The New Roses – Nothing But Wild

The New Roses

The New Roses – Nothing But Wild
Napalm Records
Release Date: 02/08/2019
Running Time: 51:10
Review by Paul Monkhouse
8/10

Germany’s The New Roses are a bit of a conundrum and, much to their credit, have so much more depth to them than the casual glance at the new album would give the impression. The snarling wolf artwork, the album title and the opening track all give the impression that these guys are the Teutonic version of Airbourne (in itself, not a bad thing) but as the rest of the album unfolds you’re taken on a very rich journey across a shifting landscape that is much more akin to America than their own home country.

The very rough and ready ‘Soundtrack of My Life’ kicks off the album in true rebel rousing style, kicking up dust and powering you headlong into a furnace of hard rock that comes over like the wild child of Aerosmith at their most kinetic. Thinking that this full on assault is the way that the album is heading, ‘Can’t Stop Rock and Roll’ is a real turn for the unexpected as it’s much more commercial Stadium Hard Rock and third track ‘Down By The River’ has a real Tom Petty/Kid Rock feel to it, bringing memories of happy hazy Summer days. ‘Nothing But Wild’ has a real bluesy Southern kick to it and ‘Heartache’, with its great chorus, would be the perfect soundtrack to dusty road trips, stopping off at roadside bars that smell of beer, chilli and violence.

No rock album aiming for the stadiums would be complete without a big rock ballad and ‘The Bullet’ certainly ticks that particular box. This track could have been written and performed by Lynyrd Skynyrd such is its country tinged, wide screen appeal and you can almost imagine the video, all sepia tinted flatbed trucks, blonde haired high school sweethearts, sunsets and campfires. ‘Running Out Of Time’ is anthemic and joyous and the pace increases for the heavy ‘Unknown Territory’ with its elements of classic hard rock and tinges of New Wave. Similarly ass kicking are ‘As The Crow Flies’ and ‘Give And Take’, the former that takes you from highways to arenas and beyond whilst the latter revels in a ten-million-dollar confidence swagger.

Ballad Number 2 crops up in the shape of ‘The Only Thing’ and ‘Meet Me Half Way’ is another great country number that really shows the quality of the songwriting once again, if any reminder is needed. ‘Glory Road’ rounds off things with another slab of stadium rock that Jon Bon Jovi or Bryan Adams would be proud of. Acoustic bonus tracks ‘Down by the River’ and ‘Fight You Leaving Me’ give you another glimpse of the songs and would be a perfect addition as a mid-set unplugged section for future tours. As mentioned, it’s a somewhat oddly paced album style wise and it will be interesting to see if the next album heads more towards the heads down cranking it up of ‘Soundtrack…’ or the ‘track to break into America’ of everything else. It’s nice to say that the album grabs you because of what it is, rather than what it isn’t, The New Roses certainly defying any expectations and in that lays their genius. Great songs, excellent performances and a band that absolutely begs to be seen live! Everyone needs a bit of good time rock ‘n’ roll in their lives and The New Roses deliver that in spades.

TRACKLISTING:
01. Soundtrack Of My Life
02. Can’t Stop Rock’n’Roll
03. Down By The River
04. Nothing But Wild
05. Heartache
06. The Bullet
07. Running Out Of Hearts
08. Unknown Territory
09. As The Crow Flies
10. Give And Take
11. The Only Thing
12. Meet Me Halfway
13. Glory Road
14. Down By The River (Unplugged Bonus Track)
15. Fight You Leaving Me (Unplugged Bonus Track)

LINE-UP:
Timmy Rough – Vocals/Guitar
Norman Bites – Guitar
Hardy – Bass
Urban Berz – Drums

LINKS:
https://thenewroses.com/
https://www.facebook.com/TheNewRoses/

https://www.instagram.com/thenewroses/

https://www.youtube.com/channel/UCAq1qDH8UemNCfWBFFhgXBw

 

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.

Sacred Reich – Awakening

Awakening Cover

Sacred Reich – Awakening
Metal Blade Records
Release Date: 23/08/2019
Running Time: 31:23
Review by ‘Dark Juan’
10/10

You know, dear friends, acolytes, neophytes and zelators, we never sit here and discuss our feelings. Us Metal fans, we are the outsiders, the alternative and one big, drunken happy family united by our love of music and drinking stupendous amounts of alcohol. We should be more aware of ourselves and more especially of others. Make friends and love each other, boys and girls. Love is the law. Love under will. I’m saying this stuff and being serious because recently, as I’m sure you are all aware, it was the recent anniversary of the horrific murder of Sophie Lancaster, one of our own. This has got me thinking about how we all need to watch out for each other. If you’re in a pit and you see someone going down, lift them up. If someone is passing out or throwing up because of too many party treats or too much booze, be the one that calls the fucking ambulance and gets them seen to. There’s enough shit and bias against us tattooed, pierced and Metal/ Goth/ Industrial loving folks without us not looking after each other. Dark Juan loves you all. Rest In Peace, Sophie. You were a friend lots of us never got to meet and that still hurts, so many years after the event.

