as they should, as it’s easy to tire of the unchanging flat delivery. 'Betrayal' is a synthesiser sequence very much borrowed from Pink Floyd’s 'On the Run' from Dark Side of the Moon, tinged with more John Carpenter-like base under siege moments. It’s a nice track, but the backwards vocals are a step too far.

'Altamira' is a low and heavy stopping Electronica bass for the guitar that introduces the same style of vocals. However, they seem to suit the backing of this one more comfortably. This incorporates trippy interludes, which work well but remain unchanging for the majority of the piece. 'Let’s Send These Bastards Whence' relies on very robotic sequences of synthesisers and other Electronica. I like the very late 1970s experimental style which has a multitude of soundscapes going on but remains intriguing and to a certain extent catchy. This is the standout track for me. 'Strontium' returns to the Doom backing, this time with some nice guitar playing over the top. It’s quite contradictory in its format, mainly due to the, frankly, depressing vocals. We get a change of riff halfway through, as well as the introduction of the nicely utilised electronic sound effects, but to be honest this one long outstays its welcome. We sign-off with 'Moonrise'. A fuzzy electro-acoustic guitar accompanies clearer vocals in a stripped-back departure.

I’m in two minds about this release. I felt that when I reviewed their previous album, they hinted at more potential than they actually displayed. I liked it, but I also had reservations. Similarly with this one, MWWB show real style, flair and originality in places, but it is tempered with overly long unchanging sequences and flat vocals which fail to fit the format. For me the Electronica and Doom sounds work, although I feel that the band hasn’t fully found its legs yet. Nevertheless, I’m glad the band has finally managed to bring this offering to the fans after the personal problems suffered in recent times. May I take this opportunity to wish Dave a full recovery.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022)

Label:  Extrinsic Recordings

December 2021

Extrinsic Recordings releases Omnis Cum In Tenebris Praesertim Vita Laboret (Life is One Long Struggle in the Dark), the fourth album from Dark Sky Burial – created by Napalm Death’s Shane Embury, with help from collaborator and producer Russ Russell, and recorded at Parlour Studios. It is described as the last in a quadrilogy, and explores the emotions of stress, anxiety and confusion – this time with a greater difference in mood and tempo. The intention is to inject a greater drama and suspense than before, with a bitter-sweet conclusion, and setting-up the next album for a struggle towards the light...

Track List: 'Omnis In Tenebris'; 'Mind Rat'; 'Necromanteion'; 'Splintered Reflective'; 'Nekyia'; 'Flesh Altar'; 'Spirit Cleaver'; and 'The Heart Warrior'.

There is a rolling, slipping stomp with electronic screeching that introduces this one. The drumming and ringing Electronica become more prominent, creating a dreamlike hypnotism. Additionally, there is a sense of an ancient Chinese mysticism before a slightly distorted voice-over tells its tale. This then becomes a monkish chant to see-out the opener. 'Mind Rat' has more substance from the start, incorporating electronic soundscapes and trickery with pace and increasing energy. This was said to have been constructed purposefully disjointed to make it fear-invoking and nerve-cutting to reflect Shane’s feeling of being on the edge of insanity over the last couple of years. The third track has a nice throbbing and discordant bass with bell samples and humming synthesisers, kept alive by the fuzzy drumbeat. The listener should bear in mind that these atmospheric pieces of music come across much more like film score soundtracks than conventional songs. This one is perhaps the most representational of this mood which could accompany a dark science fiction or steampunk movie. The monk vocals are particularly suited to this format.

'Splintered Reflective' could almost be described as a religious cult environment format, at least early on. There is more of a structure which can be followed with this one, with a regular melody and beat that the Electronica dances around. This is one of those pieces which would not be out of place in a Camden all-night dance club – sci-fi style. At nearly nine minutes long, 'Nekyia' returns very much to a mood piece soundtrack which doesn’t really get going until more than halfway through, and even then proves unpredictable. 'Flesh Altar' spices things up again by creating a more up-tempo beat but with eerie and ominous noises amidst the synthesisers. There is a definite darkness and uncertainty to these tracks. A slamming/clattering is central amidst bizarre off-kilter music sounds in 'Spirit Cleaver'. This is mood ambience with a beat. We wrap things up with 'The Heart Warrior' which flips the situation upside down with two piano tunes and an overlying electronic brass. For some reason this one conjures-up a feeling of action and determination – like the turning of a psychological corner. It’s a very absorbing song to end on, with definite human purpose and emotional connection. This is undoubtedly the best of the bunch.

A couple of examples here outstay their welcome with little change in structure; nevertheless, this is ultimately a well-structured mostly instrumental album. Well worth a listen for lovers of this genre. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Pelagic Records

November 2021

Pelagic Records releases Phanerozoic Live, by German Post Metal/Experimental Hardcore band The Ocean. The combo was formed in the early 2000s by guitarist and composer Robin Staps; Paul Seidel is on drums, Peter Voigtmann on keyboards, Mattias Hagerstrand on bass, David Ramis on guitar, and Loic Rossetti on vocals. They have toured extensively since their inception – including Europe and North America with bands such as Opeth, Mastodon, Mono, Cult of Luna, The Dillinger Escape Plan, Anathema and Devin Townsend. This release incorporates 3 LPs or 2 CDs, a DVD and access to HD video download and streaming. The album Phanerozoic I was performed – with no audience present, mid pandemic – and streamed live from Pier 2, a large hall in the port of Bremen in March 2021. More than 1500 tickets were sold, the most successful show of the “Club 100” streaming events thus far. The day after, The Ocean congregated at Peter Voigtmann’s rural studio to rehearse and record Phanerozoic II – also in its entirety – which aired in April 2021 as part of the digital edition of Roadburn Festival (Redux). Whereas the first was filmed as a normal live concert, complete with stage show and lighting, the second is more intimate and focussed on musicianship rather than performance...

