Firewind – Firewind

Firewind – Firewind
AFM Records
Release Date: 15/05/2020
Running time: 47:27
Review by Alun Jones
7.5/10

We all make mistakes. Some of us blunder all the time, and the consequence of those slip-ups can be catastrophic. And some of us don’t like to admit when we’re wrong.

Confession time: I volunteered to review this Firewind album because I got them mixed up with another band with “fire” in the name (or possibly a couple). I was slightly mortified when I realised that this band weren’t what I was expecting: none of the sludgy comfort blanket that I usually wrap my ears in.

(I did wonder why Alun picked this but as Firewind are superb and contain a bona fide guitar god in Gus G then I decided not to mention it – Rick-Ed)

Firewind are – Zeus help me – a melodic, power metal band. Not a corner of metal that I’m particularly well versed in, or a fan of. I fucking hate Helloween, for a start. And Queensrÿche. And fucking Europe. This was going to be a challenge.

Yet your old pal Al is nothing if not a trooper. They’re (partially) Greek, which intrigued me being a huge fan of the country. I plunged into this assignment with an open mind – and do you know what? This isn’t bad at all. In fact, I quite enjoyed it.

Opening track ‘Welcome To The Empire’ begins with some fine acoustic guitar before erupting into a big, bombastic rock monster. It is, like most of the album, totally over the top – but also loads of fist pumping fun. This ain’t pop music. It’s fast and powerful (see ‘Devour’), and while not quite as brutal as my usual preferences, packs a mighty wallop.

The musicianship is exemplary. Guitar genius Gus G has plenty of flair, but can throw out some crushing, crunchy riffs when required: ‘Rising Fire’ and ‘Space Cowboy’ being  two great examples. Fast, flashy solos ain’t my scene, but there’s plenty of chugging metal to keep me interested.

The rhythm section – Petros Christo (bass) and Jo Nunez (drums) go beyond textbook and play excellently throughout the album. Give ‘Orbitual Sunrise’ and ‘Overdrive’ a go for evidence…

Vocals provided by new singer Herbie Langhans are dramatic, in a typically Teutonic fashion. This guy is straight out of a Wagnerian epic; despite being somewhat more operatic than I’m used to, he can certainly belt it out. On every single song.

Sorry to disappoint any readers who thought they might actually read a less than positive review from yours truly. Firewind isn’t my usual cup of absinthe with opium chaser, but I found it very easy to appreciate. This album is well played, well written, well produced and delivered with some love and pride – all of which manages to steer this album away from trite cliché.

Metal wearing its heart on its sleeve and with a refreshing honesty, I just couldn’t bring myself to hate Firewind. If I can dig it, then fans of this genre will love it.

(Rick again! Alun gets bonus points for actually really liking this, after all, it is a great album but I’m going to have to talk to him about his dislike of Helloween and Queensrÿche…tut tut Mr. Jones) 😊

TRACKLISTING:
01. Welcome To The Empire
02. Devour
03. Rising Fire
04. Break Away
05. Orbitual Sunrise
06. Longing To Know You
07. Perfect Stranger
08. Overdrive
09. All My Life
10. Space Cowboy
11. Kill The Pain

LINE-UP:
Gus G – Guitar
Herbie Langhans – Vocals
Petro Christo – Bass
Jo Nunez – Drums

LINKS:
www.firewind.gr/
www.facebook.com/firewindofficial
www.twitter.com/firewindmusic
www.instagram.com/firewindofficial/
www.youtube.com/firetv
www.afm-records.de/en/

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.

Bull Elephant – Created From Death

Bull Elephant – Created From Death
Eat Lead And Die Music
Release Date: 14/08/2020
Running Time: 40:24
Review by Dark Juan
9/10

“”Bull Elephant” is the story of a slain African elephant that occultist Ahnenerbe SS attempted to bring back from the dead as a new form of battle asset. However, before re-animation could be completed it was intercepted by a mysterious witch-shaman, pursuing her own agenda and redirecting the undead creature’s purpose.

Think of the background concept as “Raiders of the Lost Ark” set to a progressive doom soundtrack where Judeo-Christian mythology is replaced by the even more sinister universe hinted at in the writings of H. P. Lovecraft…. with Nazi assault wolves.”

