She Must Burn – She Must Burn


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After forming in 2014, London-based sextet She Must Burn release their self-titled début EP (Ghost Music). Describing themselves as “entwining crushing brutality and beautiful melody”, it is hard not to be intrigued.

The fusion of screaming vocals and clean vocals is used in most heavy genres nowadays, so in some ways it has lost its original appeal. However, there is definitely something different about She Must Burn: it is obvious from the first full-length track ‘Possessed’ that this is not just another gimmick, but that Joseph Louis Sinclair and Aimy Miller’s vocals contrast perfectly. The innocent-sounding clean vocals fuse together incredibly well with the brutal screaming vocals, creating a dramatic metal sound.

One of the most impressive songs on the EP is ‘Into Light’. The song has a much softer vibe to it than the previous tracks, and it opens with a beautiful piano melody. Aimy’s vocals are almost enchanting, and it is easy to see exactly why She Must Burn have gained so many fans in just a short space of time.

Throughout the EP there are obvious influences from heavy metal, rock, metalcore and even symphonic metal. Each one of the six songs sounds unique, whilst still being able to create a definitive sound for She Must Burn.

 

8.0/10

 

JULIA CONOPO

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Mirror – Mirror


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Latest of the new wave of stoner/revival/heavy metal bands, Mirror have an impressive and diverse collective CV of work behind them. A Face on the Doom scene, bassist Tas Danazoglou (erstwhile of Electric Wizard and Great Coven) is the main driver behind this band, along with drummer Jaime Gomez Arellano (Blutvial and Septic Tank). The band is very upfront with what to expect from Mirror (Metal Blade), their debut album: “The recording boasts strong melodic ideas with classic, heavy riffs inspired by the sounds of Scorpions, UFO, Iron Maiden, Deep Purple and the like.”

The album’s opener – ‘Mirror’ – is so ridiculously Maiden that it’s almost a surprise as the vocals start that it’s not Ol’ Foghorn himself making a guest appearance. Instead, Jimmy Mavromatis turns in a performance far more reminiscent of Blind Guardian‘s Hansi Kürsch. The song doesn’t suffer from it though – it’s the best of the bunch. ‘Curse of the Gypsy’ is a grandiose affair which reminds strongly of Ghost. The foot comes off the throttle for the stargazing ‘Year of the Red Moon’, where the inevitable Hammond organ makes its appearance and settles in for the remainder of the ride and ‘Heavy King’ is a fine track in the Deep Purple vein with a strong backbone and some lovely breaks from each band member. ‘Madness and Magic’ brings the (classic rock flavoured) doom and ‘Galleon’ brings us back to Killers-era Maiden, while ‘Cloak of a Thousand Secrets’ turns up the heat again for a boisterous hybrid of Blind Guardian and UFO. ‘Orion’s Sword’ servers an extended acoustic(y) intro to the closing track – ‘Elysian’ – which pretty much shoehorns everything from the rest of the album into one song.

As I’ve said before, revival bands often struggle to find their own sense of identity, but I don’t think this is true of Mirror. They’re honest about what they’re aiming for, they’ve delivered as promised and the end result does stand on its own whilst paying authentic homage to the giants of 70s metal. What lets Mirror down is the killer/filler track list (‘Mirror’, ‘Gypsy’, ‘Heavy King’ and ‘Secrets’ being the killers), and the dry production. Now, I fully appreciate that this sound is a central part of the feel the band are going for with this album, but it detracts from almost all the tracks, robbing them of the punch and depth that a richer sound would yield.

Nevertheless, a decent debut, and if you’re into the likes of Purson, Ghost or The Sword, you’ll probably get on with Mirror.

 

6.5/10

PHILIP PAGE


Def Leppard – Def Leppard


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Unmistakeable. Distinctive from the very outset, Def Leppard’s eponymous new release (earMUSIC) starts off with Joe Elliott’s unambiguous voice asking “Do you really want to do this now?” over a quiet build before a slick guitar lick leads us into some stabbed power chords and album eleven is up and running in their own inimitable style.

