Kamala – Live In France

Live In France Cover

Kamala – Live In France
Self-released
Date: 27/11/2019
Running Time: 32:53
Review by Victor Augusto
9.0/10

Keeping a Heavy Metal band alive in Brazil could be considered honorable for so many reasons that I should write a book to talk about it! Heavy Metal is not even close to being popular in this country, but despite that, and many other issues, there are a great number of impressive records being released every year. Against all the odds, Kamala appeared and gave a great example of what a professional band must do to stay alive. They’ve been on the road since 2007 and started to play in Europe in 2013, where the band grew an incredible fan base, especially in France.

Kamala became a trio after the great album “Mantra” (2015), and the mantras and oriental music that once complemented the band’s sound, is not as obvious now, but it is still there. The work on a straighter guitar and bass made them sound more Thrash Metal than before. The last line-up change was new drummer, Isabela Moraes, who has been with the band since the recording of the acclaimed “Eyes of Creation” (2018). This album opened many doors for the band, especially overseas, where they have concentrated their recent shows.

The studio sound in the last two albums focused on Raphael Olmos’ riffs and on the great support of Allan Malavasi’s excellent bass work, which masked the absence of a second guitar, even during the solos. Of course, this “live” studio spirit increased their performance on stage, and here they’ve created a live album to explore this new path. Another good reason for a live album is the fact they have been more in Europe than their own country. The city of Lembras saw their last show on their 6th European tour, and the synergy between them was on its prime after an entire tour, playing every day.

Different from many live albums, all the instruments sound strong and clear. The guitar is like a punch straight in the face, with killer tones throughout, even during the wah-wah on solos. Allan Malavasi’s bass remains impactful all the time, with really good solos. Another interesting point, which I already observed at the shows that I was saw in person, is how the sharing of vocal duties between Olmos and Malavasi made the band seems to have not only one frontman, but two.

My biggest surprise is Isabela Moraes’ killer sounds on this album. Where she seemed to value groove and cadence on the studio record, here she sounds thirsty for Thrash, with a much greater speed. There is no way you can listen to the intro of “Suicidal Attack” only once, the way she smashes her drum kit. Another song that she put in her way of playing is “My Religion”, making the snare louder than the original version.

The set list for this live work focuses on the last two albums, and songs like “Stay With Me”, as well as the excellent “Believe”, are a great sample of what Kamala are. I must give a special mention to the amazing song “Mantra”, which is the last track of the album. In my opinion this is the best of Kamala’s songs, and I dare to say, even one of the best Thrash Metal songs I’ve ever heard in my life. It’s total destruction, with several nuances and rhythmical changes enhancing its great moments, the chorus being the best moment in my opinion.

Since their early days, Kamala wasn’t just one more awesome band among all other great Brazilian bands. From all countries that they have played, France was the one that really embraced this trio with the same passion that the band put on stage when they play. “Live in France” is one more brick in this great career in Europe, and a great way to show that Kamala continue to get bigger.

TRACKLISTING:

  1. Internal Peace
  2. Open Door
  3. Believe
  4. Stay With Me
  5. Take Away
  6. My Religion
  7. Suicidal Attack
  8. Mantra

LINE-UP:

Raphael Olmos – Vocals and Guitar
Allan Malavasi – Vocals and bass
Isabela Moraes – Drums

LINKS:

https://www.facebook.com/kamalaofficial

https://www.youtube.com/user/kamalaofficial

https://www.instagram.com/kamalaofficial/

https://open.spotify.com/artist/5mbUdP134DvKlRFr4AhsHO

Promo Pic 2019

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Godless Agenda – Death Awaits You All

Death Awaits You All Cover

Godless Agenda – Death Awaits You All
Self-Released
Release Date: 08/11/2019
Running Time: 38:58
Review by Victor Augusto
8/10

When you hear a great album that’s considerably better than the regular ones, what do you think about the band? Do you think about the musicians themselves, the band’s experience as a whole, or the producer’s work? I often analyze many possible reasons, like a stable line-up or long tours between each album, to explain it. If I have the physical CD, I look through the booklet to find the main lyric writer and song writer. When you follow a band for years, or you are friends with the members, it’s possible to work out who came up with a riff or arrangement, just by listening to the music. But what about a one-man band? How does it differ? My guess is it’s the freedom to express all creativity and build whatever that musician wants.

The Norwegian band Godless Agenda has just one member – Øystein Bjerkan, which made me realise he recorded all instruments and vocals! His style is Death/Thrash Metal, inspired by bands like the German and Bay Area Thrash Metal bands from the eighties and bands like Sepultura and Satyricon. At first, I thought that the diversity of influences for a one-man band could be dangerous, or sound confused, but it was just the opposite. Everything was very well explored and it’s possible to hear how deep each track went into those influences.

I could hear Black Metal and a little bit of Doom Metal inspiration in ‘The Legacy of Man’, but it doesn’t flee from the Thrash/Death Metal where Godless Agenda is based. I also could hear a lot of Sodom influences right from the opening song ‘Death Awaits You All’. ‘Kill The Cockroaches’ comes in a similar way. The lyrics in this one though, could have many meanings. “Cockroach – We’re better when you’re gone” in the chorus sometimes sounds like a killer who just kills for fun, but it maybe also has a political meaning, with ‘cockroaches’ being a political view of foreign people who live in your country.