So endeth the sermon, and I have therefore picked up my glass of wine and I have slapped a new platter on by my favourite thrash band of all time, Sacred Reich (which, due to slight inebriation, I’m having trouble spelling…). For those of you who have been living under some kind of anti-metal rock, Sacred Reich were formed in 1985 and are an Arizona band who should have been absolutely colossal on the scale of Slayer, Metallica, Megadeth and Anthrax and always had a very polished, Bay Area thrash sound. Think the clean, arctic purity of Metallica’s Ride The Lightning with added bass (because Lars isn’t there to fuck up the production like normal) mixed with Bonded With Blood era Exodus. THAT’S the Sacred Reich sound. Their record “The American Way” is an absolute thrash classic and you should be hitting Amazon right about now to buy it. I’ll wait…
“Awakening” is the fifth album by these grizzled thrash stalwarts. What do you get? You get ultra-classic thrash that takes me instantly back to dying of alcohol poisoning with my friends in a tent in the middle of a field or a beach with a ghetto blaster and a shitload of tape cassettes. This is not a bad thing because thrash always had the perfect mix between power, aggression, musicianship and melody and it was my full on gateway drug into all other known metal. So, we have a classic band utilising a classic style with a classic sound. Have we a new Sacred Reich classic album here?

The answer, dear friends and defilers of the Whorehouse of Christ The Deceiver, is very fucking nearly. Sacred Reich have released a gem of a heavy metal record. It is pretty damned fine. Their sound has evolved too, incorporating elements of southern blues and full on groove metal into that classic US thrash blueprint and creating a new kind of warbeast, a chimerical quadruped cyborg armed with heavy machine guns and a really shitty temper. The groovy, updated sound undoubtedly benefits from the recent joining of Dave McClain, after his split with Machine Head and the infusion of young blood into the band in the form of Joey Radziwill on guitar. Sacred Reich, however, have never been afraid of leaning left of the centre with their music (anyone remember the truly execrable, but fantastically well-meaning ‘31 Flavors’ from “The American Way”? For those of you that don’t, allow me to enlighten you – Thrash metal band are quite possibly massively stoned or utterly fucked up beyond all known levels of sanity on god knows what substance and decide it would be a terrific idea to play a funk song. Oh. My. God. It is hilarious for all the wrong reasons. There’s shocking sequenced brass bits, lyrics of questionable taste and it is possibly the most uncomfortable piece of guitar playing I have ever heard in my life. Saying that, the message is an inspiring one…) what with them breaking into the Batman theme tune in the middle eight of ‘Surf Nicaragua’, but there’s not many shenanigans on offer with this record. This is a band who have rediscovered the love of their music and have decided that they are going to violently kill everyone with it.

What there is, though, is a level of comfort and satisfaction that is seldom achieved in metal. This is a band thoroughly comfortable with themselves, their music and the kind of record they wanted to make. Another one of the manifold reasons I love Sacred Reich so much is the fact that Phil Heal is a magnificently accomplished bassist, far in advance of his contemporaries. It lends the Sacred Reich sound that extra edge that, for this thrash loving Hellpriest, set them apart from the rest of the American thrash bands. He’s also a much better singer than most thrash frontmen as well.

I’m fucking loving this. It proves that thrash is still relevant and is not just some young bands having discovered Dad’s Kreator records and being achingly cool and replicating the sound of them for a modern and young audience who have never heard Sodom’s “Agent Orange” or Coroner’s “No More Color”.

Stand out track on this album for me is the simply jaw dropping ‘Divide And Conquer’. It’s an agglomeration of Slayer style verse and riffage, segueing into a classic Metallica sounding chorus. If there was ever a song this distilled the very essence of the sheer brilliance of thrash metal, THIS IS IT! Who cares that Phil struggles a little bit when he hits the higher notes. The middle eight of ‘Salvation’ also deserves note because of the simply sublime bass and guitar interplay that has caused me to soil myself in sheer excitement and caused me to thank my friend Marion in Laniscat for selling me a wipe clean sofa. Once again it comes in for some abuse, does my sofa when I’m writing for Ever-Metal.com. And serious, strenuous efforts at cleaning too!

I really don’t have the words to tell you how much fun this record is. Mrs. Dark Juan has been throwing things at me for the past hour because I’m A) Not making tea like I promised I would, B) flailing around like an animate, demented windmill, C) Howling like a tone deaf werewolf in mating season along to the album, D) Upsetting the hellhounds, and E) Accidentally breaking every ornament we own. See B) for more information.

To return to an earlier question: Is “Awakening” by Sacred Reich a classic record? I wish to qualify the opinion I gave you earlier. Yes, it fucking is. Ultra-precise, razor sharp classic thrash from the finest band ever to play it, with an engaging sense of fun, and for this record, a serious an uncompromising sense of who they are and where they want to be. Dave McClain was wasted in Machine Head. Sacred Reich is where he belongs. May Phil and Wiley and the new guys live forever. And more importantly, keep giving me records like this because I’m a dripping, spent mess of metal pleasure right now.
I think I’ll leave you with that mental image.

The Patented Dark Juan Blood Splat Rating System has regressed instantly back to teenage years, and is busily chasing goth girls (and failing miserably at catching them), pouring insane quantities of beer down it’s throat and acquiring new and exciting neck and brain damage from headbanging so hard. 10/10 because it is fucking amazing! Thank fuck that Sacred Reich gave me this record, rather than Rock Goddess levels of disappointment.