Piano and electronica gently introduces us to the Live in Bremen set with 'The Cambrian Explosion'. This segues neatly into 'Cambrian II' which throws us into an all-encompassing wide and heavy sound. It begins with guitar riffing and warms us to the sound before unleashing the growled male vocals which fit like a glove. Periodically, distanced clean vocals float above the behemoth. Being over eight minutes long, the track has the opportunity to reign itself into a light piano sound before plunging the listener back into the catchy, almost Goth chorus vocals. A great main opener. 'Ordovicium: The Glaciation of Gondwana' hammers us without ceremony into a full-on heavy piece with growled vocals for the untamed verses and clean vocals for the chorus and breaks. An edgy synthesiser buzzes at the boundaries and this is replaced by a guitar later on. It manages to be quite emotive at times – difficult considering the immersive nature of the song. A soundscape ends the track using low synthesisers and the sound of water.

'Silurian: Age of Sea Scorpions' has a riff-driven Prog opening, but heavier than you would expect from many dedicated Prog bands. This has a moderate pace, offbeat sounds and clean but expressive vocals. It suddenly unleashes with a heavier sound and growled vocals – making me sit up and take notice again – before reverting to its previous pattern. This is most definitely a blending of genres. 'Devonian' begins with atmospheric teaser acoustics, before becoming a fuller melancholy sound. This is more of a Progressive Rock feel with clean vocals. It has some twists and turns but remains restrained. The growled vocals enter the fray late-on, just before a guitar break, and are very welcome. They suit the heavier sound that this track evolves into. 'The Carboniferous Rainforest Collapse' is a much shorter track than most, making it suitable for single release but for the fact it’s an instrumental. Nevertheless, it’s a very good one at that, invoking simple themes and changes into the whole. 'Permian: The Great Dying' closes the first set with a guitar-motivated moderate track and growled vocals. The break in verses is filled with drums only, which is a nice touch. This has its curious eerie instrumental breaks which reminds me of Blue Oyster Cult. The quiet moments revert to clean vocals. The Ocean appears to incorporate the Goth Metal style more than any other.

On to the more reeled-back Live at Roadburn Redux set, and 'Triassic' opens acoustically with guitar and vocal soaring. Bass and drums introduce the song proper, and clean vocals reel-off almost without a breath. When the full-encompassing band bursts forth complete with reaching growled vocals, it’s so welcome. But this is a mixture of both in the Opeth style. This has a nice mystical feel to it. There is a clever stop-start into to 'Jurassic/Cretaceous'; however, it quickly turns into a semblance of a Prog structure which I can find quite tiresome. If not for the Goth retainer and the general slamming weight of the band at times I could lose interest. 'Palaeocene' has a moderate heavy beat but picks up the pace. This is easily one of the best tracks on show here. 'Eocene' has a nice guitar intro, but again the ‘clever’ Prog meandering raises its head. 'Oligocene' is a synth-driven instrumental. 'Miocene/Pliocene' makes what is essentially a Doom piece mystical in its theme. I love the stomping beat of 'Pleistocene'; it’s something really different in this context. There’s a double-beat fast break too. Probably my favourite track. We finish with 'Holocene' a rather unfortunate drab synth piece with which to end this release.

My opinion seemed to constantly change with every few tracks. By now you will know I prefer heavy and melodic content, compromise with the cross-over Goth Metal element, and lose interest with many Prog Rock sounds. On the whole, I enjoyed listening to this, but can’t imagine returning to it too often. There’s no doubting it’s a solid collection though, and the musicianship spot on.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Pelagic Records

April 2022

Pelagic Records releases The Others – Lustmord Reconstructed, a 3LP album of Brian Williams Lustmord tracks reinterpreted by 16 bands and solo artists, such as Ulver, Enslaved, Godflesh, Spotlights, Arabrot, Crown, The Ocean, Katatonia’s Jonas Renkse and others. It is described as a tribute entry point into the back catalogue of the founding father of Dark Ambient music. This is said to be based on the tenth Lustmord album, Other – originally released in 2008. This 2022 boxset incorporates two remix albums: Beyond, and The Dark Places of the Earth, as well as the aforementioned new 3LP...

Full Track List: 'Enslaved – Eon'; 'Mono – Er Eb Os'; 'Ihsahn – Dark Awakening'; 'Jo – Quaill Prime'; 'Bohren – Plateau'; 'Hackedepicciotto – Trinity Past'; 'Ulver – Godeater'; 'Jonas Renkse – Er Eb Os'; 'Zola – Jesus Prime'; 'Spotlights – Of Eons'; 'The Ocean – Primal (State of Being)'; 'Crown – Element'; 'Jay Jayle – Er Eb Es'; 'Godflesh – Ashen'; 'Steve Von Till – Testament'; and 'Arabrot – The Last Days See the Light'.

I’ve never liked the idea of tribute albums. If you like it, you want the genuine article. Where it really comes into its own is when you aren’t familiar with the tracks. This collection seems to be mostly same label artistes promoting one of their own. The bottom line is that whether you like a particular track or not comes down to the simplicity of whether or not you like the style of the band covering it. This theory is confirmed by the fact that my favourite contributions on this collection are the ones whose albums I have reviewed favourably in the past: namely Crown and The Ocean, and also to a certain extent Arabrot. Nevertheless, I have enjoyed this more that I suspected I would – even though I generally prefer my Metal with more energy and melody. If nothing else, this offering is different, almost Primordial in nature. The genres covered here appear to be a blend of Pagan, Industrial, Ambient, Electronica, and film score. 

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: InsideOut Music

August 2021

InsideOut Music/Century Media releases Aphelion, the new album by Norwegian Alternative Rock/Metal band Leprous. They were formed in 2001 by Einar Solberg (vocals/synth) and Tor Oddmund Suhrke (guitar). After several demos with a somewhat unstable line-up, their first studio album, Tall Poppy Syndrome, emerged in 2009. This was followed by Bilateral (2011), Coal (2013), The Congregation (2015), Malina (2017), and Pitfalls (2019). They also released Live at Rockefeller Music Hall in 2016...

Track List: 'Running Low', 'Out of Here', 'Silhouette', 'All the Moments', 'Have You Ever?', 'The Silent Revelation', 'The Shadow Side', 'On Hold', 'Castaway Angels', and 'Nighttime Disguise'.