Another interesting track is ‘Let The Children Come to Me’. It has a more aggressive sound and talks about child abuse within the church that has hit the news globally, many times throughout the years. The Christian church is not the only religion explored in this album, as you will hear in ‘Fear Me (Inch Allah)’, that relates a man’s view of using a suicide belt in a terror attack. This track shows the melodic side of Godless Agenda, with clean guitars and beautiful harmonies in some parts.

Despite all the great songs and compositions, this album is let down by its production. The recording’s not bad and the raw sonority helped to increase the spirit of the thematic subjects, but the mixing doesn’t bring a proper equalization of the instruments. Sometimes it sounds like a Demo-record, a very good Demo by the way, but for a debut album with so many good tracks, it deserves a better production.

The 39 second song ‘The Ballad of Donald Trump’, a political song describing the view of the songwriter, finishes the album in a more Hardcore vibe. “Death Awaits You All” is a debut album that shows what a talented musician can do with the freedom to explore their own ideas alone. It is an easy album to enjoy and you will have fun listening to it.

 

TRACKLISTING:

  1. Death Awaits You All
  2. Kill The Cockroaches
  3. Let The Children Come To Me
  4. Fear Me (Inch Allah)
  5. Rise From Ohe Pits
  6. The Legacy Of Man
  7. Devoured From Within
  8. The Ballad Of Donald Trump

LINE-UP:

Øystein Bjerkan

LINKS:

https://www.facebook.com/godlessagenda

https://godlessagenda.bandcamp.com/

https://www.youtube.com/channel/UCbBmI5RMUg-4skRX9heQV8g

 

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Hembree And The Satan Sisters – F.Y.F

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Hembree And The Satan Sisters – F.Y.F
Rusty Knuckles Music
Release Date: 20/09/2019
Running Time: 15:00
Reviewed By Dark Juan
2/10

It is Monday evening at Dark Juan Terrace, and I have just finished a one hundred hour working week. My gospel and my litany of hatred won’t preach itself, you know. But here I am writing to you, my good people, because I am nothing if not generous with my time and my energies in sharing the One True Path of extreme music with you, my beloved brethren. This review is being brought to you by Camden Hells lager, a withering and rapidly increasing dislike of the human race at large and a violent reaction to the stupidity of large sections of society. Also, I’m listening to a punk rock record. So, in the timeless fashion of snot-nosed 70s punkers, modern day crust punk and anyone who is still interested in Crass and The Anti – Nowhere League I’m going to condense all this simmering hatred into two politically aware and savvy sentences:

Fuck Boris Johnson and his fucking crew of rapacious rich boy capitalist cunts. If you’re working class and vote Tory, you’re a fucking class traitor, mate.

Because that was what British punk was all about innit? All about raging against the machine, socially aware rage dressed up in fake, barely coherent and frequently explicit three chord, two-minute blasts masquerading as songs.

Hembree And The Satan Sisters are like that, musically at least. This Atlanta, Georgia crew have taken the three chord punk blueprint and have run with it. And then run with it some more. And then kept running until they came to some colossal and immovable obstacle (like Boris motherfucking Johnson) and then turned around and ran all the back. Ground breaking music this ain’t. It’s a well produced 1970s Oi! record. It’s all style and very little original substance, with an even more childish reliance than my own on swearing to make their point. To that end, I was not entertained. In fact, I have been extremely disappointed. Hang on…..

My apologies. Igor the Evil One decided he wanted to fight. I had to best the little beast lest he got an overwhelming sense of his own importance. It was what was necessary to avoid being shouted at for several hours…..

Yes, lowest common denominator three chord punk aimed at rebellious 15 year olds angry at their own parents, with no political or social commentary – the things that made punk RELEVANT in the first place. Instead the entire record is just a general middle finger to basically everyone and everything. Even my hatred is narrow and targeted and just shouting “Fuck you and fuck everyone else as well!” does not a rebellious attitude make. In anything it’s a bit pathetic. Marks lost for making me think you don’t have access to a thesaurus, Hembree…

The band’s sound – have I said that they are a three chord punk band yet? They sound like a less raw Black Flag mixed with the glossy shine of latter day Misfits, both bands that I have a lot of time for. However, it’s dated as fuck, man, and trying to weld some sort of emo-tinged outward hatred of everything to a classic sound done a million times before doesn’t really work. It doesn’t have the teenaged, snot nosed confidence of the Ramones, nor the absolute sonic rage of crust punkers such as Hellbastard or Lazarus Blackstar and it just sounds like a middle-aged man shouting for no good reason. And that’s sad. That’s why this record leaves me utterly cold.

I can’t recommend a single song on the album. From the opening rant (entitled “The Longhaired Weirdo Speaks!”) to the closing spoken word nonsense it’s all generic and a bit dull although “Dancin’ At Your Suicide” has an odd 50s rock ‘n’ roll vibe very reminiscent of the Misfits’ “Saturday Night”.

I’m not writing any more on this band because it’s a waste of your and my time. It has even robbed me of my trademark humour. It’s not truly fucking awful like Warrior Soul’s last two records, but it has no redeeming qualities either. I’m bored.

The Patented Dark Juan Blood Splat Rating System just can’t be arsed. 2/10.