To return to seriousness for a brief moment, if I may. Please, PLEASE, everyone support S.O.P.H.I.E. because we NEED to make the loss of one of our own in such a senseless and disgusting fashion MEAN SOMETHING. It is important, no, it is IMPERATIVE that our metal and alternative family love each other as hard as we can. We are the outsiders. We NEED each other. If you don’t yet support S.O.P.H.I.E. please just even buy a wristband and you’re doing your bit.

Thank you. I love you all.

TRACKLISTING:
01. Awakening
02. Divide And Conquer
03. Salvation
04. Manifest Reality
05. Killing Machine
06. Death Valley
07. Revolution
08. Something To Believe

LINE-UP:
Phil Heal – bass and vocals
Dave McClain – Drums
Wiley Arnett – Guitar
Joey Radziwill – Guitar

LINKS:
https://www.facebook.com/sacredreichofficial/

https://www.instagram.com/sacredreichofficial/
https://sacredreichofficial.bandcamp.com/

https://www.youtube.com/channel/UC6iXZvQxkiWKbEaTX704z1g
And for the Sophie Lancaster Foundation (S.O.P.H.I.E.)
https://www.sophielancasterfoundation.com/

 

Promo Pic1

 

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.

 

Control The Storm – Forevermore

Forevermore Cover

Control The Storm – Forevermore
Self-Released
Release Date: 25/07/2019
Running Time: 54:41
Review by Tammy Lomax
8/10

Control The Storm are a Melodic Power Metal band from Bristol UK and were formed in 2010. They are also one of our Ever Metal bands to watch out for. In their press release they state they have “gone from strength to strength” and they have hit the nail completely on the head Their debut album “Beast Inside” was released in 2015 and “Forevermore is the follow up!

They are an incredibly hardworking band on the live circuit and as a unit they gel really well and that reflects in their studio output because they are so well-rehearsed.
So the battle begins with their new album “Forevermore” the start of a new chapter. Get your marching shoes and get in line and let us be strong and united.

The album opens with ‘Darkest Fantasy’ and this is why I said go and get them marching shoes on, because that is how this track makes you feel, its catchy and prepares you for battle. Firouzeh’s vocals are great, she just floats. Sometimes the high notes reached are a personal no for me and feel a touch strained but those guitar solos are just so beautiful, warm and brilliant.

‘New Era’ takes you on a little journey and the emotions are familiar. It’s pleasant on the ears but it is the perfect track to blast really loud. It is anthemic and has such a catchy chorus I find myself singing the words! It’s very well written, the guitars are poignant as they are throughout the album. Guitarists Matt Smith and Rich Shillitoe work very well together, in fact it’s almost like they are both playing on the same guitar at points.

‘Follow Me’ is also really cool and they have a video out for this track. It is my favourite on the album, mainly because of the lyrics as they mean a lot to me, as well as the memorable chorus and those beautiful guitars again.

Final, title, track ‘Forevermore’ is a complete ‘WOW’ as it comes in at just over 13 mins long, but what a 13 minutes it is!. It’s Control The Storm’s journey in a song. It’s almost like you are reading their book, pulling you in, and picturing your own personal scenario to their story. I could see this being the perfect song for a fairy-tale. You are consumed to know what the next chapter is, it is so victorious and determined, Personally, I keep feeling a little Pink Floyd here but whatever you hear it’s an absolutely epic way to finish the album

When I last spoke to Rae (Keyboard player Raedon Mac) Control The Storm were playing the Metalheart Promotions All Dayer 2019 and he explained how pumped up the band were to be playing Bloodstock this year. I understand it was their first time running through the complete set in one go. They were so tight and well glued together, it was bloody awesome. And to be honest they were one of the best bands for me on the day.
Now, even though on occasion I prefer my metal like my coffee, mean and extreme with a massive kick, I have an open mind to listen to anything. Control The Storm put me in a real happy place, I feel motivated and lifted.

While listening to the album in full for the first time properly and seeing them work as a team on stage I am excited for the journey ahead. I feel elated and beat up listening to “Forevermore”. This is the new Control The Storm. Don’t stop moving guys. It’s time for them to shine and reap the rewards from their hard work and dedication.

TRACKLISTING:
01. Darkest Fantasy
02. Strike To Defend
03. New Era
04. Follow Me
05. In The Night
06. Chaotic Mind
07. Hidden Wonder
08. Curse Of The Voiceless
09. Forevermore

LINKS:
https://www.facebook.com/ControlTheStorm/
https://www.instagram.com/controlthestormofficial/?
https://controlthestorm.bandcamp.com/


https://www.youtube.com/controlthestorm

 

Promo Pic

 

Disclaimer: This review is solely the property of Tammy Lomax 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.

Graham Bonnet Band – Live In Tokyo 2017

Live In Tokyo 2017 Cover

Graham Bonnet Band – Live In Tokyo 2017
Frontiers Music s.r.l
Release Date: 12/07/2019
Running Time: 72:15
Review by ‘Dark Juan’
10/10

Good evening, my flock of the disaffected, the vain, wall eyed and insane. Tonight you are going to witness a man totally lose his shit about a woman. Possibly..!