The somewhat uncommon (and remarkably disturbing) words I have just quoted above come straight from the band’s own PR blurb and the first thing that strikes me is that this band are clearly dangerously deranged and are nearly as batshit insane as your good reviewing buddy and somewhat mental sex offender and Hellpriest, Dark Juan. Remember my review of Esoctrilihum, aeons ago, and how I told you I didn’t think his level of derangement could ever be reached again? How fucking wrong I was. How fucking wrong….

Nazi assault wolves…NAZI ASSAULT WOLVES! The only way that idea could be improved upon is if they were ZOMBIE NAZI ASSAULT WOLVES, but considering there is already a fucking ZOMBIE BULL ELEPHANT murdering Nazis under the command of some kind of really pissed off practitioner of magic in a parallel universe I think zombie Nazi assault wolves might be overegging the pudding… As if it couldn’t be any more fucking insane. Oh, wait. Reading further along, Bull Elephant are an anonymous musical collective based in London, in the UK. So we can’t even take steps to fucking well defend ourselves from these madmen as no one knows who they are or what they look like. Well, that’s just fucking peachy, isn’t it? Somewhere in the capital there are a number of clearly unhinged people with a distant and scant regard for anything even approaching reality and they have been left unsupervised. I am concerned for the safety of the larger public… Thank fuck they found guitars instead of chainsaws, is all I’m going to say…

Anyway, this record, entitled “Created From Death” is the second part of a trilogy concerning the story of said zombie bull elephant, the clearly deranged witch-shaman (I mean who just happens across a bunch of Deutsches Ahnenerbe Schutzstaffel troopers reanimating a dead fucking elephant that they just happened to find lying about?) and her subsequent Nazi -splattering adventures.

Can you tell that I am jealous that I didn’t come up with this story yet?

Let us consider the music on the record – we have some fucking big ass doomy riffing here. And vocalists who are all clearly intent on rendering themselves mute, such is their full throated and committed (in every sense of the word, they fucking should be committed!) delivery. Taking their launch point from a progressive doom baseline, they then cheerfully proceed to break every single rule they can think of by flinging in some classic death metal, old Van Halen riffs and busily attempting to tear new arseholes in every single piece of equipment they possess. The sound of the record is expansive and huge as befits the scale of the batshittery of their concept. I haven’t even started about the Lovecraftian aspect yet and neither am I going to because I get the horrible feeling bull elephant girl is going to slaughter her way through hordes of Hitler’s finest before finding her way to the Great Old Ones and doing unspeakable things with a youthful Nyarlathotep (now there’s a sentence I never ever thought I would have to write)and I don’t want to ruin the story because holy fucking Jesus I want to hear part three so bad it is hurting because I want to see whether this band of merry nutcases are going to bring space aliens and fucking ancient Greeks and chariots made from RSJs and yogurt and pulled by genetic copies of Sleipnir into it somehow… I mean, with a narrative like that opening couple of paragraphs you can’t really go any further over the top, can you?

So, yeah, big, fuck off, tasty slabs of doom riffage underpinned by a bass sound that I imagine will cause spontaneous bowel movement among the audience in a live setting. The drumming is tight and accurate but marred by a fucking awful snare drum sound that sounds like someone has miked up a large bean tin and told the drummer to hit it with an oscillating piece of metal. It is a distraction from the fine sludginess of the music and vocal styles that run the gamut from gravel piped rock superstar to man who is making noises with the very pit of his stomach and regurgitating last night’s egg and chips. It is a varied listen too – the doom majesty occasionally gives way to almost black metal speed, full on rock and roll, death metal and encompasses most genres along the way. Frequently in the same song. This entire record is so magnificently deranged I can’t help but love it, even though there’s rough edges that need smoothing off in the mix and the guitar sound, which can be a bit scratchy in parts. The bowel-tremblingly intense bass sound is right on point though.

Again, as with previous releases like the equally knee-trembingly fucked in the head Bofo Kwo, this is a concept record and each song tells a linear story so I can’t really pick out a song that stands out as they are all part of a (barely) coherent whole. All you need to know is that I fucking LOVE Bull Elephant and their batshit craziness, and so should you. Oh, hang on, that is a gig of DREAMS, baby! Esoctrilihum, Bofo Kwo, Bull Elephant and P.H.O.B.O.S on the same bill. That would be fucking spectacular…

Get this, and witness the birth of something glorious and magnificent. And I don’t mean my erection. I command thee. Quickly. There’s sex wee everywhere. Again. No one will insure the house or my car and the residents of Elland have fashioned a noose for me and put it in a tree across the road as Bull Elephant have caused me to flood the town again.