 

Track list

The Longhaired Weirdo Speaks! (I wish he wouldn’t. He has nothing to say.)
Fuck Your Religion And Fuck Your Politics (Yeah, man, fuck yours too. Political discourse in action.)
A Devil’s Warning (You boys aren’t devils. I serve the devil. You ain’t him. You don’t have any horns. Or the kind of withering sarcasm Old Nick does so well.)
Say It To My Face (OK, your band is a bit crap, mate.)
Nothing To Prove (Fucking good job really.)
Rape This Land (Generally you need a blitzkrieg or at least a strong armoured thrust to do this. I don’t think the band have a panzer regiment complete with combat pioneers and panzer grenadiers to hand…)
Dancin’ At Your Suicide (Suicide is no fucking joke, lads. No fucking joke at all.)
Who’s Laughin’ Now (Not me. Also, Dancing and laughing have a letter G at the end of them. I hate it when bands do this gettin’ rid of the G at the end of words. It boils my piss nearly as much as a Warrior Soul album. This is not a criticism of Hembree And The Satan Sisters. This is Dark Juan focusing his righteous fury in the direction of idiots.)
The Longhaired Weirdo Speaks Again! (Do shut up, dear boy.)

Hembree And The Satan Sisters are:

Zachery M. Hembree- Lead Vocals
Ash Miltiades- Lead and Rhythm Guitar/Vocals
KD/DC-Rhythm Guitar
Charley Ferlito-Bass/Backing Vocals
Parker Bradshaw-Drums

Links:

https://www.facebook.com/HembreeandTheSatanSisters/

 

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Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Collateral – ‘Collateral’

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Collateral – ‘Collateral’
Roulette Media Records / Cargo Records UK
Release Date: 21/02/2020
Running Time: 34:35
Reviewed By Paul Monkhouse
8/10

The rock scene has seemingly never looked healthier and 2019 has seen some absolutely incredible new albums emerge this year. This trend looks to continue well into 2020 with the release firstly of the Anchor Lane debut album and this, the first full length offering by Kent four-piece Collateral in February. Already making a big impression on UK and global audiences with slots at Camden Rocks, Ramblin’ Man and an appearance alongside Jon Bon Jovi, these South East rockers are amongst the most hotly tipped bands for future superstardom and this self-titled release shows exactly why they’re getting so much attention.

The songs on the album are huge and have such lofty ambitions to be played in stadiums but, unlike many who have come before, their strongest weapon in the fight is their talent and drive to succeed. Despite all the big, singalong anthems and flamboyant image, it’s not all empty glamour and glitz as beneath the noise and gleaming chrome of the surface lies a real blue-collar heart and recaptures the spirit of when Bon Jovi and their ilk were at their peak.

The album kicks off with the single ‘Mr. Big Shot’ and it’s a giant slab of commercial hard rock that mixes in some really 80’s elements ranging from classic American AOR to some almost New Romantic undertones and a pinch of ELO. Full of great guitar work from Todd Winger and epic vocals by Angelo Tristan, the track drips with tongue in cheek innuendos and a huge sense of a band having a ball in the studio. More monster riffing and vast melodies power along paeon to the modern music industry ‘Promiseland’, it sounds like the sleazy lovechild of AC/DC and, should have been huge, USA rock legends Giant as it snarls and purrs, leading to a superb solo by Winger. The band dust off their cowboy boots as the Southern Rock feel of ‘Merry Go Round’ brings images of swirling dust devils and shimmering desert heat to mind as they effortlessly turn their home county ‘Garden of England’ into the American Midwest. Close your eyes and you can feel the sun beating down and the dry mouthed feel that is desperate to be administered an ice-cold beer. Without doubt, one of the greatest strengths of the band is to conjure up that sense of time and place in a very tangible way, transporting you to a time when hair was big, and choruses were even bigger. This is no aping of the classic bands of that era but a contemporary take on the type of rock music that made Bon Jovi et al kings of stadiums, the production by Sean M Kenny bringing out the best in the material whilst giving it a thoroughly modern sheen.

‘In it for Love’ exemplifies this approach as it perfectly balances the pounding rock driven by rhythm section Ben Atkinson on drums and Jack Bentley-Smith’s bass alongside such a great, dynamic song that will have you singing along in no time. With its instantly catchy “woooh oooh oooh” gang vocals during the chorus and another fret blazing solo ‘Lullaby’ has already become a live favourite and should be blaring out of every car radio across the Atlantic, such is its perfect suitability for the American market.

Also finding its main inspiration the other side of the ‘pond’ is ‘Midnight Queen’, the band tilting their Stetsons to a more AOR meets Country Rock feel that sounds like it might have been written by Richard Marx and Vince Gill, the opening line the name of a huge hit that Marx wrote for Vixen and it shares that same sense of space, the focus on the songwriting, not the flash.

Those waiting for the heartfelt power ballad won’t be disappointed as ‘Get Back to You’ ticks all the right boxes, Tristan pouring his heart out as he longs to return home whilst the song proves it’s more about quality and quiet than drama school overemphasis.