The opener begins with low-key synthesisers and high, almost straining vocals. It continues with the addition of bass and drums. The full band sound enters the arena with the arrival of the first chorus. In fact, there are far more vocals than music, which only takes over with a string sound later in the song. It does rather repeat itself. There is hardly a break in the lyrics during 'Out of Here', either. This one has a slightly heavier chorus, although I’m finding this rather light for liking. Nevertheless, fans of easy listening and light, commercial Progressive Rock will enjoy this, I’m sure. 'Silhouette' has more of an electronic score feel, more in line with the band’s Alternative or Avantgarde assessment. I’m not so sure about the Progressive Death Metal one! This track would work really well as an instrumental.

'All the Moments' has all the introductory ingredients of a 1970s Hard Rock song, but it soon loses its level of expectancy and excitement to the extent it turns dull, with the vocals being almost the only presence until the verse is over. The high-pitched slow singing moments of these songs destroy the energy, rather than creating any atmosphere. 'Have You Ever' has a nice warbling synthesiser sound but fails to go anywhere really specific. 'The Silent Revelation' has a nice Rock riff intro with off-beat drums and an approaching keyboard, but we are brought to a complete halt by the overused ‘heartfelt’ vocals. When the beat returns it is most welcome. Many of these songs end on a high when the entirety should contain more substance. Don’t get me wrong, this is more than competent music; it’s simply that my tastes are generally heavier with a much wider sound.

A similar structure is maintained with 'The Shadow Side': light and darkness, with a much thicker and more enjoyable melody to see us to its conclusion. The make-up of these songs is very similar in style and could definitely do with some variety. It’s the spice of life, after all. 'On Hold' is the stand-out example of the band’s credentials. It has a slow build-up, but we don’t have to wait until the end denouement before we have the full band break-through. There is also a nice Electronica feel – including strings, and the vocals when let loose are much greater than they are in the more plaintive moments. 'Castaway Angels' is to all intents and purposes a Folk song with just the hit of a Rock element at the conclusion. 'Nighttime Disguise' has a heavier backing than most of these songs, but they all feel the need to reel it all in to showcase the overused quieter vocal moments. This is probably the most ‘Prog’matic  song in the repertoire.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: InsideOut Music

October 2021

InsideOut Music (Century Media Records) releases I Dreamed of Electric Sheep (a reference to Philip K. Dick’s Do Androids Dream of Electric Sheep novel, which was filmed as Blade Runner), by Italian Progressive Rock band Premiata Forneria Marconi. The group was formed in 1970 and was the first Italian band to have success internationally. Current members include Franz Di Cioccio on drums and percussion and lead/backing vocals, Patrick Djivas on bass and programming, Marco Sfogli on electric guitar, Lucio Fabbri on violin and keyboards, Alessandro Scaglione on piano and keyboards, Roberto Gualdi on additional drums, and Alberto Bravin on additional keyboards and vocals...

Track List: 'Worlds Beyond', 'Adrenaline Oasis', 'Let Go', 'City Life', 'If I Had Wings', 'Electric Sheep', 'Daily Heroes', 'Kindred Souls', 'Transhumance', and 'Transhumance Jam'.

Although I have given the titles in English, I was furnished with both Italian and English versions of the album. As I’ve discovered on a few previous occasions, I prefer the native language version, because unless the songs originate in English, they lose something in translation and the lyrics end up being shoehorned into spaces not designed to fit the music. I may not understand the language but if it sounds good, I’m happy. And If I want to hear the poetry of the songs there is always the English version. It’s certainly a great idea to include them both.

The opener is an instrumental anyway, to showcase the band’s musical attributes. It begins like a rudimentary concerto, the substance of which is joined by a sequential guitar centrepiece and keyboards in the manner of separate piano, synthesiser and Hammond organ tunes. It’s followed by a track with pretty much the same structure, except this one has smooth Power Metal style vocals. The overall sound is like a Progressive Rock variant of the Epic Metal Italian giants Rhapsody (now operating as the two bands Luca Turilli’s Rhapsody, and Rhapsody of Fire). There are Classical influences, snatches of Folk and elements of Emerson, Lake & Palmer – particularly in the keyboards.

Some of the tracks begin with a mellow, almost Easy Listening feel, before purposefully losing the refinement with short runaway moments. The vocals are comfortable listening. 'City Life' is a particular highlight with a more all-encompassing sound and more weight and variance in the vocals. I’m not a fan of Prog Rock, but this comes without the pretentious and annoying ‘clever’ meandering. Ironically, the biggest load of nonsense on offer here is 'Electric Sheep' – presumably the title track. I’ve just realised that some of the piano pieces are in the style of 1970s Rick Wakeman (i.e. The Myths and Legends of King Arthur and the Knights of the Round Table, and The Six Wives of Henry VIII). The most fun comes with the last two tracks, which are in essence one; it’s a nice, let-your-hair-down impromptu jam, with the keyboards in particular shining. 

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: APF Records

July 2021

APF Records re-releases Folklore, Myths and Legends of The Brothers Keg, the debut album (originally released in 2020, and following a taster EP) by London-based Stoner/Doom Metal band The Brothers Keg. Formed in 2018, the band is made up of the rhythm section of Psych/Stoner mainstays Stubb. Tom Fyfe is on drums, Tom Hobson on guitar and vocals, and Paul Rosser on bass and vocals. The album follows the origin story of The Brothers Keg, three ancient folk characters. It was produced by Wayne Adams and recorded at Bear Bites Horse Studio in London. The Brothers Keg have supported the likes of Colour Haze, Toundra, and Mother Engine, and made an appearance at 2019’s Bloodstock Festival. In 2022 they will play the Desertfest London...
 

Tom Hobson states: “We imagined the record as akin to a fantasy film soundtrack, with cinematic voiceovers and a nod to sci-fi classics. Expect heavy riffing psyched-out sci-fi doomageddon. HP Lovecraft meets Queen’s Flash Gordon listening to Jeff Wayne’s War of the Worlds at the wrong speed smoking a medieval spliff dipped in poppers.” This comment proves the band has a sense of humour, and their material isn’t all pretentious nonsense. In fact, this has staying power from the outset.
 

