Dead of Night – In Search of Ancient Magic

In Search Of Ancient Magic Cover



9 OUT OF 10




For years, the symphonic metal genre has been dominated by the Europeans and the Scandinavians, leaving the British bands somewhat lagging behind. That, however, is about to change as good old Blighty has a new band on the scene, and they play symphonic metal just as well as, if not better, than their predecessors.

Dead of Night are a five piece band from Manchester in the North West of England, and if this album, their third, is anything to go by they are going to take the genre by storm.

Formed in 2013 by composer Carl Eden, who needed an outlet for his compositions, their first album, The Dead Shall Rise, was released in 2014. With Carl playing most of the parts and accompanied by just a singer, it was soon clear he needed a guitarist. After a few personnel changes, which included the recruitment of new singer Briony Featon, guitarist Dan Roberts and bassist Jason Peacock, they decided to re-record the debut album under the new name of The Dead Shall Rise Again, this time with the new band members. This was also accompanied by their first live performance at The Railway in Bolton, UK.

In Search of Ancient Magic is their third album and it is hard to recognise it as an independent release, the production and musicianship being second to none. Described on their own promo notes as “neo-prog folk symphonic rock/metal….kinda,” this shows just what a wide spectrum they cover. Combining the sounds of bands such as Nightwish, Kamelot and Leverage to name a few, this is a band of diverse talent.

Opening and closing with Gandalf-esque spoken word passages, its gives the impression this is a concept album, which it isn’t, but I do feel there should be more of these spoken passages throughout the album.

However, this does not take away from the awesomeness of this album. The keyboard wizardry of Carl Eden gives an air of magic and mystique, and I am not sure if this is just another talent from Carl’s keyboards, but the stringed instruments add that element of symphony and grandeur and I can just imagine these guys on stage supported by a full string orchestra.

I love the use of sound effects throughout the album, adding that simple touch that brings fantasy to life and the time changes veer the band into neo-prog territory while maintaining their symphonic sound. In a genre that is saturated with female vocalists, Briony is a breath of fresh air, reminding me a lot of the Annette-era of Nightwish and her fantastic voice is showcased on the Hiraeth, a beautiful ballad half way through the album.

All the musicians turn in a fantastic performance, working well together and proving that even a band that’s been together for just a few years can achieve the same sound as a band who have been around decades.

My favourite track is Across the East Riding, which along with Child of Wolves, are two of the rockier songs on the album, mixing heavy riffs with choral backing vocals.

This really is a great album and one that I am glad I had the pleasure to review. I will definitely be checking out their debut album (both versions of it) and looking forward to anything they bring out in the future.

This band will make themselves a name in the symphonic metal genre and I, for one, think that it will be a BIG one too!

And recent news on the band’s website says they have now signed with Flare and Flame records, in partnership with Riff Media so they are definitely destined for big things!!



  • 1. One Night Holy
  • 2. In Search Of Ancient Magic
  • 3. I Will Go Down To the Sea
  • 4. Child of Wolves
  • 5. Hiraeth
  • 6. Michael Faraday
  • 7. If I Would Be King
  • 8. The Old Straight Track
  • 9. The Might of the Deep
  • 10. Across the East Riding
  • 11. The Other Side of the Rain




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Disclaimer: This review is solely the property of Dawn “The Metal Priestess” 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities


Apocalypse Orchestra – The End is Nigh

The End Is Nigh Cover



9 OUT OF 10

Running time: 59:18

Despotz Records


With one leg stuck in medieval times and the other in modern metal, Apocalypse Orchestra have produced a genre that could be almost entirely their own. Combining the tone of the hurdy-gurdy (a traditional violin-like stringed instrument) and bagpipes with heavy guitars, they have brought together music that had been separated for more than 800 years.

Hailing from Gävle in Sweden, Apocalypse Orchestra was formed in 2013 by musical partners in crime, Mikael Lindstrom and Erik Larsson, and inspired by their love of folk music and slow metal, they decided to combine the two. With a foundation of original music and lyrics, they have incorporated melodies from as far back as the 11th century with the band’s goal being to “create a musical homage to a bygone musical era.”

With a live show that features theatrical performances, fire and projected animation, the band have become one of the most talked about acts currently on the Swedish circuit, and lyrical themes range from the everyday toils of man in the dark ages, to art, science and literature to views of other world existence.