Having stated their love for the aforementioned Mr. Jovi, the band expressed their intent to write something that captured the spirit of tracks like ‘Always’ and this certainly will see a sea of mobile phone lights (nobody is allowed lighters at gigs these days) held aloft in tribute. The pace picks up once again in the spot on, commercial pop rock of ‘Won’t Stop Me Dreaming’, a song that contains a tough streak of steely determination laced through its supremely candy coated and instantly addictive shell. The album ends with ‘About this Boy’, another country tinged track that once more heads more to the massive and lucrative Nashville scene than the heavier end of their material. Whilst a meatier number may have been more fitting, the song is still imbued with that Transatlantic feel that may well find the band gaining ground both in their home country and in the United States given the growing market here and the already titanic base there. Always doing things their way, Collateral continue to push forward, and this album shows just how far they’ve grown and where they’re heading. The stadiums of the world are beckoning.

Track Listing:
1 Mr Big Shot
2 Promised Land
3 Merry Go Round
4 In It For Love
5 Lullaby
6 Midnight Queen
7 Get Back To You
8 Won’t Stop Me Dreaming
9 About This Boy

Links:
https://www.collateralofficial.com/
https://www.facebook.com/collateralrocks/

https://www.instagram.com/collateralrocks/

 

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Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Trippy Wicked and The Cosmic Children of The Knight – Moving On Singles

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Trippy Wicked and The Cosmic Children of The Knight – Moving On Singles
APF Records
Release Date: 30/10/2019
Running Time: 21:24
Reviewed By: Dark Juan
9/10

Good evening, my initiates. It is I, the Ipsissimus of all things Groovy, Dark Juan, and I am here to take your mind off the mundane and into realms of cosmic thought never truly encompassed in the human journey before. Or I could just write a record review.

However, I’m sure you have all become accustomed to me babbling incoherently about anything but the record I am supposed to be writing about AND THIS TIME IS GOING TO BE NO DIFFERENT! However this time, it’s a simple message I want to share with you all. After all this unpleasantness to do with rich bastards squabbling over who gets to tell us what to do and lying about what they will give you to make you like them is out of the way (they won’t give you what they promise anyway) take the time to reconnect with people who might have different opinions to you.

Love everyone without question, my people, for that is what makes the world a better place. Not which motherfucker in a suit sits in a leather chair and talks a lot. Love each other and for fuck’s sake look for the good in each other because I have never seen such venom and vitriol flying amongst friends before. It’s fucking depressing to see friendships that are years old fall apart because of shitposting on the internet. Us alternative people only have each other to depend on – so fucking love each other, drink the fucking beer, smoke the fucking weed, hug fucking strangers and turn them into fucking friends and dance the fuck out of every piece of metal you hear. So sayeth My gospel. Here endeth the sermon…

Trippy Wicked and The Cosmic Children of The Knight. Now there’s a name to conjure with and no mistake. I like it. I like it a lot. This EP comprises four songs that didn’t make the Movin On (I hate it when bands do this. There’s a G at the end of the word for a reason. STOP IT FOR FUCK’S SAKE!) album recorded in 2009 and as the demented pscyhonauts themselves put it, “10 songs had made the album while the other 4 went in the cupboard under the stairs and were forgotten about for a while. Since then we’ve played a whole bunch of gigs, released another album and a few EPs, went on a few tours around the UK and Germany, and generally did what bands do. The 10 year anniversary is a perfect opportunity for us to revisit the recording on Movin On, give those 4 extra songs a release and finally share them with our fans. So here they are. Dig it.”

Quite. So here we have four songs based on absolute fuzz heaven. Fuzzy fuzzy fuzz fuzz with a bit of fuzz-wah thrown in for variety. It is stoner doom distilled down to the most basic elements of stoner doom – highly distilled Sabbath riffs, lazy tempos, thunderous fuzzy bass (if only the bass player was called Fozzy, then my life would be complete) and a drummer who seems intent on reducing his drums to their component atoms instead of playing them.

Opening track “Evil” starts with the sound of a bad earth before the instruments all kick in together with the kind of punch in the guts a certain Mr. Tyson might deliver if you upset him and a heartbreakingly beautiful palindromic riff of such stoner splendour this hellpriest fell to his knees and wept against the sofa. Hodgson Fartpants (the only dog to be classified as an illegal chemical weapon under both NATO rules and the Geneva Convention. Not even the Russians would have him) was sat on it at the time and gave me a look best described as quizzical and not “What the fucking fuck is that fucking demented human bastard doing this time and why does it not involve feeding me?” It is very, very good as it stomps all over the landscape like some kind of ironclad assault walker. Vocals from Peter Holland are very Ozzy-esque as well, having that high pitched, throaty and raw quality that the auteur Mr. Osbourne had when he fronted Sabbath the first time.

Track two “Hark At You” is more of the same wholesome stoner wonderfulness but a bit faster this time, as if the boys had put down the weed and decided a bit of the old Billy Whizz was the way to go this time. It’s a bit of a goer, this song, like it’s had its arse whipped sore by a vigorous rider and moves along at a brisk canter.

“Things Go Up” is the third song in. This is where Peter decided that we needed to hear his fuzz-wah. He was right. We all needed to hear his fuzz-wah. Fuzz-wah me, baby. It’s soooooooooo good. I love it when you fuzz-wah me. Don’t stop. Drummer Chris West had apparently also decided that his cymbals had to die on this song and gave his crashes the kind of thrashing that only Basil Fawlty can deliver with any conviction.