'Moorsmen' opens with a tense introductory narration: “…White hooves tear in sodden mud, teaming with surging seas of psychic power. Skeletal forms burn toxic green, vacant eyes lit with everlasting hellfire…” It has low and raunchy guitar, rumbling bass and raw, hollow drums. The pace is moderate, simple but melodic. The vocals that continue the story are clearly shouted and tinged with reverb, as if calling from a distance. Halfway through it changes to a different beat and corresponding melody. This will become the chorus. I’m not a fan of overly long songs, but this style persuades you to invest by revealing additional layers and therefore mixing it up. The guitar solo is suitably psychedelic to the point of Space Rock. A very nice start.
 

'From the Records of Arthur Shnee' is a very short linking narrative that could just as easily have been the lead-in to 'No Earthly Form' – which has shades of Doom Metal. I love the heavy moderate riff; it sounds so atmospheric, warm and moody. The vocals on this one are close to being chanted, offering a monks-in-a-monastery feel. The quieter moments remind me of Tiamat – but The Brothers Keg have a sound all of their own. The track fades out with a full keyboard sound. 'The Ice Melteth' opens with a pensive semi-acoustic opening and a nice quote from HP Lovecraft, one of my favourite writers of all time: “That is not dead that can eternal lie, and with strange eons even death may die.” The story narration continues with female vocals. The feel of this track is dreamy and reflective.
 

'Introducing The Brothers Keg' returns to the fuzz and overdriven guitar sound, incorporating heavy and lighter moments. Shades of early Black Sabbath about the feel, but the instrumental passage echoes and turns psychedelic. It ends with a mystical whistling and bell-ringing. 'Brahman' begins with Electronica and affected male vocals. Narration is joined by ringing guitar before the great warm heaviness of the band returns, with background wind effects and a rooted melody. It has a very hypnotic structure. The guitar solo comes in the form of a slow but shrieking wah-wah effect. A weird drum pattern heralds a slightly different format to see-out the longest track on the album. Ironically, this is probably the weakest of a very strong and affective bunch.
 

'The Army of the Thirsty Blade Approaches' has horn sounds, battle cries and clashing steel as another linking piece – this time into 'Castle Keg'. This personifies their style by including elements from the opening number, with low bass and detuned guitars, plus the slightly removed shouted vocals. This example buzzes right through you, having purpose and direction. 'Epilogue' has narration over acoustic guitar to close this opus with style. This is my first visit to The Brothers Keg and I’m very impressed. There is storytelling, singing and deep-rooted music – parts of which wouldn’t be out of place on a fantasy or SF soundtrack. I’m intrigued to know where the band goes from here. 

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Infectious Records/BMG

March 2021

BMG releases Live at Brixton (Academy), the second full album by Australian Indie Rock band, DMA’s. The line-up is Thomas O’Dell on vocals, Matthew Mason on guitar and vocals, and Johnny Took on acoustic guitar. They formed in 2012 with the original name, The Dirty MA’s. The release is available as a double album on smoked pink vinyl, CD, and for download...
 

Track List: 'Feels Like 37', 'Dawning', 'Toon Soon', 'Hello Girlfriend', 'Silver', 'Time & Money', 'The Glow', 'The End', 'Step Up the Morphine', 'Delete', 'Life is a Game of Changing', 'In the Air', 'Tape Deck Sick', 'Play it Out', 'Timeless', 'Lay Down' and 'Your Low'.
 

A smooth moderate Rock sound with hints of a Big Country guitar feel. There are immediate hooks and melodies which reel you in. It could be described as a warm mix. The live crowd at Brixton Academy is captured well, but doesn’t interfere with your overall enjoyment of the band. In fact, it’s nice to hear some of the crowd joining in with the quieter moments. 'Step Up the Morphine', 'Silver' and 'Delete' are popular sing-along moments. The clear and prominent clean vocals prove to be a perfect match for this music, with no evidence of strain or breathlessness.
 

It’s equally Commercial Rock, Brit Pop and Indie – although the music is nicely genre-crushing. In other words, many individual music lovers will undoubtedly take to this. If anything, it’s too much of a good thing and begins to lose a little of its wow-factor through diminishing returns. There is energy and melody, with the fun factor turned right up (even though many songs are not jolly). I would call it comfort music. There are no stand-out songs as such, all are equally good and melt into each other, making it an experience to be enjoyed as a single piece. Additionally, there is no padding or time-filling chat; they just get on with it.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Blame Recordings

June 2021

Blame Recordings releases As Blue As Indigo, the second full album by home grown Brighton based three piece band Tigercub. After their 2016 debut, Abstract Figures in the Dark, and a nearly two-year string of popular live shows, and then a follow-up E.P. Evolve or Die, the trio were riding high. However, frontman giant Jamie Hall instead spent time on his own project – the Gonzoid Psych Pop Nancy. The success of this earned him two record deals and another string of live dates around the world. But Hall, itched to return to Tigercub. For As Blue As Indigo, he explores colour theory and perception, as well as topics including anxiety, depression, the death of loved ones, toxic masculinity and suicide. He was forced into a COVID-19 lockdown bubble situation for recording, and the pressure led to a parting of the ways with Bushby and drummer James Allix. The proverbial difficult second album...
 

Having not previously come across Tigercub, I had no idea what to expect. As Blue As Indigo’s opening acoustic guitar and mellow but high vocals were not for me. Maybe someone who likes 1950s-style Jazz nightclub music… But I might have known I was being led into a false sense of security, because suddenly a full band sound bursts forth, not so much ripping aside what has gone before but encompassing the style with a heavy moderate fuzz-static. By not fitting into any one of the Rock/Metal sub-genres, they straddle a few, thereby somewhat creating their own. 'Sleepwalker' has a fuzz riff intro. There is heavy bass and a wired buzz. Good use of wave effects is utilised. This has a very melodic chorus, and is definite single material. 'Blue Mist in My Head' begins with a standard Rock beat, but is supported with a stop-start backing with a rumbling guitar and keyboard touches. It’s Psych-Pop in places. Heavy but catchy.
 