Recorded throughout the latter half of 2016, The End is Nigh is the band’s debut album and was released on Despotz Records on 12th May 2017. The drums were tracked at Studio Overlook by William Blackmon (Gadget, Beardfish, Isole) while the rest of the album was recorded at Studio Bordun by the band themselves. The album was mixed by Per Nilsson of Scar Symmetry and Zierler at Studi Kabyss and focuses on tales of the plague, hell and the meaninglessness of war and suffering.

Bagpipes kick off the album with the first single, The Garden of Earthly Delights, after which the band then crash into Pyre, a song about witch trials, The Spanish Inquisition and wrongful accusations whereas Exhale thinks about mankind’s mortality and fear of death. The album’s crescendo, Here Be Monsters “gazes into the far distant, across the sea, and into the abyss.”

Each track is above average in length, usually 7-8 minutes in length and the whole album is 59 minutes of epic folk and doom metal. Folk metal has always been a genre I had shied away from whereas I love the slow pace of doom, and this album perfectly combines the two. There is a progressiveness to their sound and this is seen in the excellent song writing and musicianship of each member of the band.

The vocals are clean and dark, almost chanting, and with the choral backing vocals, the whole album has a very melancholic mood and tone. It kind of reminds me of the 90’s band Enigma, if it has been “metalled” up somewhat.

This album is a re-working of a previous EP released in 2015, with the first four tracks being re-recordings, plus a further four new songs and as a debut I am thoroughly impressed.

This is a must have album for both doom lovers and folk fans alike and I, for one, can’t wait to see what the future holds for these guys!



  • 1. The Garden of Earthly Delights
  • 2. Pyre
  • 3. Flagellants’ Song
  • 4. Exhale
  • 5. Theatre of War
  • 6. The Great Mortality
  • 7. To Embark
  • 8. Here Be Monsters




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Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Three Lane Road – Three Lane Road EP

Three Lane Road EP CoverTHREE LANE ROAD


9 OUT OF 10

Running time: 24:28

TLR Records / Head First Entertainment


If you thought the 1980’s era of hair metal was dead and buried then look no further than Texan band, Three Lane Road. Formed in 2014, these melodic hard rockers were originally put together as a studio project for singer/guitarist Wayne Brito’s musical output and only became a live outfit when they played their first gig in March 2016 at The Underpass in Texas. Pulling Musket from a former band and discovering Davis and Geisel from advertisements the quartet only took to the stage when music fans in Dallas insisted they take their act out of the studio and into the local venues.

Since then they have shared the stage with Joe Lynn Turner, Junkyard and Bang Tango.

Citing bands such as Journey, Bon Jovi, Dokken, Skid Row, Styx, Def Leppard and REO Speedwagon as influences on their Facebook page, it is clear they wanted to emulate the sound of these top arena rockers from the 70’s and 80’s, something they have done well.

As quoted, again, from their Facebook page, their music is “melodic vocal lines sang by Wayne Brito, coupled together with tastefully driven guitar leads from both Allan Davis and Wayne Brito, bring to life a nostalgic rock feel.”

And its no surprise they are influenced by this era of rock. Having listened to the album before I saw any pictures of the band, I was actually shocked to see that these guys are not twenty-something year olds, latching on to the music of a by-gone age. These guys were there the first time round and have probably brought all the albums and worn all the t-shirts.

Recorded at Empire Sound in Carollton, Texas and produced by Alex Gerst, the EP is comprised of material mainly written by frontman Brito, and sets us up for a full length, as yet un-named, album due for release in 2017 which will include all six songs from this EP, as well as three more new tracks.

Says the band, “the idea is to get these six songs out there as an introduction to the band, with the full nine song album, which is in production now, set to come out in January or February. We are using the EP to get people excited about the upcoming full length album and to introduce the band to a worldwide audience.”

With hooks and over the top melodies easily relatable to their hard rock heroes, this EP is full of sweeping choruses, punching riffs and pitch perfect solos and, although vocalist Brito misses a few notes here and there, on the whole, he does a great job.

All in all this is a fantastic EP and, to quote the overly used but to the point cliché, this is “all killer with no filler.” The pace is kept up from start to finish, with not even the whiff of a power ballad, so indigenous of this genre, in sight. My guess is they are saving this for the full length album but only time will tell on that one.

Being a fan of “80’s hair metal” anyway, I loved this EP and am waiting with baited breath for the full length album. It’s only three more songs and if this EP sets the standard then I am sure they will rock just as much as this does!!