The final song on the record is called “I Wanna Be” and sees the entire fucking kitchen being thrown at the song, not just the sink. There’s wah, there’s phaser, there’s the kind of monolithic riffs Kirk Windstein and Tony Iommi would face off in a grim battle to the death to claim to have written. And the bass. Oh, the bass. Dicky King (probably deploying the smile of champions he is displaying in the band photo) goes into some kind of fuzz nirvana and disappears (in my head anyway) into a pineal focus streaming outwards from his third eye in glorious psychotropic colour, dissolving into a self-contained universe of the groove…

Ok, I have managed to contain myself. It’s cost me a pair of pants, as it usually does. Trippy Wicked are awesome. Buy their music.

Trippy Wicked, I salute you. Now I’m going to drink this beer.

The Patented Dark Juan Blood Splat Rating System is floating motionless in a universal groove constant and awards Trippy Wicked etc etc 9/10 for a trip through the psychedelic heartlands that leaves me wanting more…

Tracklist

Evil
Hark At You
Things Go Up
I Wanna Be

Trippy Wicked and The Cosmic Children of the Knight are: quite clearly insane.
Pete Holland – vocals, guitars, brass, slightly worrying propensity to look at your left ear when talking to you.
Dicky King – bass, winning smile, award winning face fuzz.
Chris West – drums, knowing smirk. This man has seen things – things that would fuck you right up.

Links

https://www.facebook.com/trippywicked/
https://www.instagram.com/trippywicked/

 

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Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Speedealer – Blue Days Black Nights

speedealer

Speedealer – Blue Days Black Nights
Rise Up and Fall Records
Release date: 15/11/2019
Running time: 30 mins
Review by: Alun Jones
9/10

Curse you, Speedealer! I had pretty much decided on my Top 10 albums for 2019, and then these guys turn up with this rocket fuelled bruiser of a record. The year had started off slowly, to be honest – but great new music has been arriving at a rapid pace recently. And just when I was about to bed down for a long winter nap, Speedealer turned everything up to 11 and ruined my plans.

The album is called “Blue Days, Black Nights”. It’s fast, crazy, adrenaline pumped rock’n’roll and it never stops pounding home the righteous sounds till it’s brief-but-beautiful 30-minute lifespan is over. At which point, I tend to just start again from the beginning.

The first song is called “Never New” and it smashes in, steals your whiskey and is gone in under a minute and a half. That’s reckless by anyone’s standards.

It ain’t all super-fast punk’n’roll though, there’s many a change of pace to be heard. “Rheumatism” and “War Nicht Genug” both feature riffs that are heavy and brutal. Elsewhere, in “Sold Out”, the band unleash a tortured performance of a song that would be a blues rocker, but is far too dense and violent for that phrase to fit snugly.

Never mess with Texas, goes the old saying. And these Texan boys do not fanny about AT ALL on this fine collection of tunes. Instead, “Blue Days Black Nights” will drag you along like an out of control stag party: full of booze-filled fun, ridiculous antics and dangerous detours. I’m deducting half a point for the terrible cover art, otherwise this one’s a killer.

FUN FACT: Speedealer used to be called REO Speedealer – which let’s face it, is a much better name – until REO Speedwagon got wind of it and issued a cease and desist. Anyone with a sense of humour would surely take that name as an homage, right? You’d think the miserable old bastards would’ve enjoyed being put back on the map.

What’s that? Ever Metal’s lawyers are on the phone? Court order from who? Oops…

Track listing:
1. “Never New,”
2. “Rheumatism,”
3. “War Nicht Genug,”
4. “Nothing Left To Say,”
5. “Sold Out,”
6. “Losing My Shit,”
7. “A Reckoning,”
8. “Shut Up,”
9. “Mainmast,”
10. “Blue Days Black Nights.”

Media:
speedealerband.com
wiki/Speedealer
instagram.com/speedealerband
facebook.com/Speedealerband
twitter.com/Speedealerband

 

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Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Victor Augusto’s Top Ten Albums of 2019

Victor Augusto’s Top Ten Albums of 2019
By Victor Augusto

Before I let you loose on Victor’s Top Ten Albums of 2019 I would just like to thank him for all of his hard work this year. It’s been great to have you onboard!

Definitely 2019 was not an easy year for me. After a couple of years of intense dedication to my local Heavy Metal scene, I realized I was walking in circles and wasting energies in the middle of many egocentrical people. I also lost time with bands that don’t appreciate my support.

Before I changed my focus to professional bands, I spent a few months trying to recover myself from my mental exhaustion and I wasn’t able to follow all the good releases, but the few I heard were enough for me. So here are my impressions of what were the best this year.

10 – Acid Reign – The Age of Entitlement

10 – Acid Reign - The Age of Entitlement

The UK band Acid Reign appeared at the end of the eighties and quit in the early nineties, but they returned in this decade and let clear to the world that they still can record a killer album. “The Age Of Entitlement” just shows their creativity to play incredible riffs, as a good Thrash Metal band does. The band also explored the melodies of classic British Heavy Metal bands. All of it together with an incredible recording/production was enough to show to the world that Acid Reign is really back.

https://www.facebook.com/acid.reign.thrash/


09 – Kamala – Live in France

09 – Kamala – Live in France

Since their first years, Kamala wasn’t just a one more awesome band among all other great Brazilian bands. They put some mantras and oriental music to complement their heavy music and built a great name in their country. In this decade they changed their sonority to a straight Thrash Metal and also started to tour in Europe. From all the countries that they played, France was the one that really embraced this trio with the same passion that the band put forward when playing for French Metalheads. “Live in France” is one more brick in this great career in Europe and a great way to show that Kamala is getting bigger, even after almost 17 years on road.