'Stop Beating On My Heart (Like a Bass Drum)' begins like a ballad, with vocals and hummed harmonising, which adds other elements for the second verse. Then the moderate slam of the band enters the arena. Again, very melodic. 'Funeral' is a tribute to a lost loved one. Another light acoustic number, with added strings and a whistled solo. It’s an emotional piece, incorporating an almost orchestral outro. Unfortunately, from this point onwards the album loses its strength and uniqueness. 'Built to Fail' has piano and peripheral guitar noise. It takes a while to get going. An attempt at atmosphere never really succeeds. This is the only track so far that I haven’t taken to. 'Shame' is a little dull, 'As Long As You’re Next to Me' has a Pop/Dance structure, and comes across as twee. 'Beauty' has an exciting opening riff but very soon goes off the boil.
 

'In the Autumn of My Years' goes part way to redeeming the second half of this release. It’s a ballad with off-beat chugging guitar and drums. There is a nice heavy band instrumental break, and a good melodic chorus. We are left with a sustaining echo. A game of two halves, you might say. 

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: APF Records

November 2021

APF Records releases Noose Almighty, the new album by English Sludge band Swamp Coffin. The band features Jon Rhodes on vocals and guitar, Martyn White on bass and David Wistow on drums. It was recorded at Top Floor Audioworks in Sheffield by Owen Claxton, who also mixed and mastered their previous release. Amidst personal adversity, Noose Almighty was recorded in three days (after extensive rehearsals) to leave time for ‘experimentation’ and layering. The band is said to be rooted in 1990s Sludge but with a Black Sabbath groove. The release is available for download...
 

'Barbarian Windsor' slams straight in, giving us an unceremonious low and gritty introduction to the Sabbath groove and growled vocals, which I’m normally an advocate for. These are not an uncomfortable listening experience, but are not as coherent as some other bands out there. I do like the heavy bass and guitar-driven stomp and grind sound, which is very clear for a down and dirty Sludge band. There is a screamed vocal variation near the end of this opener. Aside from the quicker bass drums pattern ‘Jaegerbombsaway’ maintains the moderate basement level pace and vocal style. The power and intensity cannot be denied, but I would prefer more variety in all respects. This track is saved from anonymity by the first gentle change in structure near the end. 'Knuckledragger' ups the stakes a little with a brutal opening, but it soon settles down to the normal groove. The vocals are significantly more urgent and expressive, however, and there is a nice guitar piece which could have been exploited much more as a change in direction.
 

The title track, 'Noose Almighty' has more feeling at the outset, with nice atmospheric and plaintive guitar joined completely at odds by the half-growled half-shouted words into the creative vacuum of this ballad. When the full band sound breaks in it isn’t much different to their normal pace. But somehow this song is different. It stands out and works really well. A guitar melody plays in the background and the song plays-out with a return to the solitary atmospheric guitar. Nice. 'Welcome to Rot' powerfully riffs its way back into existence with familiar structure and style, albeit with brief drum-breaks. I do love the grittiness. There are some nice variations inherent in this piece, introduced by the lovely guitar melody. Unfortunately, the nicer moments are "swamped" by the immoveable hulk and unstoppable juggernaut of the standard sound. 'Your Problem' begins ultra-slowly, like a heavy goods train making its first tentative efforts to move. This idea is great but, again, not exploited, as the beast returns to its familiar surroundings.
 

I feel comfortable listening to these songs. They are heavy and powerful, and just melodic enough to keep my interest. If Swamp Coffin was to support one of my favourite bands I certainly wouldn’t be disappointed. You may detect a "but" coming, and it's simply that I feel the band needs to broaden its approach within the chosen sub-genre to maintain people’s interest. They are a new band though, so we should certainly give them time to develop their sound. Without doubt, there is potential here. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Extrinsic Records

August 2021

Extrinsic Recordings releases Vincit qui Se Vincit (‘To Conquer is to Conquer Oneself’), by Dark Sky Burial – the new music venture from Napalm Death’s Shane Embury. Produced by Russ Russell at Parlour Studios, it is the third of a quadrilogy of albums which began with De Omnibus Dubitandum Est in April 2020 and followed with Quod me Nutrit me Destuit in February 2021. This project had been planned for a few years, but Embury’s obligations with Napalm Death meant that it wasn’t until the COVID pandemic struck when he finally got the opportunity to make his plans a reality. This instrumental album is available for download, and there are plans for a limited vinyl release...
 

Track List: 'Vincit Qui Se Vincit', 'Beware Your Subconscious Destroyer', 'Scars Have the Power', 'The Union of Opposites', 'The Last Gift to the Universe', 'Embrace the Shadow', 'I Slept With Faith and Found a Corpse in my Arms', 'Abraxas', and 'Chains of Delusion'.
 

Weird Industrial Electronica is the order of the day with this one. A dark and foreboding atmosphere introduces itself from the outset. Slamming drums and peripheral monk-like chants build to a groove and slight quickening of the Doom moderate pace. The Electronica soaks the whole in an otherworldly feel which would not be out of place as a soundtrack on a hard science fiction or gothic horror film. It’s certainly different… to a point.
 

A simple or dramatic keyboard sound is overtaken by a conglomerate host of eerie sounds and electronic noises. The drums and low bass prove to be the overall foundation for anything from a Camden Industrial nightclub feel, through a tribal beat, to groundwork creating an alien landscape of futuristic, outré and macabre dance. Yes, it’s odd and kind of enjoyable. At times, an orchestral melody comes into play – very dour and sinister. This evolves into a sort of march, the drum beat again bringing it to life. The halfway point brings with it an experimental score-like clattering and whooshing, and the hint of a tribal beat. It also brings with it a point of diminishing returns. Some of the tracks are far too long and unchanging, the parting example particularly dull compared with what has gone before.
 