Long live HAIR METAL \m/



  • I Want
  • I’ll Fly With You
  • Strange Way
  • Time Of Our Lives
  • Dreams
  • Lift Me Up




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Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Slow Down World – False Flag Operation EP

False Flag Operation Cover

Slow Down World – False Flag Operation EP

Running Time 12:33

Release Date 08/02/2017

 Leahling Records

EP Review by Rick Tilley


‘False Flag Operation’ is the second EP from South Devon based Slow Down World and I hope they don’t mind me saying that the three songs on offer have left me a little confused! Slow Down World were formed in early 2012 and describe themselves as a ‘NWOBHM Influenced, Female Fronted, Heavy Rock Band with Progressive Elements’! My confusion stems from their description because that’s not really what I hear when listening to them and I’m not quite sure the band know what they are aiming for either.

Let’s get the good stuff out of the way first. Despite that opening paragraph ‘False Flag Operation’ is not a bad EP and the band do show some interesting ideas. Everything here is pretty enjoyable and I imagine, in a live setting, Slow down World would certainly get a crowd going! I can definitely hear what they describe as the NWOBHM influences, in fact that part of their sound is really quite good, although a little loose in places with regards to the drumming! Opening, title track, kicks off with a fairly solid riff and leads to a catchy enough chorus, likewise the second track ‘Alive’, which slows things down, has another fairly good riff plus a good solo and final track ‘The Day Of The Unconquered Sun’, which is the best song here, has a simple and repetitive chugging riff, which kicks in after each chorus, that would get even the most jaded person bouncing around! So it’s not really the music!

My confusion lies with the female lead vocals of Arabella! She’s not a bad vocalist but she’s more of an Alt-Metal/Modern Punk shouter/speaker. She very rarely gets into what I would call singing mode and on a couple of occasions, most notably in ‘Alive’ she comes across as a bit weak and lethargic! Overall I’m not sure her style suits the music of Slow Down World. Its one style too many on top of the varying genres already apparent within the music. I’ll give the band their dues, at least they are trying something different and, perhaps, if this line-up sticks together then they might find a way of making these styles work together in a more fluid way but at the moment, to my ears, it feels like they are trying to force a square peg into a round hole!


  • 1. False Flag Operation
  • 2. Alive
  • 3. The Day Of The Unconquered Sun




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Disclaimer: This review is solely the property of Richard Tilley 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities


Northern Lines – The Fearmonger

The Fearmonger Cover



8 OUT OF 10




The best thing about reviewing it the fact that we, as reviewers, need to step outside of our comfort zone every once in a while and review something we might not necessarily like. For me, that would be extreme death metal (which thankfully this album is not!) or an album full of instrumental tracks. This album is the latter.

I have never been a fan of instrumental songs, never really seeing much point in them really. In my experience, most people who listen to music want something to sing along to, something they can really get their mouth around, so to speak, and this is not something you can do with an instrumental. As a result I have never really been a fan of the greats such as Joe Satriani or Steve Vai (I know, I know, shoot me now!) BUT, as I said, I have to break my boundaries once in a while and so I thought why not give this one a go?

Northern Lines were officially formed at the end of 2012 although the three members have worked together in one form or another since 2008. Hailing from Rome, Italy they all had a “necessity to have free musical space, free from trending patterns, with their roots solidly anchored in the 1970’s.” They are probably best described as progressive rock, although personally I hate the way bands have to be pigeon-holed into one genre or another, and have cited their influences to include Led Zeppelin, Pink Floyd, Deep Purple, The Aristocrats and Rush.

May/June 2016 saw the band enter the Music Up Recording Studio in Rome to begin recording their second album and “The Fearmonger” is the result, released under Metal Message Global PR in January 2017.

The album is a concept album where death is the leading theme – “a death seen through the eyes of fear, a paralysing emotion but of surprising effect nonetheless” – and is just over 48 minutes of completely instrumental music, interspersed with what sounds like Italian spoken word.

It encompasses classic patterns and riffs, albeit with odd time signatures at times, changes of tempo and style, all with a hard rock approach and incorporates sounds of classic metal and progressive rock but also with a bit of funk, blues and jazz thrown in for good measure. One minute you are listening to the full on riffs of the opening track “Mast Cell Disorder” and the next, the album is closing with the Floyd-esque “Most People are Dead” and there is everything in between.