The Patented Dark Juan Blood Splat Rating System is in a priapic state of indiscretion right now. It awards Bull Elephant 9/10 for a crushingly entertaining record.

TRACKLISTING:
01. Created From Death
02. Onieromantic Rites
03. Lebensraum
04. Cult Of The Black Sun Nemesis
05. Last Defilement
06. Perverted Science
07. Escape To The Arctic
08.Wayfarer

LINE-UP
They do not want you to know who they are. All that they want you to know is that they are clearly a danger to society.

LINKS:
www.facebook.com/bullelephant
www.instagram.com/bullelephantmetal/ 
www.twitter.com/bullelephant2
www.bullelephant.bandcamp.com/

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.

Static-X – Project: Regeneration Vol.1

Static-X – Project: Regeneration Vol.1
Otsego Entertainment Group
Release Date: 10/07/2020
Running time: 40:36
Review by Dark Juan
10/10

Hiya, you dark and seething proud beauties! I am Dark Juan and I am here to use this very powerful electric cattle prod to force you all onto the path of righteousness. What was that, Miss O’ Brien? The cattle prod? No, won’t hurt a bit. What? The Geneva Convention? What about it? No, Miss O’ Brien, it doesn’t count because we are not at war. Now, get in line or so help me, Satan, your arse is going to smell like a Burger King kitchen when I use this prod on it at some length. I’ll even supply my own special sauce…

Do forgive me, my most loyal and tolerant readership. I had recalcitrant neophytes to deal with. I doubt Miss O’ Brien will be troubling me again soon.

We are here for a most somber occasion. It is to review the last works of Wayne Static before his untimely death, which robbed me of one of my favourite vocalists. This record (“Project: Regeneration Vol.1”) features the last vocals recorded by Wayne and new music that was in production at the time of his death. Laudably, the rest of the original Static-X line-up (Tony Campos – Bass, Koichi Fukuda – Guitar and Ken Jay – Drums) spoke to Wayne Static’s family and were given their blessing to create and release this album in honour of him. Now, Static-X always had an utterly unmistakable sound and whether you’re a purist or you’re open to new (s)experiences, you’ll instantly recognise the music. It is a staccato, industrial tinged, danceable melange of pop hooks and crushing metal with added electronic flavours. It is a highly polished stiletto shaped attack vessel painted in the shiniest reds and blacks letting loose with directed energy weapons. It kills but it kills cleanly, cauterising hideous wounds instantly with directed laser beams. The guitars are sharper than a diamond edged sawblade, flaying skin and flesh from bones with surgical precision and Tony Campos’ bass is a particular point of note (on previous releases the bass tended to be suppressed in favour of more sexy guitar based stuff) as it sounds just like the ominous rumbling just before that mountain side over there comes crashing down in a glorious welter of destruction. This immediately adds a new level of heaviness to the familiar glacial, crystal clear sound that Static-X normally employ. The record sounds exactly as you would think it might – A heady mix of “Wisconsin Death Trip” era howling and spitting and the later, more considered sonic fury of “Cannibal” and “Shadow Zone”, where Wayne got to spread his vocal wings and actually proved he was a very good singer instead of just an extraordinarily coiffed howler.

A nice touch on the record is on the intro track “Regeneration” where the famous “Yeah, it was very stupid” sample that started “Push It” (the band’s first single) creeps in. Honestly, I nearly cried (Lies and slander! I have no emotions and to say otherwise is patently libellous!) I have loved Static-X ever since they first broke through and their technology-fuelled metal spoke to me in a big way and satisfied a need that was gnawing at me at the time, the need for originality. Metal was a fairly stagnant place back in the nineties (nu-metal and rap crossover were the common flavours of the month back then) and Static-X didn’t just break the mould, they booby trapped it with a metric fuckton of gelignite and rode the resulting blast wave of destruction to ever greater heights. Everything that was great about Static-X has been distilled into this album – the metronomic and complicated drum patterns, the extremely highly produced and distinctive guitar tone and the unusual vocal patterns of the verses and choruses with added thunderous bass and much more electronics then previous releases. You know what I’m like for electronics… Static-X always sounded arctic and cold and this is not the case for this album. This is warm and almost intimate compared to other releases. I wonder whether this was a deliberate choice, reminding us that we have lost a friend…