Let’s get the obvious bits and bobs out the way first… No, it’s not as classic as Pyromania or Hysteria (Vertigo/Mercury) – it was never, ever going to be; that’s like expecting Metallica to hit the stardust and repeat Master of Puppets (Electra/Vertigo) – but, no, it’s not as saccharine as Adrenalize (Mercury/Bludgeon Riffola), and no, it’s certainly not boring, staid or irrelevant. In fact, it’s interesting how the electricity and energy courses through, with ‘Energized’ lyrically appropriate about how the band seem to have taken a shot in the arm.

Freed from the confines of pressures imposed by others, and without the pressure of writing to appease a label, the Leps got together to jam songs for an EP and ended with their walls down, letting the tide of creativity flow around them, and a whole album in their laps, with songs ‘We Belong’, ‘Let’s Go’ and in particular the excellent ‘Dangerous’ pure top grade Leppard. On top of the traditional Leppard fare that litters the album, ‘Sea of Love’ brings some playful blues, ‘Man Enough’ grooves in with a huge finger-clicking, neck-bobbing funking bass guurrrroove, ‘All Time High’ runs with the Boss and ‘Battle of my Own’ borrows from acoustic Zeppelin .

Relevance has become a redundant concept for bands and that Def Leppard are still going strong a full 35 years after their inception is testament to the fact that, even during creative lulls there is sufficient quality in the band to keep hundreds of thousands of fans engaged and along for the ride; this is a band that give lessons in every song in how to write hooks and, in their sleep, knock out better choruses than most other bands can dream of.

Yes, to a large extent, you know what you’re going to get, but in this case that’s not a bad thing. There will be detractors, and the album does, in true Leps style, tail off a bit towards the end before ‘Blind Faith’ closes things off with class and nods to The Beatles. But, hey facts, kids… Def Leppard is an hour of quality classic hard rock tunes, and the fact that you’re listening to the best Def Leppard album since their heyday nigh on thirty years ago, is more than enough.

 

8.0/10

STEVE TOVEY


Sabbath Assembly – Sabbath Assembly


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Breaking from the embracing arms of The Process Church of The Final Judgement sees Sabbath Assembly reborn, emerging from their cocoon blinking into the light with fresh purpose and a redefining self-titled release. Although officially the bands fifth release Sabbath Assembly (Svart) really does sound like a new beginning for an act reinvigorated by pursuing a modified philosophy. Whether the freedom comes from stepping away from the scriptures of others, or through the musical progressions and developments they’ve chosen to make, nonetheless the evolution is welcome.

No longer tethering themselves to releasing the hymns of The Process Church, Sabbath Assembly sees nine wholly original compositions that, while occult in reference and dark in musical style, transposes their previous work into a new entity. Musically, while influences and styles are clearly rooted in yesteryear, the move to increase the presence of distorted guitars and the proliferation of NWOBHM breaks and passages amongst the Trouble-ed moments is a celebrated addition to their genealogy, meaning the band no longer sit under the “Occult Rock” umbrella, but embrace now their own, more distinctive, sound.

Jamie Myers adds a stronger, more dominant tone of Hammer Horror idiosyncrasy to her previous geniality, as quasi-ritualistic poetic intonations add to an overwhelming atmosphere of 1700’s witchcraft made flesh. Her new approach dovetails with the inherent upbeat catchiness of tracks ‘Confessing A Murder’, ‘Ave Sathanas’ and ‘Burn Me, I Thirst For Fire’, while Kevin Hufnagel’s 80’s influenced guitar work segues from Candlemass dripped doom-shaking to Satan (the band) esque gallops. ‘Only You’ teases a Mercyful Fate bolt, settles into a darkened brood, before racing to the end in a bounce of classic heavy metal riffery. Traditional metal solos enhance and embellish the album throughout, as do the melodic Witchfinder General touches and leads.