No track sounds the same and this album really does feel like it is taking you on a journey, proving just how powerful instruments can be. Not only do words convey meaning and emotion, but music does too, and every one of these tracks is brimming with feeling and emotion.

As I mentioned at the start of this review, I was not altogether too keen on instrumentals so could this be the album that changes my opinion of them? I wouldn’t say I was a complete convert now but “The Fearmonger” is probably a good place to start. I did think when I first popped the usb into my car and listened to it for the first time that this would probably be the one and only time I played it. But after a few run throughs I’m not so sure. Sometimes no words are needed!

I hope to hear a lot more from this Roman trio and think they have a LOT to offer the world of progressive rock and metal.



  • 1. Mast Cell Disorder (6:07)
  • 2. Session 1 (0:42)
  • 3. Shockwave (3:26)
  • 4. Nightwalk (5:38)
  • 5. Session 2 (0:21)
  • 6. Machine Man (3:44)
  • 7. Meteor (8:12)
  • 8. Jukurrpa (4:19)
  • 9. Towards The End (4:28)
  • 10. Apathy Fields (5:51)
  • 11. Most People Are Dead (5:25)




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Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities


Evyltyde – Rising




9 OUT OF 10

Running time: 44:26

Self Release


Evyltyde are a London based band formed in October 2013 by Danny Merton, guitarist, and Hannah Delany, vocalist, and Rising is their second album released on 27th March 2017.

Since their conception, this female fronted band have performed extensively throughout the UK and have supported rock legend Graham Bonnet and were tour support for Accept/Bonfire/Bangalor Choir vocalist David Reece’s new band RPG. They state their influences as Iron Maiden, Metallica, Megadeth, Dio, Black Sabbath and Pantera, and these influences are clear from the onset.

Evyltyde are, as stated on their Facebook page, “one of London’s fastest rising metal acts combining powerful, melodic vocals with hard-hitting, edgy guitar riffs that create a unique and distinctive melding of numerous metal genres, from thrash to gothic” and I cannot think of a better way to describe them.

This ten track album is very mature and structured and its lyrical content emphasises some of the problems of modern day society and culture. With song titles such as “What You Believe”, “Medicated Generation” and “Edge of the World”, with the haunting line “when will we ever learn”, the album deals with a lot of ethical, political and personal themes.

The first track on the album is “Monster.” Depicting the fight between good and evil, its melodic chorus and great guitar solo, backed with heavy riffs, make this one of my favourite on the album. “I wish you could see, the monster isn’t me”, the final concluding line of the chorus would resonate with a lot of people. It certainly did with me.

“No Violet” is probably the heaviest track on the album and my second favourite. I love the way Hannah’s voice gets that robotic edge to it and the line “I don’t want to be a Cinderella” could actually be my mantra because life is, and will never be, a fairytale.

While I am on the subject of Hannah’s voice, this lady must be congratulated on a superb performance. Her voice is clear and crisp and compliments well with the powerful guitars. Always a fan of female fronted bands, I have, nonetheless, struggled with some of the extremes. Hannah’s voice, however, falls right in the middle. Powerful enough to compete with the pounding guitars, yet feminine enough to pull off ballads such as “Forever.” There is, also, a great mix with the gruffer male vocals that appear on some of the tracks.

Those of you who know me, will already know I am a huge fan of galloping riffs, those proper, meaty guitar riffs that echo through your belly, riffs how they should be! And I am pleased to say that this album has them in plenitude, one of the reasons I fell in love with it.

These guys are obviously all talented musicians and they work well together. Their sound is tight, there are fantastic guitar solos throughout and the rhythm section is strong and solid. It’s hard to believe that they have only been playing together for a few years, but they each bring their own talent and they complement each other very well.

Credit has to be given also to the songwriting skills and the production of this album and a self release it should not be.

I very much look forward to what this great band has to offer in the future and I sincerely hope they continue to produce material as good as this. As a result I will check out their first album and I also hope to catch them at a gig sometime soon.

The album is called “Rising” and that’s exactly what these guys are doing in the metal world!



  • 1.Monster
  • 2.Eye For An Eye
  • 3.Dark Within
  • 4.Medicated Generation
  • 5.Forever
  • 6.No Violet
  • 7.Edge Of The World
  • 8.What You Believe
  • 9.Tomorrow May Not Come
  • 10.Hand Of Fate






Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King and Metal Gods. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Reproduced here with kind permission from Metal Gods TV.