Standout songs? Ah, fuck it, the entire record is fucking brilliant. It is literally everything I loved about Static-X. It’s big, it’s bombastic, it’s shockingly danceable. It’s metal. It’s electronic. It’s evil disco! It’s strobe lights and Gatling guns and tracer bullets and mirror balls and laser beams. It’s glittering and lethal and beautiful and unique and special and Static-X will always remain one of my favourite bands. Every song is a perfect Static-X song, from the out and out rapid fire insanity of ‘Otsego Placebo’ and ‘Terminator Oscillator’ through to album closer and the nearest Static-X will ever get to a ballad, ‘Dead Souls’ with Wayne dialling back his usual rabid delivery in favour of an almost croon (don’t worry, the man still sounds like he is being tortured with anguish and uncontrollable rage.) It is also produced by the man that understood the band best, Mr. Ulrich Wild – the man responsible for the antiseptic sound Static-X primarily employed on “Wisconsin Death Trip”.

I can’t help thinking the brevity of this review is not doing the record justice. It’s an absolute fucking killer 3am blast down the motorway record. It’s an ultra-polished, original sounding heavy metal record from a true band of innovators. Without Static-X there would be no King Satan and that would be a very bad thing indeed. It’s machine music for organic lifeforms and it twists genres and metal itself into such interesting new shapes I can’t help but have my breath taken away by it. Even if I wasn’t already a fan, this record would have turned me into a squealing fangirl instantly. The guitar riffs are things of deconstructed perfection. Yes, metal purists will whinge their fucking studded leather panties off that it is “not metal” but which motherfucker set them up to be the arbiters of taste and judgement? I AND MY FELLOW REVIEWERS AROUND THE WORLD ARE THE ARBITERS OF TASTE AND JUDGEMENT! They are still listening to fucking Accept records from 1986 and not seeing the irony in slightly homoerotic lyrics such as “Surprise attack, coming from the back…” and refuse to accept that metal is a diverse and exciting genre encompassing all kinds of sounds and influences – Christ, Static-X list everything from Mortician to The Crystal Method and the Sisters Of Mercy as influences and a style of music that evolves has to be better than one stuck in the 1980’s, in a corner of a bar, beer belly straining over the skinny jeans and biker boots it is still wearing, and the same Motorhead Bomber t shirt, lamenting how metal stopped when Metallica released the Black album. Give me cyber metal like Static-X any day over the tired rehashing of the same songs again and again. Metal has grown into so many different new things. Give Static-X a go if you haven’t before. It’s heavy and it’s violent and oppressive but it is also shiny and fresh and exciting. Kinda like the first time you discover you’re incredibly submissive and you need a Dom/ Domme…

Static-X – music to have disturbingly kinky and violent sadomasochistic sex to involving shiny black PVC and lots of oils and unguents. It is the perfect soundtrack and I am quite sure Wayne would approve!

The Patented Dark Juan Blood Splat Rating System has listened to this album so many times he will be singing it when he’s dead. Static-X are awarded an untouchable 10/10. Absolutely flooding the local area with sex wee ready for Vol. 2. RIP Wayne. You were taken from us too soon.

TRACKLISTING:
01. Regeneration
02. Hollow
03. Worth Dyin For
04. Terminator Oscillator
05. All These Years
06. Accelerate
07.Bring You Down
08. My Destruction
09. Something Of My Own
10. Otsego Placebo
11. Follow
12. Dead Souls

LINE-UP
Wayne Static – Vocals
Tony Campos – Bass
Koichi Fukuda – Guitar
Ken Jay – Drums

LINKS:
www.static-x.org
www.facebook.com/staticx/
www.twitter.com/OfficialStaticX
www.instagram.com/staticxofficial/

Photo by Jeremy Saffer

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.

Alizarin – The Last Semblance

Alizarin – The Last Semblance
Self-Released
Release Date: 10/07/2020
Running Time: 58:46
Review by Beth Jones
7/10

Salutations once again music fans. It’s a glorious sunny day again here in our little corner of Wales, and I almost spent the day in the garden being productive, but, owing to the untimely death of my pressure washer, I’m now writing instead! I didn’t really want to be outside anyway… it’s overrated… damn.