https://www.facebook.com/kamalaofficial/


08 – Acero Nacional – Trueno

08 - Acero Nacional – Trueno

If you think South American Metalheads are insane, you have probably never seen the Chilean ones. Bands from there also have this spirit and you just have to analyze the name Acero Nacional to understand it. The band’s name means “National Steel” and the steel is a reference to the people who works with this metal in metallurgy industries. The band represents the workers in their country and “Trueno” (Thunder in Spanish) sounds like the title; Strong, fast and devastator.

https://www.facebook.com/aceronacional/


07 – Fleshgod Apocalypse – Veleno

07 – Fleshgod Apocalypse – Veleno

As a fan of extreme Metal I have always loved Fleshgod Apocalypse since the first time I saw the video of ‘The Violation’ in 2012. For me, they are the great new mainstream band that appeared in this decade. Instead the same old stuff from all Death/Black Metal bands; they just put opera and al Italian influence. For my surprise, the band drastically changed their line-up for this album, but I still feel the same spirit in their music. Actually, they are better in my opinion. The songs are not extremely fast all the time as before and the production chose a more organic recording. For me, those changes helped to digest easier all the complexity of their arrangements. I loved as always.

https://www.facebook.com/fleshgodapocalypse


06 – Legacy Of Kain – Paralelo XI

06 - Legacy Of Kain – Paralelo XI

The first time I heard and reviewed Legacy of Kain in 2017, they were just a new band in Brazil, with old musicians that were playing Metalcore/Thrash Metal. I liked them, but the band was not so far my favorite of the year. Now they have changed their lyrics from Portuguese to English and decided to play a strong and furious Thrash Metal with a few elements of Metalcore. All the anger you hear in this new album is from the main theme that is about the slaughter of an Indian tribe in Brazil, which happened in 1963. For sure this record will make you angry too.

https://www.facebook.com/legacyofkainbrazil/


05 – Woslom – Paranoia

05 - Woslom – Paranoia

Woslom is a very famous Thrash Metal band in Brazil. In this decade they released three great full albums and toured a lot, not only in their country but also in Europe. Again, the band brought a great theme well represented in the cover art. “Paranoia” has a dizzy stairway and the opening riffs of the title track reproduce it too. Despite it is just a four track EP, this record can show what we can expect from the next full album. A technical and crazy Thrash Metal that always surprises the listener.

https://www.facebook.com/woslom/


04 – Hatefulmurder – Reborn

04 - Hatefulmurder - Reborn

One detail that makes me admire a specific band is when I have difficulty to find their band’s style. Hatefulmurder in an incredible Heavy Metal band that offers something similar to Thrash Metal, but they sounds as heavy as a Death Metal band. Sometimes the band flees to funky bass lines structure or other styles and is not repetitive with the songs structure. This is the third band’s album and the second with Angelica Burns on vocal. She brought all heaviness with her strong vocal, sometimes similar to Tomas Lindberg voice (At The Gates singer), but the band goes further to any kind of Death Metal. I suggest you listen to “Reborn” and make your own conclusions about it.

https://www.facebook.com/hatefulbook/


03 – Destruction – Born to Perish

03 - Destruction-Born-To-Perish

Destruction is a band that doesn’t need to be introduced to anyone. I was lucky to see them live twice (in 2016 and 2018) and I even met them backstage for few minutes last year. Schmier, Mike and Andy Black were very polite and I took a pic with them to save this moment in my memory. It was few months before they announced the Damir Eskić and returned to have two guitar players. Probably any Destruction album can easily perform in a top 10 list, but “Born to Perish” has this stronger sonority due the addition of the second guitar and this album sounds even more aggressive than the others.

https://www.facebook.com/destruction/


02 – Death Angel – Humanicide

02 - Death Angel – Humanicide

It is very hard to not love anything that Death Angel release since I showed their concert in my hometown in 2010. That day I was lucky to stand in front of Rob Cavestany and he gave his guitar pick on my hands. He is as gentleman as a great riff composer. Actually he could be considered one of the best riff makers in the Thrash Metal history, but maybe the long time that the band was stopped disrupted the band’s trajectory. What really matters here is the fact that Death Angel released another insane album and I dare any Thrash lover doesn’t bang his head while listening such amazing album.

https://www.facebook.com/deathangel/


01 – DarkTower – Obedientia

01 – DarkTower – Obedientia

Before I put this record in the first place of my top 10 albums of 2019, I was really afraid to be unfair with the famous bands that have a great history in Heavy Metal, but DarkTower really touched me with this album. It is not just a matter of how they play Black/Death Metal, but how they put all anger and feeling to illustrate all chaos we live in Brazil. Since the political fights that our people have been doing to how we are losing our culture and our identity as a nation; everything was brilliantly described without attack directly at any side of this war. They just advise how people are stopping to think by themselves and how they have been manipulated by false heroes. Embark on this epical and realistic journey listening to “Obedientia”.

https://www.facebook.com/darktowermetal/


Special mention also has to go out to the following bands:

Miasthenia – Sinfonia Ritual

Here is a great Pagan Black Metal band that is the opposite of bands from this style. “Sinfonia Ritual” is not specifically an album because it shows a symphonic version of five songs from the last three band’s album. It is a great way to enter into the Miasthenia soul and discover how amazing they are.