Taking an atmospheric turn for the latter third of the album means, dynamically, Sabbath Assembly feels a little strange; not quite tailing off, but as if emerging out the end of a night-time ritual into the stillness of the darkness before dawn as ‘Sharp Edge Of The Earth’ and the beautiful, folky ‘Shadows of Emptiness’ are reflective and breathy.

Of course this isn’t a “new band”, but neither is this a representation of previous ideology, either musically or philosophically. Whatever the impetus for the change in Sabbath Assembly, the culmination of the transformation is overwhelmingly positive in terms of their artistic growth.

 

7.5/10

STEVE TOVEY


Primitive Race – Primitive Race


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Primitive Race is a supergroup consisting of, among others, Chris Kniker, Mark Thwaite, Graham Crabb, Erie Loch, Tommy Victor, Raymond Watts, Dave Ogilvie, Kourtney Klein, and Mark Brooks, and thus this self-titled album (Metropolis) consists of parts of very nearly every great Industrial band that there is or has been. Consequently, the album does not have one single sound, but bounces around between various forms of the Industrial style, from the bluesy sound of ‘Cage Rattler’ to the catchy rock riffs of ‘Taking Things Back’, to the dark recesses of gothic rock of ‘Below Zero’.

One of the songs that makes a good impression is ‘So Strange’. It is nicely electronic but happily industrial. The vocals are clean, but with a slightly constricted sound that is actually quite nice as an effect making the overall thing very catchy yet non-intrusive. ‘Cage Rattler’ is also very good, although the backing vocals are monotonous to the point of annoyance. The riffs are excellent, nice and bluesy, with good solos even, but the vocals are less impressive. The screaming at the end is the best vocal performance of the song.

‘Addict Now’, ‘Give Up The Ghost’, and ‘Taking Things Back’ are very different songs, but they are all solid and effective compositions. However, the best song on the album may well be ‘Below Zero’, with its incredible vocals and lovingly depressing style; reminiscent of Nine Inch Nails or Lacrimas Profundere, this is a very pleasing sound.

Not all is fun and games on this album, however. While ‘Acceptance of Reality’ has some good riffs, and enough variation to be interesting, the solo is abysmal – even for an eclectic solo there are rather few notes in the proper key. ‘Platinum Balls’ is rather boring, and ‘Follow the Leader’ is grating as the vocals are not mixed in to the music, but are layered over. The worst offender is ‘DJFH’, which has terribly annoying synths coupled with terribly bad vocals. There are just too many dropped or downright dissonant notes.

On the one hand it is great to have a lot of different styles, on the other hand, the album lacks cohesion. It bounces around from totally awesome to rather unpleasant, and with such an experienced bunch of musicians it really ought to be better.

 

6.0/10

LORRAINE LYSEN


We Came As Romans – We Came As Romans


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As expected, We Came As Romans (Spinefarm/Equal Vision/Caroline) continues the move away from the harder metalcore of the band’s origins, a journey the band instigated on 2013’s Tracing Back Roots (Equal Visions/Nuclear Blast/Caroline), as We Came As Romans seek to further establish a more hard rock, song-driven sound. ‘Who Will Pray’ and ‘The World I Used To Know’ are strong, earnest, electronic-tinged pop metal, while ‘Blur’ and ‘Regenerate’ espouse the values of wringing more forceful, heavier verses that lead into open fan-interaction-friendly choruses. When it works, WCAR produce punchy, catchy anthems not a million miles away from the furrow that more recent Of Mice And Men ploughs.

Self-titling an album is an interesting concept, effectively stating that this is the defining album; this is one that all fans and pundits alike should look to as the crucial release in a bands’ canon. It’s a dangerous approach, especially when said eponymous release isn’t a bands first and is used to promote a refinement or change in style, and WCAR is not an unmitigated success. In equal measures the album is also littered with faceless and patchy songs, that, while decent in their own right, stick no longer in the memory than last Wednesday’s commute to work, and in ‘Saviour of the Weak’ they have produced an insipid number that All Time Low would pass over.