Anyway, the subject of my musings today is Los Angeles based cinematic prog rockers, Alizarin, and their upcoming new release “The Last Semblance”. Formed in 2017, this will be the bands second album. Their first, “Cast Zenith”, was released in 2018 and was a strictly instrumental album, however Guitarist and band founder Josh Kay has now stepped up to vocal duties, providing another element to their sound.

The band’s press release says that this album ‘covers a wide spectrum of sonic landscapes and emphasizes the melodic journey over deliberate technique.’ My first impression of the sound was that it indeed explores many sonic landscapes, however I think the journey that it takes is both melodic and technical in equal measures. If you like true prog with many deep routed jazz rhythm changes, close harmonies, and unexpected cadences, this is certainly the album for you. It has a classic sound, which reminds me very much of bands like The Enid and Rush, but also is heavily influenced by more recent developments like Opeth.

The album starts off in true prog style, with ‘Elegy Simularca’, a near 8-minute song that is heavily routed in exploring instruments, with the addition of vocals. I’m a massive fan of instrumental exploration that this genre affords, so this for me was a good start. Leading in with synth strings, and then synth arpeggiator, the song progresses into sections that suggest urgency, with staccato guitar riffs and bass lines and offbeat accents in the drum line, juxtaposed with flowing synth and long vocal lines; interspersed with calmer section with all instruments given more chance to flow. There is also a superb guitar solo in this track.

The whole album continues along the same vein, with complex riffs and solos on the guitar, more rhythm changes than I’ve had hot dinners, attention to detail in terms of dynamics and tempos, and deep rooted layers of synth, emphasising the classic ‘prog originator’ sound that underpins what this band do.

There is a very clever bit of attention to detail at the end of the final track ‘The Ivory Silo’, as it finishes with the same chord on synth strings that the album starts with, bringing it full circle. I liked that very much.

All in all, this is a very accomplished album. But I do have a few issues with it. Firstly, they commit, for me, the cardinal sin of music. The fade out. Track 2, ‘Fathom’ rolls along beautifully for the entire track, but then is ruined by the fade out. If you can’t work out how to end a track, shelve it until you can. The fade out is the single worst thing to ever happen to music in my opinion, and no-one will ever change my mind on that!

My second issue is, whilst musically and technically the album is beautifully and very adeptly played and mixed, it lacks a bit of soul. It almost feels like there is an invisible wall of technique between the band and the audience, and they haven’t quite figured out how to get over it to connect with their listeners ‘right in the feels’.

My final issue is that I’m not convinced that the vocals add anything to the experience. They’re ok, they’re nothing ground-breaking, and they have a tendency to feel like a bit of an afterthought.

That said, as a work in its entirety, it does do what it says on the tin. Is it cinematic? Yes. Does it deliver proggy elements? Yes, by the bucket load. Is it accomplished melodically and technically? Yes, it most certainly is. Is it a beautifully balanced instrumentally? Yes. Everything sits in the right place when it comes to instruments.

This is an album that is going to be an acquired taste for many, but if you do like technical instrumental prog, and don’t mind some vocals, you will enjoy it.

Track Listing:
01. Elegy Simulacra
02. Fathom
03. A Wreath of Temperance
04. Velvet Margin
05. Heirloom
06. Zero Sum
07. Attenuation
08. The Ivory Silo

Line Up:
Josh Kay – Guitars and vocals
Jon Damon – Drums
Terran Fernandez – Bass and backing vocals
Avelino Ramirez – Keyboards

Links:
www.alizarinmusic.com/
www.facebook.com/alizaringroup/
www.instagram.com/alizarinband/
www.alizarinband.bandcamp.com/
www.youtube.com/channel/UC5cy7LBoVpwCBcVHfxCZQdA

Disclaimer: This review is solely the property of Beth 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.