https://www.facebook.com/miasthenia/


Endust – All ends in Dust

My special mention goes to The Brazilian Thrashers of Endust that released their first album “All Ends in Dust” even though they have never played any concert ever. Their music is a kind of Thrash with Nevermore influences, which increased melodies and changed the dynamic of this great record.

https://www.facebook.com/official.endust/


Infrared – Back To The Warehouse

Another special mention goes for the Canadian band Infrared. They also quit in the eighties and returned this decade. The album “Back To The Warehouse” rescued old compositions that received all aggression of their Thrash Metal.

https://www.facebook.com/infraredmetal/


 

 

 

Disclaimer: This Top Ten is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

When Dark Juan Attempts A Top Ten List…

When Dark Juan Attempts A Top Ten List…

Just a quick interjection from me as I thank Dark Juan for all his hard work and the somewhat “different” reviews he has submitted this year. Thank you kind sir!

Especially when he’s sober. Let’s try and keep this brief and at least moderately entertaining, eh?

10. Stahlmann – Kinder Der Sehnsucht.

Stahlmann

Nth Generation Neue Deutsche Harte. Causes goth girls to lose their frilly knickers. If you like baritone German vocals, das ist gut!

http://www.facebook.com/stahlmann-138756019513864


9. Kill All The Gentlemen – The Loss And The Rapture.

Kill All The Gentlemen

Spectactularly deranged British bruisers defy expectations with corking album of magnificently spiky metal.

http://www.facebook.com/killallthegentlemen


8. Hecate Enthroned – Embrace Of The Godless Aeon.

Hecate Dethroned

More Brits, bringing back the good time when British avant-garde black metal had romance and melody instead of a production job not unlike a wasp in an echo chamber and a problem with unburnt churches.

http://www.facebook.com/HecateEnthroned


7. Dirge – Lost Empyrean.

Dirge

The greatest French metal band I have experienced apart from P.H.O.B.O.S. Did the most amazing thing ever for the release of this album. Released it, then split up just when I discovered how awesome they are. Merci pour rien, mes amis!

http://www.facebook.com/dirge.fr


6. Blame Zeus – Seethe.

Blame Zeus

Portugal normally means port, the Algarve and occasional naval ally against Spain to this hellpriest. It doesn’t normally mean absolutely slamming female fronted heavy fucking metal. Splendid stuff from the sun-kissed slammers.

http://www.facebook.com/BlameZeus


5. Woven Man – Revelry (in Our Arms).

Woven Man

When Wales stops bothering about rugby, cawl and Felinfoel Double Dragon (a fine Llanelli brew as Woven Man will of course know!) they do this. A supremely crushing and powerful heavy metal record enhanced with the delightful form of Natalie Purchase on the cover. It almost makes me forget the Church. Amen.

http://www.facebook.com/wovenisms


4. Quantum Pig – Songs Of Industry And Sunshine.

Quantum Pig

Hitherto unknown prog delights from a technically expert band. Also, they are wonderful gentlemen and fine conversationalists. You heard it here first. And I’ve still not given away the secret they told me about the next record…

http://www.facebook.com/QuantumPig


3. Sacred Reich – Awakening.

Sacred Reich

Oh god. Oh my fucking god. The BEST of the American thrash metal bands return to the fray with an album that took off my face, stamped all over it with hobnailed boots on and then threw it in the bin. Savage.

http://www.facebook.com/sacredreichofficial


2. Graham Bonnet – Live In Tokyo 2017.

Graham Bonnet

The perfect heavy metal live album from a fucking bona fide heavy fucking metal legend, a gentleman of the first order, and also Beth-Ami Heavenstone. If you know me, you know about Beth-Ami Heavenstone. Sigh.

http://www.facebook.com/grahambonnetmusic


1. Damim/ King Satan – A Fine Game Of Nil/ I Want You To Worship Satan.

I couldn’t choose between these two records so they can share the spoils and the dubious honour of now being on my somewhat depraved radar.

Damim – British blackened death metal of the very highest calibre. Faster than the firing rate of a gatling gun, and more complex than an Italian fuel pump design, but infinitely more reliable and pleasing. A truly monumental record.

http://www.facebook.com/dam.nation.uk

King Satan – Incredibly insane industrial metal from Finland. Cacophonous, dribblingly mental and inventive and a shining example of what joy can happen when musical genres like what they see and make violent, unpredictable love together. Aggrotech meets industrial metal, checks out its arse and then tears its clothes off in a paroxysm of sexual frenzy. King Satan is the offspring of that unholy union. Utterly magnificent.

http://www.facebook.com/kingsatan616

So there you have it. Dark Juan attempts a top ten of the many fine records and some stinkers (hear that, Warrior Soul?) I have had the pleasure to review. Here’s to 2020. Happy Yule, you beautiful bitches and bastards! If you see me out out, buy me beer and lock up your daughters. Peace and good fortune.

 

 

Disclaimer: This Top Ten is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Alun’s Top 10 Albums of 2019

Alun’s Top 10 Albums of 2019

We have already posted a few of our reviewers’ Top Tens of 2019 and now it’s Alun’s turn. We would like to thank him for all the work he has done for us over the past year. He certainly knows what he is talking about music-wise so go check out the albums on his list and see what you think.