The stylistic shift isn’t the issue, indeed it’s a progression and a step that WCAR are quite right to take, but while WCAR may establish a new identity, it actually sees the band lose some of its definition and competitive advantage, at points sliding them somewhat into the morass of eels of contemporary once-were-core hard rock bands. Despite the head-turning darker closing track ’12.30’, as a “statement” album WCAR falls short on the confidence and, in places, songs of a Hail To The King (Warners). While it achieves the aim in relocating the Michigan sextet more into the mainstream, a spot they seem comfortable in, it falls short in making a declaration of any real intent.

 

6.0/10

STEVE TOVEY


Being As An Ocean – Being As An Ocean


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After forming in 2012, Being As An Ocean have quickly built up a reputation of playing intense live shows and creating passionate music. Their latest self-titled album (In Vogue Records/Impericon) further demonstrates their capabilities as a powerful melodic hardcore band, and it is easy to see why they have gained so many fans in such a short space of time.

First track ‘Little Richie’ instantly grabs your attention: the melodic opening leads perfectly into heavy riffs and hard-hitting lyrics. Joel Quartuccio’s vocals are as passionate as ever, allowing the listener to fully engage with the music. The synth-like breakdown may seem like a strange addition, but it actually works really well and proves that Being As An Ocean are not afraid to try something new.

One of the most impressive songs on the album is ‘Saint Peter’, which is a four minute emotional and engaging journey. There is something almost cathartic about this song, which may be due to the fusion of spoken word and harmonic vocals. The lyrics are thoughtful and well-written, which is just one of the reasons why Being As An Ocean’s new album is so successful.

If you are a fan of bands such as Rise Against, Hundredth and Stick To Your Guns, then Being As An Ocean’s new album is definitely for you. Even if you are not a huge fan of melodic hardcore this album may surprise you, especially as every song sounds unique and full of passion. It is hard for bands to convey energy through recorded music, however, Being As An Ocean have managed to do it with ease.

 

8.5/10

JULIA CONOPO


Tau Cross – Tau Cross


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With Britain once again under the yoke of an unrestrained Tory government and the Cold War seemingly re-activated, it’s beginning to feel like the 80s never ended. Therefore what better time for former Amebix frontman Rob “The Baron” Miller to step back into the limelight with a new band after his legendary crust trio failed to capitalise on their recent comeback record. Joined by comrades in arms Jon Misery and Andrew Lefton on guitars; both seasoned veterans of the US scene and Voïvod drummer Away behind the kit, the quartet have united under the banner Tau Cross, and with their debut self-titled album look set to prove once more that the old guard knows best.

Those expecting a re-run of Arise! (Alternative Tentacles) will be choking on their bottles of White Lightning as the massive chugging riffs and subtle electronica of album opener ‘Lazarus’ announces itself with aplomb. Both verses and choruses are positively radio friendly and were it not for Miller’s customary gritty throat, you could almost be listening to Killing Joke try their hand at stadium rock. Next track ‘Fire in the Sky’ has a somewhat 90s alt rock vibe struggling to emerge from under the guitars and Away’s solid percussion before things speed up considerably on the restless ‘Stonecracker’, which Lemmy would have sold his last bottle of Jack to have penned.

As the album progresses, it becomes more obvious that the band have no interest in trading on former glories and are eager to let these new songs stand on their own two feet. The expertly written flowing riffs and soaring chorus of the likes of ‘Midsummer’, the simple yet deadly stop-start refrains of ‘You People’ and the levelling power of ‘Our Day’ are so well written that the whole thing soon begins to feel like a greatest hits collection. The production is crystal clear; making the songs sound simply massive and the sheer amount of hooks on offer suggests that large festival stages were in mind during the writing process. It’s easy to imagine a whole field at a mainstream music festival raising their hands and voices to the brilliant acoustic driven ‘We Control the Fear’, for example.