By having all of these offerings presented together it somewhat takes something away from each track. If one of these were heard per week as an outro to an anthology show it would leave a lasting impression – particularly 'Embrace the Shadow', wherein there is a lot of flourishes and touches to a very strange and original sound. Tracks like this one are dramatic, oppressive and weird enough to not be out of place as a score for an H.P. Lovecraft film or dramatisation. So, my advice would be to treat this album as a soundtrack and enjoy the transcendental experience by listening to tracks individually with separate visits, as it comes across much more powerfully in this manner.  

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: APF Records

August 2021

APF Records releases Stalker, the debut album by Technical Metal group Utopia. The band was formed in 2020 by regular Aled Jones and Russell Watson touring guitarist John Bailey and Corrupt Moral Altar vocalist Chris Reese. Guest musicians on the album include: drummers Billy Rymer, Baard Kolstad (Leprous), Lee Fisher (Fawn Limbs/Psyopus) and Si Blakelock (Tangaroa/Dream Troll), guitarist Simon Peter King, bassist Arran McSporran (De Profundis/Virvum), and keyboardist Mike Moran (Ozzy Osbourne/George Harrison). The name Utopia reflects sensitivity, mental health and neurodiversity. Bailey wanted Stalker to sound heavy and aggressive but emotional and intelligent. It took 7 to 8 months of writing and involved the geographical problems of recording musicians from around the world. Stalker is available on clear vinyl, Digipak CD, and digital download...
 

We begin with 'The Bus Station Roof', which is about those people disassociated and no longer capable of interfacing with the world. It’s a mix of Industrial Metal, Black Metal, with tinges of Death Metal… and nonsensical freeform Jazz. Admittedly, certain aspects of the latter work as a break to the much heavier stuff, and more pertinently as ambient sound effects. 'Full-Length Biography' has a Techno-Psychedelic opening but lapses into random noises. The Metal keeps this on track, but the Jazz elements are just plain weird – like a band or orchestra tuning-up. 'Impotent Prophet' – a social comment on religion – has jungle or tropical sounds launch the Technical Metal with both screamed and growled vocals. The programmed linking noises work much better than the Jazz elements. 'A Projection of Me On You' is a moderate paced heavy piece with ambience and reverb that works fairly well. There is very little of the linking nonsense, so we effectively get to hear a proper song in this style.
 

'Utopia' has an acoustic opening using unusual progressions which segues into a heavier piece with growled vocals, which are nice but clash somewhat with the screamed ones. There are some inherent mystical Prog guitar moments in this one. 'Spirit Wives' incorporates a nice quirky opening, but it’s cleaved in two by the force and pace of the full band sound. It then calms down to a more moderate canter. 'What about Me' has a riff of sorts, with stick-sounding drum patterns. It has a stop/start format with more prominent Technical Metal moments, interspersed with high basslines and keyboards. In 'Happiness', screamed and growled vocals fight for prominence from the same vocal chords in this all-out violent music assault, supported with ‘clever’ twiddly touches. Smiledyawnednodded is a phrase from ‘Ulysses’ by James Joyce. The book and this song explores the boredom of talking with someone who only talks about themselves and their own successes in life. I like the concept behind this much more than I do the music itself, although the redeeming factor is that parts of it could be used as a film score.
 

'Moscow Holiday' has a nice scene-setting and atmospheric opening. It also has a proper theme running through it. This one is possibly the best offering because it’s more conventional and thus more accessible. We finish with 'It’s Not the End', in which the Technical excesses return – this time with a multitude of electronic and other effects. This release has its moments. It’s certainly different, but it’s probably not one I would enjoy returning to frequently. However, If you are a fan of Jazz and Progressive Rock/Metal then I’m sure you’ll find this more to your taste. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: InsideOut Music

May 2021

InsideOut Music (Century Media Records Ltd) releases Day and Age, the fourth album by home grown Progressive Rock group Frost. This currently three-piece band was formed in 2004 by keyboard player Jem Godfrey, and includes John Mitchell on guitar and Level 42’s Nathan King on bass. Three different drummers were used on the recording: Kaz Rodriguez, Darby Todd and Pat Mastelotto. The album was recorded at Dungeness, East Sussex, next to the sea, a nuclear power station and the harsh elements of the winter. Day and Age is available as a Limited Edition 2-CD, a Gatefold 2 LP + CD, and a Deluxe Digital Download...
 

The tracklist is: 'Day and Age', 'Terrestrial', 'Waiting For the Lie', 'The Boy Who Stood Still', 'Island Life', 'Skywards', 'Kill the Orchestra' and 'Repeat to Fade'. The tracks are repeated as instrumental versions.
 

Drums and keyboard break into a full band experience. A promising start  soon turns down Progressive Rock Street. At least the chorus is heavier, with significantly more substance than the verses. If anything, the vocals make this sound more Prog than the music. It’s a very long song to kick-off with.
 

Now, here’s the problem. Although my favourite band has pretty much always been Pink Floyd, who are usually pigeon-holed as Progressive Rock (I’ve never really been convinced that’s the case) – my music tastes almost totally come down on the heavier side. Metal and it’s many sub genres and variations. Therefore, I’m probably not the best person to review a type of music which I consider, on the whole, pretentious and meandering. Stop-start, constant changes, scrabbling hooks… Well, you get the picture.
 

In its favour, it is very well put together. The sound is full and wide, and the production next to faultless. For me, the heavier moments don’t come often enough, but when they do emerge it’s the thickness of the sound that is impressive. The stand-out track is 'Island Life', more of a Commercial Rock song with Electronica-tinged vocals. However, the left field award goes to 'The Boy Who Stood Still', which is a weird story narrated between music.
 

In short, there are a couple of nice ideas, but the style is not for me. I can appreciate that many Prog aficionados will love this output, so it is only fair to compromise with an average score.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Peaceville

June 2021

Peaceville releases Eternal Hails, the 19th album by Norwegian Black Metal band Darkthrone. Inspired by Black Sabbath, Celtic Frost and Candlemass, the combo formed as Black Death in 1986. They dropped the Death Metal sound by 1991’s Soulside Journey in favour of a primitive Black Metal feel. For this release Fenriz and Nocturno Culto have gone for longer, more Doom-like themes. The album was recorded at the Chaka Khan studio in Oslo. Darkthrone strive to stay fresh but reassuringly reliable (“No matter what happens we will still sound like us, it seems!”). The album is available in several formats: Black Vinyl, various Limited Edition coloured Vinyls, Picture Disc, and CD. It is also available as a Limited Edition Box Set incorporating Purple Coloured heavyweight Vinyl, CD in an alternative Digisleeve Format, Cassette Tape, 12-Page Booklet about the recording experience, 10” Art Print of the cover by David Hardy, and a handwritten letter from Fenriz...
 