It is well known I am not a fan of live albums, because the live experience requires a visual component. Thankfully, Graham had this covered for me and has kindly provided me with the footage that goes along with this record, so I hereby offer my thanks and salutations to this mighty and puissant stalwart of metal. The man is a fucking legend…
So, yeah, this is a live recording of Graham and the guys (and gal. Oh, Beth-Ami, be mine. Even your name is perfect. My twisted, shrivelled black heart beats only for you, my proud beauty… sigh) playing some of the more unusual and rare tunes from his days with Alcatrazz, MSG, Impellitteri and Rainbow as well as his stuff with the Graham Bonnet Band. And fuck me crossways, this is good…

I’d even go as far as to say this is fucking classic. This is how metal should sound in the live setting. Alright it’s as Trad Metal as it gets, but nothing touches Trad Metal for riffs and hooks and anthemic choruses. Metal’s most famous accountant’s haircut has assembled a band of uncommonly high talent and it shows through in every single sublime guitar lick from Conrado Pesinato (complete with array of highly amusing guitar solo faces), in Mark Benquchea’s ultra-metronomic drumming (complete with array of highly amusing focused drummer faces) and the legendary Jimmy Waldo hitting the keys like a man possessed (I really don’t want to talk about his face). At the front of it all there’s the Skeggy Boy. A man in command of himself, and his audience! A living legend at the fucking greatest, mightiest height of his powers! A man that makes Corey Taylor look like an amateurish fucking chancer who shouts a lot! A man who demands your attention and your loyalty, and does it so effortlessly you don’t even notice yourself falling to your knees and offering supplication in the form of opening your own veins and spilling your lifeblood at his impeccably shod feet…

And then there is the fragrant, beautiful, heart stopping Beth-Ami Heavenstone. A woman so perfect my heart breaks every time I even look at her. Dark Juan lost his soul to her years ago, but she never even noticed such is the level of her perfection. An angel on Earth with a bass guitar and a smile that makes this hellpriest nearly believe in God. A woman of such magnificence, she makes every other woman within 500 yards of her utterly insignificant. I am not worthy of her attention… No one is, so how did that Lincolnshire howler do it? The absolute bastard! I’ll find out. I will fucking find out and then I’ll bottle it and go and find her…

Sorry, I might have slightly digressed. Yes, the record. Oh my fucking god, the record. This is the best live album I have ever heard. There is not a dropped note in the entire performance and Graham is absolutely at the peak of his powers, effortlessly soaring through his vocal range and reminding us all just what a mighty influence he has been for decades. He looks and sounds like he is enjoying the fuck out of what he is doing and that is infectious. Even I, a notoriously hard and critical man to please with music, have been caterwauling along with every single chorus of every single song. Hodgson Fartpants (one of Dark Juan’s Hellhounds. So named because I could make a fortune out of renting him to dodgy Middle Eastern regimes for chemical warfare purposes…) immediately showed his displeasure with my off key shrieking by fucking off upstairs and going to sleep on my pillows. Plus, the man is a genius level songwriter. Not so much for content, but for the ease with which he crafts such exquisite choruses. You only have to hear Night Games or Samurai once to understand what I’m talking about. And another thing while I am frothing with such incredible enthusiasm… the backing vocals! The harmonies! Oh, the motherfucking harmonies. They hit you at the base of your spine.

And the utterly desirable and simply jawdropping Beth-Ami Heavenstone (have I told you how amazing she is yet? No? How remiss of me) has a gutwrenchingly sweet alto that reduced me to a quivering mass of pathetically lovestruck goo within seconds of her singing the backing vocal to the chorus of S.O.S. There are some voices that give you goosebumps. She has one, on top of all her other sublime qualities. WHAT DO I HAVE TO DO TO MAKE YOU NOTICE YOUR MOST ARDENT ADMIRER, BETH-AMI? TELL ME, TELL ME, I IMPLORE! NOTICE ME, SENPAI, NOTICE ME!

I don’t know about you, but I’m going to need to take a cold shower in Antarctica after this one, boys and girls.

…As we wrench ourselves back into the business of actually being useful to you readers and telling you about the record, then. The production and sound quality are far beyond adequate. Every instrument and cymbal is easily heard and the lead vocal, although to the fore of the mix, is not overpowering the rest of the music. The backing vocals are similarly high in the mix but again are not blanketing the instruments. The song choices for this gig are equally inspired. Everything from the ultra-classic Since You’ve Been Gone through to MSG’s Dancer through to the absolute highlight of the record – an extraordinarily sleazy, sexual, filthily orgasmic rendition of All Night Long! The record ends, somewhat bizarrely, with an alternate lyric studio version of The Crying Chair, which, although interesting and a damned fine rock and roll record, jars somewhat with the fucking awesome night we have just had listening to Graham fucking Bonnet live. Yes, I know I am swearing a lot. No, I don’t care. I am expressing joy. Fuck you. It seems like it was almost bunged on there as an afterthought, you know? Kind of like that last sentence!

Ladies, gentlemen and people of all other genders (I’m nothing if not inclusive. I hate everyone equally) we have on our hands here a perfect storm of a live album – superbly played by the musicians, sublime lead vocals from a living metal legend, well produced, well mixed, with inspired song choices, the biggest ever choruses in metal, and Beth-Ami Heavenstone. Have I told you how much she turns me into a quivering schoolboy every time I set eyes on her? How my heart does little flip flops as I gaze at her magnificent bass playing prowess? How I wish those long, elegant fingers were touching me and her cool gaze and tinkling laugh were for my eyes and ears only? No? We could be here for some time, then….