The sole misstep is closing track ‘The Devil Knows His Own’; a rather twee folk ballad that allows the album to dwindle out when it should have finished with a bang, but that is a minor issue when the rest of the material on offer here is so strong. Evidently his day job as a swordsmith on the Isle of Skye has given Miller plenty of time to think up some fantastic material, and it’s something we should be incredibly thankful for as Tau Cross (Relapse Records) is one of the most listenable and engaging releases you are likely to hear until the clowns at Number 10 have been sent packing.

 

8.5/10

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JAMES CONWAY


Needs – Needs


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Needs are a Punk five piece hailing from Vancouver in Canada, and whilst their homeland may well garner a reputation of kindness and chilled out vibes, somebody better tell these guys that! Their erratic delivery of punk on this self-titled release (File Under Music) feels almost neurotic and overall makes for a very strong release. Don’t think anyone is doubting the Canadian level of humour which is on display here in abundance, either as some of the track titles alone should pick up some kind of reward – ‘Clowns To The Left Of Me, Dzhokhars to the Right’ and ‘We Don’t Know Why We Are Protesting is Why We Are Protesting’ are two particular gems in that respect.

A key aspect to this record being altogether very impressive is the fact that whilst aggressive sounding, they’ve injected their music with a whole load of fun as well. You can already envisage people bouncing around at live shows singing along to some of the lyrics. A good example of this is with the track ‘We Forgot the Records to Our Record Release Show’ which displays a high tempo punk sound underneath some genuinely entertaining lyrics, “What am I doing? No seriously, what am I doing. I’m 36 Years Old, 37 in a couple of months– a sentiment which no doubt a hell of a lot of bands will be able to identify and relate with.

Overall then, this album is indeed a strong dose of Punk which will hopefully not go completely under the radar. Needs are evidence of the fact that if you search hard enough amongst the million bands out there at the moment, you will find a gem, and an entertaining one at that – this is definitely worth checking out.

 

7.0/10

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TOM DONNO


Wicked Inquisition – Wicked Inquisition


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In some people’s minds the history of the 1970s goes a little bit like this: a grey decade of bad fashion and even worse food. Three day weeks and striking miners; thank goodness for punk and Year Zero. Then there’s the rest of us who know a lot better – the 70s were packed full of heavy metal bands with the love of the riff, the art of the song and the odd pint of patchouli oil. It’s this latter version of history that Minnesota’s Wicked Inquisition have tapped into. And how.

This highly enjoyable album contains more cap-doffing to the 70s than a milliner’s emporium and the reverence for times past is so genuine and warm hearted that you can’t help but feel a large amount of affection for the band and their record. I’m writing this review with the record playing loudly in the background and I can see from the reflection in the laptop screen that I have a grin that is a mile wide; it’s THAT kind of fun.

This is doom metal, but doom metal put through a focussed, song-writing lens. The band appear to have as much in common with Blue Oyster Cult as they do with Sabbath and their ilk which is no bad thing. On ‘Black Magick Nacht’, the album’s opening salvo, we are treated to something akin to a riff masterclass that is genuine and genuinely thrilling. The tempo drops for the Sabbath dripping ‘Crimson Odyssey’ whilst the upbeat riffing of ‘Sun Flight’ is not unlike early period Iron Maiden mixed with Trouble.

‘M.A.D.’ is the most obviously “doomy” of any of the tracks here, a snaking riff and metronomic pace adding to the mood and ambience with aplomb. Meanwhile, ‘In Shackles’ is what would happen if Sabbath had downed a bottle of groove juice before recording Sabotage (Vertigo) it’s mighty and gripping.

The opening riff on ‘Tomorrow Never Knows’ is straight off AC/DC’s Highway to Hell (Atlantic) masterpiece before jogging off for more 1970s riff shoplifting like some indiscriminate hoodlum. If you think I’m being critical, you couldn’t be further from the truth; the riffing here is joyous and inspired and the love of the music that this band have is as true and deep as the quality of their playing.

Wicked Inquisition (Tridroid) imbues a love of doom metal with an attention to detail and delivery that is admirable and enviable. It is not going to win any prizes for originality but for well-crafted heavy metal, it will do me, and you, very nicely indeed.

 

7.0/10

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MAT DAVIES