The Darkhorse – The Carcass of the Sun Will Sleep

The Carcass Of The Sun Will Sleep cover



7 OUT OF 10




When Rick and I started out on this little reviewing venture of ours we decided that we didn’t want to be one of those sites that concentrated on just the genres that we (personally) liked. We wanted to cater for all types of rock and metal and that means we can (both) get exposure to stuff we wouldn’t normally listen to. The Darkhorse fall under that category.

Hailing from the lower depths of Northamptonshire, this is a 4 piece metal band with the heart of doom and sludge and the lungs of a hardcore band. Formed in 2014, their self-released 6 track debut EP “A Badge of Dishonour and Discomfort” (recorded at Neil Hudson’s (Krysthla) ‘Initiate Audio and Media Studio’) was issued shortly afterwards.

Influenced by the likes of Sabbath, Superjoint Ritual, The Chariot, Crowbar, Eyehate God, RSJ, Raging Speedhorn, Iron Monkey, Down and The Deftones, The Darkhorse have played both Bloodstock in 2014, after being spotted by Simon Hall at their M2TM final, and Mammothfest in 2015 and have also supported the likes of Raging Speeedhorn, Heart of a Coward, Mage, Stormringer, Garanjua, Brutai and many more. They also received the award for the Best Live Band of 2014 in the Hopp Awards.

24th February 2017 saw the release of their debut full length album “The Carcass of the Sun will Sleep” which features eight tracks, six brand new songs with the addition of ‘March of the Infected’ and ‘Dead Crows’ being revamped and re-edited for the album. The band had returned to Neil’s studio to record the material and it was produced, mixed and mastered by Neil himself.

So what of the album? As I have previously mentioned this is not the type of genre I would normally listen to BUT that does not mean that I cannot review this just as I would any other album. One thing I will say though to start with is that if you like your metal raw and downright dirty then this is the album for you.

The album opens with the track ‘Dying is the only Cure’ and this shows what is to be expected from the rest of the album. From the first note of the first track to the last note of the last, this is a rollercoaster of an album that hits you right in the gut from the get-go. There is no let-up as this is NOT the type of band to produce a ballad (although this would be kind of interesting to hear!) and from start to finish is a total metal onslaught meant to make your ears bleed (in a good way!)

It is a doom laden, sludge driven album packed full of big dirty riffs and leads, crushing rhythms and guttural vocals.

But this in no way means that it is an album of just noise with no substance or structure. Although gruff and throaty, the vocals are still comprehensible and not just a screaming mess, and the musicians are obviously very talented (I don’t think you can make this type of metal WITHOUT some form of talent!)

There is form to the tracks and the tempo changes could also place them somewhat into the progressive metal genre.

The album ends with the thunderous ‘Congratulations You’ve Survived the Human Cull’ which I think is just the band’s way of saying ‘well done you’ve survived the album’ J

This is not for the faint hearted, it is heavy and it is loud. I love the name of the band and I love the name of the album and I can honestly say this might have opened my eyes to a style of metal I might otherwise have stayed away from.

So buckle up and enjoy the ride!!



  • Dying Is the Only Cure
  • 741
  • March of the Infected
  • Hecatomb
  • nemA
  • Dead Crows
  • We Fear None but Our Own
  • Congratulations You’ve Survived the Human Cull




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Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Pröwess – Headfirst EP

Headfirst EP Cover

Pröwess – Headfirst EP

Running Time 20:05

Release Date 17/01/2017

Independent / NuEchoMedia

EP Review by Rick Tilley


Honestly, I felt something was missing when I first played the ‘Headfirst’ EP from Charlotte, North Carolina band Pröwess. Yes, there were some riffs that I liked but it sounded like generic and safe Rock N Roll. I left it alone for a bit and then came back to it a few weeks later (after all we have got about 300 reviews sitting in front of us at Ever Metal) and this time I gave it a real chance. I played it 5 or 6 times in fairly quick succession and that’s when things started to click for me. As I’ve said before, some music hits you hard on first listen but sometimes it’s a more gradual process before it weeds its way into your head! Pröwess have only been around for about a year and this is their debut release but they do cite themselves on Facebook as a ‘supreme rock & roll band’ so perhaps that put me off at the beginning, I’m not sure. What I do know is I’m glad I’ve given them a chance, they are only young, are obviously hungry and the more I hear ‘Headfirst’ the more enjoyable it becomes!