The Patented Dark Juan Blood Splat Rating System is cross-eyed with desire right now and actually really needs to take a shower in liquid nitrogen, but has struggled manfully on to award the Graham Bonnet Band 10/10 for an utterly fucking brilliant live record. It really should be like 150/10. It is the finest live album I have ever heard. And Graham Bonnet is a musical hero of mine. And Beth-Ami, I adore you.

TRACKLISTING:
01. Eyes Of The World
02. California Air
03. S.O.S.
04. Night Games
05. Stand In Line
06. Into The Night
07. Love’s No Friend
08. Dancer
09. Samurai
10. Desert Song
11. Rider
12. Since You’ve Been Gone
13. Assault Attack
14. All Night Long
15. Lost In Hollywood
16. The Crying Chair (Intended Lyric Version)

LINE-UP:
Graham Bonnet – Vocals
Conrado Pesinato – Guitar
Beth-Ami Heavenstone – Bass (You’re going to be hearing quite a lot about her. Sorry, not sorry.)
Jimmy Waldo – Keyboards
Mark Benquchea – Drums

LINKS:
https://www.alcatrazzofficial.com/
https://www.facebook.com/grahambonnetmusic/



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

 

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.

Whitechapel – The Valley

The Valley Cover

Whitechapel – The Valley
Metal Blade Records
Release Date: 29/03/2019
Running Time: 40:29
Review by ‘Dark Juan’
9/10

Greetings and salutations, my hordes of evil, nefariousness and downright mischief! I am Dark Juan, hopefully you have deflowered virgins of all faiths according to my word and you will all worship at my anointed feet because I have a massive and overweening sense of my own self-importance. In other news, there are no snacks in the house besides crisps and considering I work in the factory that makes them I’m sick of the fucking sight of potato based snacks and therefore I am consumed with righteous rage and furious anger because all I fucking want is cake. There is no cake in the house. WHAT MOTHERFUCKING KIND OF HOUSEHOLD DO I LIVE IN WHEN THERE IS NO AVAILABLE CAKE?

Pardon my outburst, please. It is probably because I am listening to one of the angriest records I think I have ever heard, being Whitechapel’s “The Valley”. This music is visceral, vein bulging fury of the kind that is seen shortly before it has launched itself teeth first at its hated enemy and buried said dentistry in the carotid artery and is busily masticating its way through flesh, tendon and muscle. To say this record is angry is to say that Lewis Hamilton can drive very, very fast and is also boring as fuck as an interviewee. However, Whitechapel are not boring as fuck. Far from it..!

“The Valley” is written from the perspective of vocalist Phil Bozeman looking back at his childhood and the struggles his mother suffered with mental health and other issues. This immediately gives the record a personal, intimate feeling, whereas some metal by its very nature is almost… aloof from the listener. Arch Enemy are a good case to cite to prove that theory – technically super competent, entertaining, but somehow cold and distant. Whitechapel are the wide eyed, staring, drooling madman screaming incoherently at you an inch away from your face, blasting you with spittle and bad breath. You cannot hide from Whitechapel and this album lays feelings and dreams skinned, bare and raw. It is NOT a comfortable listen for me because I suffer from certain difficulties with my mental health and there are certain parallels with my own childhood (hard to believe, I know, what with my jocularity and everything) and this record is the musical equivalent of setting a razor to my vein and slashing the fuck away. I’m literally looking into the soul of a damaged man who has decided to come out fighting everyone and everything forever. Phil’s voice is the sound of a man who has spent most of his life staring into an inky black abyss containing…. something. Something that has tested his sanity, and it’s hanging by a thread and he’s carrying a loaded shotgun. And he’s just caught you shagging his 17 year old daughter…

There are a couple of occasions where Phil sings in a clean style on the record – ‘Hickory Creek’ being the notable example of this. It lends the Whitechapel sound a valuable extra dimension beyond the sheer, uncompromising, crushing rage they normally display. Phil’s vulnerable, wounded side comes out and although not the most accomplished singer in the world, the pathos and raw emotion in his voice makes the whole song… complicated. You don’t want to say you like something that someone is clearly bleeding their soul out on, but I like it. You know what I mean. However, Phil normally employs a method of vocalisation that is akin to flicking the love spuds of a large predatory animal until it is enraged and staying there to be mortally savaged with tooth and claw. It is primal roaring of the highest order, and again, much like Nathanael Underwood of Damim’s vocals, entirely clean in diction rather than an incomprehensible hurricane approximation of words. I can hear what he’s singing about and this is a very good thing indeed.

So, as intimate as you can get then! No mean feat for a band whose sheer brutality normally means they stand apart from the mainstream, and from the affections of some metal fans. Every song on this record is excellent for different reasons. My brain is now liquid. It has been absolutely beaten to a pulp. There’s nothing like music with emotion and soul, and “The Valley” is the epitome of it.