1. Crobot – Motherbrain

crobothttp://www.facebook.com/crobotband


2. Monolord – No Comfort

monolordhttp://www.facebook.com/monolordsweden


3. Giant Dwarf – Giant Dwarf

giant dwarfhttp://www.facebook.com/giantdwarfmusic


4. Admiral Sir Cloudesley Shovel – Very Uncertain Times

sir admiralhttp://www.facebook.com/theshovell


5. Earth – Full Upon Her Burning Lips

Earth_FullUponHerBurningLipshttp://www.facebook.com/thronesanddominions


6. Sunn O))) – Life Metal

sunn300-Sunn_Life_Metalhttp://www.facebook.com/sunnthebandofficial


7. Acid Reign – The Age of Entitlement

acid reignhttp://www.facebook.com/acid.reign.thrash


8. Obey – Swallow The Sun

obeyhttp://www.facebook.com/obeyuk


9. Speedealer – Blue Days Black Nights

speedealerhttp://www.facebook.com/speedealerband


10. Mammoth Weed Wizard Bastard – Yn Ol I Annwn

mammoth weedhttp://www.facebook.com/mammothweedwizardbastard


 

With honourable mentions for Firebreather, L7, Sacred Reich, Wizard Rifle, Duel and Helligators

 

 

Disclaimer: This Top Ten is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Anchor Lane – Casino

Casino Cover

Anchor Lane – Casino
R7 Music
Release Date: 31/01/2020
Running Time: 33:23
Review by Paul Monkhouse
8/10

Very few new bands come into the public eye with a fully formed and unique identity but it seems like Anchor Lane have just managed this very feat on “Casino”, their debut album. With a solid commitment to being road dogs, having supported the stellar likes of Cheap Trick, Tremonti and Eagles of Death Metal, alongside appearances at some very major festivals it’s obvious that these four young guys from Glasgow have the drive and work ethic to be in the big leagues. It also speaks volumes that, having worked with some of the best in the business, Wayward Sons/Little Angels/Gun/Waysted frontman and super producer Toby Jepson chose to make ‘Casino’ his next project and, with his brilliant ear for sonic enhancement and the bands songwriting skills, it’s a perfect match.

Kicking off with the fuzzed up, lurching beat of ‘Blood & Irony’ Anchor Lane certainly distance themselves from the million and one other new hard rock outfits out there and this slightly unhinged opener promises something different. Listening to the track is akin to being in the ring with Muhammed Ali at his prime; the jabs come thick and fast with the occasional flooring blow to the solar plexus. They follow this with single ‘Fame Shame’, shifting the emphasis to a snotty glam metal vibe that is a wild eyed and lurid stomp through Sunset Strip, careening though the speakers like an out of control motorbike in a china shop and laughing like crazy whilst doing it.

Another twist with the Louisiana swamp blues of ‘Voodoo’, a track as bewitching as its title, the track deftly mixing light touches with a chorus as thick as molasses. The titular ‘Casino’ is a heavy duty rocker that swings, making it impossible not to sway and move to, singer Conor Gaffney putting in a truly gritty and powerful vocal as guitarist Lawrence O’Brien lays down some truly funky licks and the rhythm section of Matthew Quigley and Scott Hanlon lock into a solid groove. The visceral modern blues of ‘Clocks’ once again highlights their great songwriting flair and versatility, marking them out as absorbers of ideas who mould them into something uniquely their own. Very rarely do you get a band this brave to push the envelope on a debut album and, whilst some might want to stick to a rigid formula, it speaks volumes that Anchor Lane show themselves to be true music fans, embracing these multiple influences. A lot of the success of the album is the sky-high production value that Jepson brings and he’s obviously a fan of the bands willingness to take risks, bringing a great guidance and cohesion to the whole.

The bands magpie-like ability to pull in great music from everywhere is seldom better illustrated than on ‘Stone Cold Hearted’ as it opens with a Portishead ‘Glory Box’ style intro but soon transforms into a Led Zep meets Bad Company drama-filled monster of a track, soaking in dynamics. ‘Shell of Me’ is a much more laid-back number, showing their softer, more introspective side perfectly and ‘Flatline’ throbs with an electric current, its singalong chorus underpinned by gut wrenching bass and drums and the howling feedback of the guitar.

Another frontman joins the fray in the shape of Black Star Riders’ Ricky Warwick, his voice giving extra weight to the gang vocals in the pounding ‘Dead Run’. The band really rip things up, led by O’Brien’s wild fretwork and this proves to be one of heaviest tracks on the album as it races towards its conclusion. The album closes on another slice of fresh and potent modern rock as ‘Honey’ glories in a jagged interplay between the vocals and guitar, its stop/start chorus certainly leaving an impression. Anchor Lane are certainly forging their own path and, with a debut as good as this, the sky is most certainly the limit. The arena tours beckon…

TRACKLISTING:
01. Blood & Irony
02. Fame Shame
03. Voodoo
04. Casino
05. Clocks
06. Stone Cold Hearted
07. Shell Of Me
08. Flatline
09. Dead Run
10. Honey

LINKS:
About
https://www.facebook.com/anchorlaneofficial/

https://www.instagram.com/anchorlaneofficial/

https://www.youtube.com/channel/UCS3FjgeETYrm0z34eh45RhA

 

 

Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.