Opener ‘No Survivors’ is a straight down the line rocker of a track, it’s not clever or original but it rocks. I could cite a myriad of influences or other bands Pröwess sound like but what’s important (and I’m sitting here writing this on a very hot day) is that you could get in the car, wind the window down, turn the stereo up loud and go for a drive with this as the soundtrack! However, it is track two ‘Show Me’ that has really grabbed me, the more I’ve listened. Initially the riff that comes out of the speakers could sit easily on the ‘Flick Of The Switch’ album by AC/DC. Now I know that probably isn’t the album most people would think of when talking AC/DC but it holds a special place in my heart as the first DC that was released after I got into Metal and Rock back in 1983 and I remember the day I bought it like it was yesterday. Of course the rest of the song doesn’t sound like DC, it’s just that riff when it pops up, but I love it when new music reminds me of a good memory from my past.

Remaining three tracks ‘Killing A Giant, ’Shaker’ and ‘Overboard’ all have plus points, its good hard fun and it does exactly what it says on the tin. All five members of Pröwess make themselves heard well and they certainly look the part. Production is good without being too polished, just what you need for Rock of this nature and at just over 20 minutes it doesn’t outstay its welcome! If you’re a fan of AC/DC, Rhino Bucket, Rolling Stones, Thin Lizzy, Rose Tattoo and Airbourne then you should really have a listen to Pröwess. Time will tell if they can build up the momentum and really get their name out there but they might just be what you’ve been looking for!


  • 1. No Survivors
  • 2. Show Me
  • 3. Killing A Giant
  • 4. Shaker
  • 5. Overboard


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Disclaimer: This interview is solely the property of Richard Tilley 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Avulsion Rupture – Wræclást


Avulsion Rupture – Wræclást

Running Time 29:22

Release Date 17/12/2016


Album Review by Rick Tilley


When Paul Bobrucki, got in touch with Ever Metal earlier in the year and asked us to consider ‘Wræclást’, the second Avulsion Rupture album, for review, I knew from the name and logo alone, that this was going to be brutally heavy and that I was going to have to weigh up my reservations of blast beating etc. against the promise that we want to feature Independent and unsigned artists/bands who don’t necessarily get a lot of coverage and also the fact that many of you who follow us on Facebook and Twitter may indeed love raw and crushing Black Metal. You have to take a lot more into account when you run a blog/site than you do if you just write for somebody else, well I certainly do anyway!

However, I’m not going to gush all over this album because of that, I find it extremely difficult to listen to, but I’m also not going to rubbish it either because Paul (he plays all the instruments and does all the vocals and programming) has released eight tracks of well-produced and well written Black Metal. It may not be something I would personally rush out to buy but it also does not fall into the ‘bad’ category and any reviewer that calls an album ‘bad’ because it’s not in a genre they usually listen to is not doing their job properly. Similarly any reviewer, who stays within their preferred genre and only reviews albums they love and also hates giving bands a bad review (I know plenty) are not only missing the point of reviewing but also missing out on a world of diverse music in the process!

Avulsion Rupture first released a demo in 2001 but it wasn’t until 2015 that debut album ‘Áglæccræft’ was unleashed. Since then there has been a split single, an EP and now ‘Wræclást’ which was released at the tail end of 2016 so Paul has kept himself busy. Having not heard previous material I cannot comment as to how Avulsion Rupture has developed but these eight tracks have obviously been written by somebody who knows exactly where they want to go with their chosen sound. Opener ‘Fauld’ hit me in the gut so hard and so fast that it left me almost breathless. It is just over three minutes of music that you cannot ignore.

‘Wræclást’ continues in this vein for its short running time of twenty nine minutes. There are literally no gaps in-between tracks so you don’t have time to recover from the sonic blast that’s pulverised you. Second track ‘Old Remnants’ is even faster than ‘Fauld’, in fact it’s got to be one of the fastest things I’ve ever listened to, but it also has several much slower sections and, as I’ve kept returning to this album over the preceding weeks, it’s all started to make sense in a weird sort of way! I certainly don’t love it but I’ve come to accept it like you would do your Mother-In-Law!!