The guitar work of Ben “Perfectly Named” Savage, Zach “Not Quite As Perfectly Named As Ben” Householder and Alex “My Name Is Not Relevant To This Joke” Wade is magnificent, downtuned, semi-djent ultraviolence of considerable class, and the drumming of Ben Harclerode the sound of a man determined to kill everyone in a four mile radius with the power of percussion. The bass is a solid rumble that shakes organs loose and causes internal bleeding. There’s some standout songs in what is an utterly magnificent record – the previously mentioned ‘Hickory Creek’, ‘Third Depth’ (almost Tool-esque in parts!) and the huge and rabid beast that is ‘Forgiveness Is Weakness’. This is one of the most dense listening experiences I have ever heard, running OHHMS’ last record a close second. Extraordinary. Truly a one of a kind album!

Yet again, another metal band proves the naysayers wrong. Metal has never been in such rude health as it is now, and the amount of superb records acquiring my attention has never been higher.

Brothers and Sisters of the One True Faith, buy this record. Buy it now. I command you.
The Patented Dark Juan Blood Splat Rating System awards “The Valley” by Whitechapel 9/10 for an emotional journey (for me personally, at least) that’s ended up covered in blood and viscera. An incredible record of power, depth, complexity and raw fucking emotion!

TRACKLISTING:
01. When A Demon Defiles A Witch
02. Forgiveness Is Weakness
03. Brimstone
04. Hickory Creek
05. Black Bear
06. We Are One
07. The Other Side
08. Third Depth
09. Lovelace
10. Doom Woods
11. Sea Of Trees

LINE-UP:
Phil Bozeman – Vocals
Ben Savage – Guitar
Zach Householder – Guitar
Alex Wade – Guitar
Ben Harclerode – Drums
Gabe Crisp – Bass

LINKS:
https://www.whitechapelband.com/
https://www.facebook.com/whitechapelband/

https://www.instagram.com/whitechapelband/

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

 

Whitechapel Promo Pic

 

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.

Dark Avenger – The Beloved Bones: Hell

The Beloved Bones Cover

Dark Avenger – The Beloved Bones: Hell
Rockshots Records
Release Date: 13/07/2017
Running Time: 56:45
Review by Victor Augusto
9.5/10

Every time when I try to express what I think about Dark Avenger it is always hard for me. Maybe it is because their music helped me to stay strong in difficult periods of my life or maybe because I have a friendship with them. The fact of the matter is the band are legends in Brazil which makes it even more difficult but let me try to do it again.

The band was created in the early nineties and fast reached strong success with their Traditional Heavy Metal. Albums like “Dark Avenger” (1995) and “Tales of Avalon – The Terror” (2001) are considered the classic ones. After a short hiatus they returned in this decade and released the incredible final part of “Tales of Avalon-The Lament” in 2013, but in 2017 things changed. A reformulated band showed to the world a new ambitious saga and all tales and epical stories were left behind. Now the main subject was human inner conflicts and the music became much more aggressive.

All lyrics are a soliloquy that consists as a mental dialogue between REASON and EMOTION. Those two are the main characters here. REASON strongly attacks EMOTION and complains about a non-reaction from him to leave some specific suffering or problem. In the first instance, EMOTION flees and denies it. There is not a specific issue mentioned in the lyrics, considering that “hell” could be any kind of martyr of a normal life. Each song is a different mental stage. It goes from “unconscious” until REASON and EMOTION stop to verbally hurt themselves and start to fight together against all the problems to finally reach “freedom”.

Musically, this album shows an aggressive Dark Avenger. The guitar works from Glauber Oliveira and Hugo Santiago are amazing. They created plenty of complex riffs and solos with many progressive parts. Gustavo Magalhães has some great bass lines to complement the rhythmic parts as in ‘Nihil Mind’. There is an orchestral addition alongside the songs with a dense atmosphere. Everything sounds heavy in this album. Mario Linhares voice is famous for his high range notes, but this time he perfectly chose a more emotional interpretation of it, in a perfect DIO style and he even uses few guttural screams.

Just the three first songs ‘The Beloved Bones’, ‘Smile Back to Me’ and ‘King for A Moment’ are enough to feel how incredible this album is, but ‘Parasite’ deserves a special mention. It is the most aggressive and brutal song I’ve heard from Dark Avenger so far. The final part of the album has the amazing ‘Purple Letter’ as a farewell meaning. ‘Sola Mors Liberat’ finishes the battle and leaves the space opened for the beautiful and acoustic ballad ‘When Shadow Falls’.

“The Beloved Bones-Hell” shows an unknown Dark Avenger. It reveals a more brutal and obscure side from them and created expectation for the second part, supposed to be the “Divine” part. The band was preparing a European tour and this record was elected the best album in many Brazilian metal magazines and websites in 2017. Sadly, the singer Mario Linhares, the only original member, suddenly died in December of this same year.

Despite all the pain of loss, he left a legacy called Dark Avenger and he will always be remembered by his fans and friends. My first review for Ever Metal couldn’t be different. It is not the first time I have written about this album and it is still as hard as it was two years ago. The difference now is all the tears are dry. This review is dedicated to Mario Linhares and all people who love him.