There are only five tracks here, but they’re long ones! 'His Master’s Voice' has a simple guitar line welcome-in building drum patterns before the full band sound suddenly explodes with faster verses and more Doom-laden choral parts. The growled vocals are very old school Black Metal, somewhat like Venom but with a warmer, more refined overall presentation. Also, in my opinion, it’s more melodic and thematic. A buzzing low bass and matching guitar is prominent throughout. The opening of 'Hate Cloak' reminds me of more Melodic Black Metal bands from the Scandinavia region, such as Thyrfing and Vintersorg. The more grating vocals is the only factor which sets this aside. The brief tunes that follow the riff are unusual and off-kilter, and that makes them a defining moment. I like the separate sections which somehow come together as several songs in one (think Iron Maiden’s 'Phantom of the Opera', but in a very different Metal sub-genre). The sheer length of the track causes you to invest more interest in the product.
 

'Wake of the Awakened' is straight out of the traps with a fast, passive aggressive steamer. This has a simple structure, but is heavy and engaging. The drums change the pace slightly and, again, the mid-sections adopt a more atmospheric Doom-surround dark cloak. There is a change of riff from the mid-point, and another more standard one sees the song out. 'Voyage to the Northpole Adrift' adopts a great intro riff; creating a weird netherland focus which is really different. It’s a shame that this is immediately replaced with a much more average Black/Doom riff. There is an abrupt Speed Metal break-out. I can appreciate the constant change though, which keeps it fresh. Being invested in the journey here persuades me that this may even be the best example on offer here.

'Lost Arcane City of Uppakra' has a Sludge sense of movement that immediately moves into a quicker Rock beat – albeit basement low in tones. The long thematic outro piece proves mesmerising. Another good one, and a strong ending to this package. Although I have heard bits and pieces of Darkthrone before, I haven’t followed their career over the years. I do prefer more energy and melody. However, the basement recording production on this release means this could be anyone in the future – and that opens up a world full of possibilities.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Nuclear Blast

July 2021

Nuclear Blast releases At the Mill, by home grown Goth Metal band Paradise Lost. After the success of their last studio album, Obsidian (which I reviewed in 2020), the band wanted to follow it up with a live album, but were unable to do so in the conventional sense due to a ban on live music during the COVID pandemic. So, they set up at The Mill Nightclub in Bradford, near the band’s hometown in Yorkshire and played a live set of tracks covering their entire three-decade career to no audience. Mixed by Les Smith and mastered by Jaime Gomez Arellano, the album is available on vinyl and CD formats...
 

The opener, 'Widow', sounds out-of-odds with the rest of the set, sounding rough and ready – almost unpolished – a garage band feel. Of course, as you would expect from such an accomplished combo, there is a very mixed bag of material being uncovered for this sort of best-of collection. There are varied vocal styles (clean, growled and almost shouted), and fans of the band will know Paradise Lost has never been afraid to straddle genres. 'Fall From Grace' is a good example of their sound, with a nice guitar sound and a Doom backing. It incorporates both growled and clean vocals. The intro becomes a returned-to melody. Very nice. The song grows into itself.
 

'Blood and Chaos' is instantly likable. It’s more of a Pagan Metal song but speeded-up and more edgy and rasping. It’s a fantastic candidate for a single; a melody-driven slammer. Play it in the car and let everyone know how good it is. Excellent. I love the structure of the songs, which are very different but often drop a full band sound heavily during the chorus lines. A wall of layered sounds hits and slaps us around the face for good measure. There is a certain amount of experimentation in the introductions and verses, before segueing into a heavy chugging groove. To show contrast, 'Requiem' is a fantasy-type epic, whereas 'Gothic' is Viking-growled emulation of Amon Amarth’s Johan Hegg.
 

Although all of the songs are counted in by the drummer within a disconcerting wall of silence, there is much to appreciate here. There really isn’t a duff track here, but my stand-out favourites are the aforementioned Blood and Chaos and Shadowkings, with its low-lying heavy melody, rasping vocals and very enjoyable long instrumental break. Darker Thoughts, from Obsidian, is a good way to see-out the set, too. You may think this is neither one or the other (studio or live album), but it stands proud as an anthology.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Sacred Bones Records

November 2020

Sacred Bones Records announces the rerelease of Musick to Play in the Dark, by Experimental/Post Industrial band Coil. The combo consisted of John Balance (Psychic TV), Peter Christopherson (Throbbing Gristle), and various other musicians when required. They formed in London in 1982 and operated up until 2004, when John Balance died in an accident. The band explored themes of Alchemy, the Occult, and Sexuality. After an initial EP in 1984, they produced the albums Scatology (1984), Horse Rotorvator (1986), Love’s Secret Domain (1991), Astral Disaster (1999), Musick to Play in the Dark (1999), Musick to Play in the Dark – Vol 2 (2000), and The Ape of Naples (2005). This rerelease is available on Vinyl and for Download...
 

'Are You Shivering?' begins with low bass tones, sounding very much like a 1980s horror film. The menace evaporates to be replaced with a dripping noise, along with voice and breath excerpts. Inevitably, the raucous fear factor theme returns so that the two combine. The words which follow are narrated rather than sung, in the style of freeform poetry. “Are you still shivering? Are you still cold? Are you loathsome tonight? Does your madness shine bright?” And so on. This is weird stuff, so you can accept the Experimental tag. 'Red Birds Will Fly Out of the East and Destroy Paris in a Night' has fluttering and scraping sounds which are accompanied by a keyboard effect which becomes more prominent. This takes some time to evolve, but it’s more entertaining than the first track, incorporating more of a tune. Imagine 1980s/1990s synthesiser moods in the vein of Kraftwerk and John Michel Jarre. Electronic effects are added which remind you of the old bass synths with all the wave knobs. Interesting but overly long at 12 minutes 30 seconds, so that it becomes background soundscapes.
 