Although the drums sound programmed (being an ex-drummer, you know I’m not keen on that) they are done well, in fact Paul does include some quite interesting rhythms in the slower parts which is very welcome, although, whether they are real or not, my brain still doesn’t and will probably never comprehend why blast beating is so popular. As for the music the guitar riffs are quite simple and repetitive which actually works in their favour and Paul’s ungodly scream would probably result in you soiling yourself if you heard him in a dark alley after a day in the pub!

‘Wræclást’ might not sound like it was recorded in Norway on a forty year old tape recorder like some Black Metal bands try to do but Paul (he’s actually from Nottinghamshire) does not present Avulsion Rupture as a polished finished product. He wants this to sound raw, filthy and uncompromising, and he has succeeded, so do not expect anything resembling ‘Modern Black Metal’ because this is certainly not what Avulsion Rupture are about.

This is an album that, now I’ve reviewed it, will probably never be listened to again in this household but, for fans of the genre, it will be something to cherish, love and talk about! I’m also very impressed with the cover photograph. I also want to thank Paul for sending it over because I’ve really enjoyed writing this review. It’s sometimes easier to write about something that you aren’t familiar or comfortable with rather than trying to think of saying the same thing in twenty different ways for other releases, something perhaps some reviewers should think about before they accept or decline a release to review!


  • 1. Fauld
  • 2. Old Remnants
  • 3. The Dark Peak
  • 4. Luddite
  • 5. Cursed Corpse Candle
  • 6. Here Dwells Immortality
  • 7. Hob O’ Th’ Hyrst
  • 8. On The Edge Of Zeta II Reticuli


Promo Pic1 (12)


Disclaimer: This interview is solely the property of Richard Tilley 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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Black Hawk – The End Of The World

The End Of The World Cover

Black Hawk – The End Of The World

Running Time 46:46

Release Date 19-05-2017   

Pure Underground Records

Album Review by Rick Tilley


Black Hawk are a German Heavy Metal band and listening to them they really couldn’t be anything else and that, my friends, is a good thing! First formed in 1981, it wasn’t until 1989 that they actually released their first official EP ‘First Attack’ This was followed by a demo ‘5 By 5’ in 1995 and then the band split up in 1997. That’s hardly prolific is it? However in 2005 Black Hawk decided to reform and since then they have done a much better job of keeping their name in the loop by releasing five full length albums, the last of which was ‘A Mighty Metal Axe’ released in 2013!

Fast forward to 2017 and in May they released album number six ‘The End Of The World’ and it’s a good and solid forty five minutes of music without being ground breaking or exceptional. ‘Return Of The Dragon’ is the first thing you’ll hear, a slow, brooding instrumental introduction piece that you just get the feeling is going to lead into something faster and first track proper ‘Streets Of Terror’ doesn’t let you down. Wailing guitars, good riff, double bass drumming, audible bass and great solo all combine to make it a good opener. Vocalist Udo Bethke isn’t Michael Kiske but he possesses a good enough voice for Heavy/Power Metal of this nature. ‘Killing For Religion’ is next and it’s a mid-paced thumper that sounds a bit like U.D.O. the band. Actually Accept/U.D.O. is a pretty good reference point. Throw in Grave Digger, a little Gamma Ray and a few NWOBHM/Heavy Rock influences and that’s what Black Hawk are all about.

Guitarists Wolfgang Tewes and Günny Kruse are the musicians here that raise the quality of the tracks. Their solos are very good indeed and the production and mix add to that. Other tracks that piqued my interest were ‘Ruler Of The Dark’, ‘Scream In The Night’, ‘Legacy Of Rock’ (much more of a rocky number, with a simple but very likeable riff) and final track ‘Dragonride’17’ which is a re-recording of the title track from Black Hawk’s 2007 album!

All in all ‘The End Of The world’ ticks all the requisite boxes and Black Hawk certainly don’t let you down, but with the plethora of bands playing this type of music extremely well, especially in Germany, then there is a possibility of them getting overlooked. Black Hawk’s musicianship isn’t in question but it would help their cause if they could write some slightly bigger hooks!



  • 1. Return Of The Dragon
  • 2. Streets Of Terror
  • 3. Killing For Religion
  • 4. What A World
  • 5. Ruler Of The Dark
  • 6. The End Of The World
  • 7. Scream In The Night
  • 8. Legacy Of Rock
  • 9. Just Like In Paradise
  • 10. Dancing With My Demons
  • 11. Dragonride’17



Promo Pic2


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

Reproduced here with kind permission from Metal Gods TV