TRACKLISTING:
01. The Beloved Bones
02. Smile Back to Me
03. King for a Moment
04. This Loathsome Carcass
05. Parasite
06. Breaking Up, Again
07. Empowerment
08. Nihil Mind
09. Purple Letter
10. Sola Mors Liberat
11. When Darkness Fall

LINE-UP:
Mario Linhares (R.I.P.) – Vocals
Glauber Oliveira – Guitars
Hugo Santiago – Guitars
Gustavo Magalhães – Bass
Anderson Soares – Drums

LINKS:
https://www.facebook.com/darkavengerofficial/

 

Dark Avenger

 

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.

Gallows Pole – This Is Rock

This Is Rock Cover

Gallows Pole – This Is Rock
Pure Rock Records
Release Date: 30/08/2019
Running Time: 40:43
Review by Chris Galea
5/10

With such a gory-sounding moniker and an artwork vaguely reminiscent of Judas Priest’s “Sin After Sin” I expected to hear something heavy and ferocious. I couldn’t have been more mistaken.

The album’s genre could broadly be described as Hard Rock but occasionally sets foot in Country Rock and Stoner Doom territory. More importantly though, overall “This Is Rock” feels bereft of passion and is characterised by half-assed drumming and disinterested (male) vocals.

In some songs – such as ‘You Got Me’ and ‘Point of no Return’ – I did find some gratifying moments but still not enough to get me hooked.

Until I heard “This Is Rock”, Gallows Pole was an unknown entity to me…whereas in fact this Austrian band has been around for several decades. So it pains me to say that the album sounds more like something you’d expect from a pub band.

TRACKLISTING:
01. Summerdays
02. Heaven Knows
03. Midnight Gambler
04. Point Of No Return
05. You Got Me
06. Daylight
07. When I Sleep
08. Move On Out
09. When You Love

LINE-UP:
Alois Martin Binder – vocals, guitars, bass
Dina Höblinger – vocals
Harald Prikasky – guitars
Harry El Fischer – guitars, vocals
Andy Wagner – drums

LINKS:
https://www.facebook.com/GALLOWS-POLE-174803492598152/

 

Bandpic

 

Disclaimer: This review is solely the property of Chris Galea 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.

 

The Electric Mud – Burn the Ships

Burn The Ships Cover

The Electric Mud – Burn the Ships
Self-Released
Release Date: 23/08/2019
Running Time: 38:00
Review by: Alun Jones
8/10

Let’s get the important stuff covered off first. For any of you who thought this band were something to do with that lot from the Seventies who sang ‘Tiger Feet’, you’re wrong. The Electric Mud have very little in common with their Glam Rock similar-namesakes. Of course, a professional such as myself would never make a mistake like that.

The Electric Mud hail from Fort Myers, Florida – and specialise in making a steaming hot gumbo of stoner rock and dense, swampy blues.

“Burn the Ships” is The Electric Mud’s second album. Through the course of seven songs, the listener travels from the sweltering everglades through time and space – as vintage sounds melt with modern.

Opening track ‘Call The Judge’ oozes an irresistible Southern rock ’n’ roll groove, starting proceedings with a triumphant swagger. Grab a beer and a whiskey chaser, you know it’s going to be a lively night in the Roadhouse.

The Electric Mud show their stoner credentials on tracks like ‘Priestess’, which melds inventive riffs with pace and dynamics. ‘Good Monster’ weaves funky, head bobbing grooves and ‘Reptile’ lunges out of the depths, attacking like a gator whose mother’s been made into a pair of shoes.

There’s some stunning musicianship on display here; the guitars of Constantine Grim and Pete Kolter are crunchy yet nimble when required. Tommy Scott’s bass rumbles and glides perfectly. Pierson Whicker’s drums can smash and bang yet can be refined when necessary. Kolter’s voice, smoky yet soulful, is an addictive asset in itself.

Songs range from rocking brawlers to heartfelt blues with awesome proficiency. ‘Black Wool’ and ‘Terrestrial Birds’ showcase these slower moments really well, allowing the music to breathe and worm its way under your skin.

The variety of sound – together with the confident delivery and clever song writing – is what makes “Burn the Ships” engaging and successful. In the best tradition of stoner rock, The Electric Mud can combine old and new, fast and smooth, dirty and graceful. Their Southern charm, marinated in the blues, give this band their unique identity.
Although it feels maybe one song too short, “Burn the Ships” is full of character and demands repeat listens.

By the way, I used to see quite a bit of Mud – and lots of other glam rock bands – in the early seventies. Mud used to take a paddling pool everywhere with them, to do some backstage mud wrestling. Hence the name, you see? Though it never worked! Not once did they persuade lovely dance troupe Pan’s People to get involved, or Suzi Quattro. It usually just ended with the band in the mud bath, drunk on Babycham and fighting with Slade.

TRACKLISTING:
01. Call The Judge
02. Priestess
03. Good Monster
04. Reptile
05. Black Wool
06. Stone Hands
07. Terrestrial Birds

LINKS:
http://theelectricmud.com/
https://www.facebook.com/TheElectricMud/

https://www.instagram.com/theelectricmud/
https://theelectricmud1.bandcamp.com/album/burn-the-ships
https://www.youtube.com/channel/UCBs_Uu6yNKF1jFHI4rDSm_A

 

The Electric Mud

 

 

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.