'Red Queen' begins with distorted voices and purposefully off-key piano. Again, we have the spoken poetry to the otherworldly sounds of a Jaz band gone wrong. 'Broccoli' rumbles through the floor. At least the rattling, buzzing and crackling sounds atmospheric, like a soundtrack rather than a music album. “We embrace the vegetable kingdom.” Repeated words telling us to eat our greens, especially broccoli. This is not just crazy, it’s dull. 'Strange Birds' is simply bird singing surrounded by bizarre and, frankly, annoying cacophonous noises. 'The Dreamer is Still Asleep' at least carries a tune… of sorts. The singing is flat and monotone – let alone monotonous. I usually enjoy listening to something new in the Rock or Metal genres, but this crazy Alice in Wonderland, dreamlike depression is not for me. The only track I actually enjoyed was 'Red Birds'.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: Svart Records

May 2021

Svart Records releases Smile Less, the third album by Finnish Noise Rock band, Throat. Their current line-up consists of J Matilla on vocals and guitar, A Juhakoski on guitar and backing vocals, L Leppanen on bass, and A Kinnunen on drums. The group has aimed for a significantly darker tone than on their previous albums. Since their 2018 release Bareback, Throat has put-out an Industrial/Noise Remix of Bareback, celebrated their 10th anniversary with a double CD compilation, toured the US and Finland, and recruited a new drummer. Smile Less was recorded at Tonehaven Studio with Tome Brooke, mixed by Andrew Schneider (Cult of Luna, Unsane, Cave In) and mastered by Carl Saff (Big Business, Young Widows, KEN Mode). The artwork was designed by Canadian Paul Van Trigt. It is available on Vinyl, CD, and for Download...
 

The tracklist for this one is: 'Conveyer Line', 'Grounding', 'Shots', 'Deadpan', 'Home is Where the Hurt Is', 'Vanilla Cuts', and 'Hospice'.
 

Artificial atmospherics lead in a bass riff and solid drum beat in the opening track. The vocals are deep and flat, in-line with Goth or Doom. The song has a train-like chugging direction with moderate pace. Brief shout/screams punctuate the chorus. The track reels right in halfway through before bursting into the chorus again with a significantly faster and more complicated drum pattern. In 'Grounding', a kind of Industrial combination of sounds lead in a basic chord sequence. A coarse guitar plays around the outside of the music, while the vocals hold the format of the song with their regularity. There is actually a guitar solo of sorts in this one. 'Shots' has a much faster intro, aided by excellent drums and a rumbling guitar noise. The vocals are almost Punkish here. The stark contrast works really well. I love the often returned to melody. At less than three minutes this is the shortest offering on the album, and by far the best.
 

Bass melodies and peripheral guitar turns 'Deadpan' into quite a surreal sound. The vocals are, again, less depressive. The verses are tentative, the choruses heavier and somewhat frantic. 'Home Is Where the Hurt Is' has a drum pedal create a knocking beat which is joined by a myriad of strange Industrial Noise. The vocals come across like a voice on a walkie talkie. It takes half the length of this one before we get any actual music (the duration is 8:19) and it’s a repeated sequence with growing keyboards and a return to the solo drumming. This proves to be overly long. The drums undoubtedly hold all these tunes together. I’m impressed with the versatility of the odd sequences. 'Vanilla Cuts' is another simple piece but this one has drive and energy, and refuses to outstay its welcome.
 

We conclude the proceedings with 'Hospice'. Bass and guitar make their presence known in a weird sequence, before the drums swing in and add some substance. The chorus is quite Goth Metal in style. The outré Electronica noises hold sway from the middle to the end, becoming louder and more prominent before merely cutting-off as if someone has pulled the plug.
 

This is an unusual collection. Some tracks work really well, while others are a little overbearing and stretched-out far beyond their lifeline. On the whole though, I did enjoy the experience.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: Small Pond Recordings

May 2021

Small Pond Recordings and Art As Catharsis release The Last Three Seconds, the new album from Leeds-based Progressive Metal and Jazz Experimentation band Voronoi. They are an off-shoot of Contemporary Jazz outfit Zeitgeist. Keyboardist Aleks Podraza states that the single 'Gamma Signals' is about his fascination with cosmology, and that the theme of Science Fiction runs pretty much through the whole album. By their own admission, they have become heavier with this release, utilising the power and rhythmic complexity of heavier Prog Rock, whilst maintaining their traditional roots of Jazz and Classical music. Collectively, the band members have performed or recorded with The Cinematic Orchestra, KOYO, Jenova Collective, The Often Herd, and Wandering Monster. They have attracted the attention of the Reading and Leeds Festival, the Download Festival, and Ronnie Scott’s Jazz Club.
 

The track listing is: 'Interstellar Something'; 'Gamma Signals'; 'The Nauseator'; 'Roberts as Pathos – Roberts as Menace'; 'Darker the Night'; 'The Last Three Seconds'; 'The Outsider and the Priest'; and 'Home Could Be Light Years Away'.
 

I changed my mind twice about how to interpret this offering. I don’t like much Prog Rock music and I don’t profess to understand Jazz. The latter genre incorporates impromptu, mainly brass sounds – in other words, made-up on-the-hoof; the former possesses a multitude of meandering and stop-start pretentious cleverness. They have certain forms and styles in common so, on the face of it, it would make complete sense to combine the two. I was also intrigued as to how the Electronica would fit in (not well!).
 

With foreknowledge of the track titles and central subject theme, I involuntarily found myself appreciating the content in a new light. I treated these instrumentals as a movie soundtrack. It seemed to be working until the same tricks began to be played-out again and again. Having taught myself to appreciate this music on a new level, I suddenly found myself bored with the whole thing. Perhaps a shorter E.P. would have been more palatable for my discerning ears. But don’t let me put you off. If these are your music genres of choice, give it a go. 

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)