Helligators – Hell III

Hell III Cover

Helligators – Hell III
Sliptrick Records
Release date: 04/06/2019
Running Time: 60:00
Review by Alun Jones
8.5/10

Listening to “Hell III” – the new Helligators release – and you can almost smell the Cajun cookin’ and moonshine brewing. This is greasy, crazy biker rock from the southern states. No doubt Helligators have fine-tuned their art in a roadhouse shack just off some dusty highway, the sounds of the bayou just inches away. The heat and the trees, the swamp and the…

What? They’re from where? Like Rome, Florida or something? What, actual Rome? In Italy? Oh. Well ya could’a fooled me!

Yes, Helligators are from Rome, Italy – though my first listen to this album had me thinking of something far more Corrosion of Conformity in origin. “Hell III” is powerful, dirty hard rock with just a hint of stoner metal, big melodies and southern charm. But not southern USA charm, apparently…

Anyway, this third album from the band blows the doors off with the huge, raucous rampage of ‘Rebellion’ – a great start to the album. It reeks of attitude and speeds out of the gates in a Motörhead fashion.

Following tracks ‘Here To Stay’ and ‘Bleeding’ apply the brakes slightly, but are just as crushingly relentless. This is big chunky guitar territory; guitars courtesy of Kamo and El Santo are head bangingly infectious and also intricate when called for.

There’s a definite change of pace with the almost bluesy ‘Where I Belong’ – but by Jupiter, the chorus is monstrous. The skilled vocals of Simone “Dude” have a versatility that keep everything together and has class enough to avoid a parmesan power ballad stench.

Helligators are certainly stretching their creativity with this album. ‘The Prison (Confession Pt 1)’ and ‘Gone (Confession Pt 2)’ demonstrate an ability to develop an epic suite of music. Meanwhile, the instrumental ‘Bassthard Session’ also shows the rhythm section – Alex (drums) and Pinna (Bass) to full effect.

But it’s the fast, super charged Rock’N’Roll of total bangers like ‘Born Again’ and ‘Pedal To The Metal’ that are the great prize here. Hard rock that’s loud and fun – Helligators came, saw and conquered all.

Did I tell you about the time I was in Italy with Ozzy, on tour in 81? I took him and the band to a restaurant after the gig for some quality Italian grub. Ozzy was off his tits and thought the spaghetti was worms, and tried to snort them. It ended with food everywhere and Ozzy pissing up the walls. I had a right job apologising to the manager and sorting everything out. Ozzy – lovely bloke; absolute liability.

TRACKLISTING:
01. Rebellion
02. Here To Stay
03. Bleeding
04. Where I Belong
05. Born Again
06. The Prison (Confession pt.1)
07. Gone (Confession pt.2)
08. Until I Feel No More
09. Bassthard Session III
10. Even From The Grave
11. Pedal To The Metal

LINKS:
http://www.helligators.com/main.htm
https://www.facebook.com/helligators/

https://www.instagram.com/helligators/

https://www.youtube.com/channel/UCNIcslQvAD2l-nrvSLFcbZA

HELLIGATORS // IT

 

Helligators Promo Pic

 

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.

 

 

Vikings – Far Beyond My Dream

Far Beyond My Dream Cover

Vikings – Far Beyond My Dream
A-Stereo-ID, Stuttgart
Release Date: 28/12/2018
Running Time: 57:00
Review by Mark Pritchard
9/10

A few weeks back, ‘Ever Metal’ gave me some options for bands to possibly review and one of the first to catch my eye was German band ‘Vikings’.

I have been listening to the album ‘Far Beyond My Dream’ on and off since I received it to help keep it fresh in my mind and I must say that it was a nice easy-listening session each time.

The fact the band is just a two-piece is amazing, meaning the amount of work put into making an album is that bit greater compared to bands with three or more members, but these guys have done a great job with this album.

From start to finish, this album has a high intensity, both with how the instruments are played and the vocals for each song, which are so good. I will say straight up that the singing by Georg Froehlich are above and beyond what I could even imagine and, when you package that with Pete Eisen on each of the instruments, you have a pairing that brings the metal right into your face and you will definitely end up headbanging during each playthrough.

I sit in my computer chair at my desk asking myself if there is a song that stands out above the rest and, to be honest, each song is awesome in its own way.

Here is the part which is not the easiest because it is time to give my ratings. It has been an absolutely tough challenge to find a favourite track from the album, but it wasn’t impossible and the song that stands out the most to me is track four, title track “Far Beyond My Dream”. The song is a top-notch title track, starting off with only vocals which then leads into the main song and my rating for the song is a huge 9 out of 10.

The rating of the album as a whole was a tough decision but after an arduous thought process, I am rating it as a 9 out of 10. It is such a great album and has been awesome to review and I would like to thank both Georg on vocals and Pete on guitar, bass, keyboards and drums for the opportunity to review this album.

Track List
01. A Glow In Your Hand
02. Down The Street
03. Before The Rain
04. Far Beyond My Dream
05. Avalon
06. Bloody Tears
07. Sand On The Lore
08. Shout My Name
09. Fly
10. The Joker And The Thief
11. All The Pain
12. Reaper Crew

Links:
https://www.facebook.com/TrueMetalRock
https://www.instagram.com/vikingsmusic.de
https://www.youtube.com/channel/UClKeBAfUc_lm4vyBnqYvsfg

Promo Pic

 

Disclaimer: This review is solely the property of Mark Pritchard 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.