Thirteen Stars – Finest Ramshackle Jam

Thirteen Stars – Finest Ramshackle Jam
RPM Music
Release Date: 19/06/2020
Running Time: 55:12
Review by Beth Jones
9.5/10

When you think of Southern Rock and Blues, you probably picture a beat up back porch in the dusty southern states of America in the warmth of the evening sun, upon which there sits a craggy gentleman, supping a Southern Comfort or a nice bourbon, whilst singing about life and strumming a guitar. Or driving across an orange dessert in an open top Cadillac on the way to Woodstock, the sun beating down and the dust sticking hard to your brill-creamed handlebar tash, swigging from a bottle of moonshine and toking on a Marlboro.  And you would be forgiven for thinking that the members of Thirteen Stars had all indeed been living that life in order to create the Southern Rock sound that we all know and love. But you’d be wrong. They are, in fact, from the West Coast… of Cumbria, UK. Being a dweller of the UK myself, I can confirm that Cumbria is neither dusty, nor sunny for a good 95% of the year, so getting that Southern sound the way Thirteen Stars do is pretty impressive!

Their latest release, and fifth studio album, “Finest Ramshackle Jam”, is due to drop in mid-June 2020. The album was recorded at Doncaster’s Axis Studios, which has played host to a variety of names, including Terrorvision, Massive Wagons, and Black Spiders, and engineered and produced by Matt Elliss, with co-production by Thirteen Stars’ frontman, Hoss Thompson. The album was mastered by Geoff Pesche (Page & Plant, Therapy, The Divine Comedy) at Abbey Road Studios no less (if you don’t know the significance of that place, are you even a music fan?)!

The album as a whole has been inspired by, and pays homage to many sub-genres of Rock and musical icons from ages past, with nods to Rockabilly and classic Rock ‘n’ Roll, and hints of greats such as Queen, Tom Petty, and Elvis Presley, amongst others. The use of instantly recognisable instruments – Hammond organ, a brass section, and Bass Clav – provide a classic 50s, 60s and 70s feel, but it’s in no way ‘dated’. The sweeping backing vocal harmonies and guitar harmonies throughout, the fuzzed-out guitar solos, and the extremely good, multi-layered mixing, give “Finest Ramshackle Jam” a very ‘full’ feel, which is really pleasing to listen to. I particularly like the use of panning on many of the songs, which creates a brilliant sense of depth, and almost makes it feel like you are watching a live show (remember them?… they were fun… ☹).

The album starts at apace, with ‘I’m Ready’, a track that frontman Hoss Thompson describes as a composition in which the idea of music is personified, and is asking ‘are you ready to dedicate your life to me, whatever hardship that may bring?’ to which the answer, for these guys, is ‘yes’!

There is a good variety of pace and feeling across the record, with upbeat tracks like ‘Be There In The Morning’ (which to me has quite a Buddy Holly feel about it), and ‘Mint Jelly’, proper full on groove in tracks like ‘Break It Down Slowly’, and even a little walk into Motown in ‘Rebel’. The whole 55 minutes of this album is crammed full of excellent musicianship from all members – one of my favourite moments being the mighty guitar work in the final track, ‘Only A Soldier’. It’s like a big hug in its richness and has plenty of wah!

I simply can’t pick a favourite track off this album, as they are all so different from each other, and explore the full depths of genres around their sound. In the press release front man, Hoss, said that this album was a reaction to their previous album, “The White Raven”, which, although liked it, they “felt that it lacked some variety, and we wanted to create a more esoteric album. One that encapsulated all the different inspirations we have and that shows the variety of songwriting that we create.” Well, congratulations guys, as you have done just that in this album. It’s not ground-breaking, but it doesn’t need to be. Its beauty is in the bands understanding of the musical roots which they emulate. These guys are really solid players in their field, and deserve much acclaim for their work, and this damn fine album. If you like Southern Rock, in any form, you’re going to love this album.

TRACKLISTING:
01. I’m Ready
02. Running So Long
03. Sweet Lies
04. Give It Good
05. Sleeping
06. Sorcery
07. Be There In The Morning
08. I’d Do Anything
09. Mint Jelly
10. Rebel
11. Steel Horse
12. Keep Calm and Carry On
13. Razor’s Edge
14. Break It Down Slowly
15. Only A Soldier

LINE-UP:
Hoss Thompson – Vocals/Guitar
Jax Sedgwick – Guitar
Mike Reid – Bass
Andy Bates – Drums

LINKS:
www.thirteenstarsuk.com/
www.facebook.com/ThirteenStars
www.twitter.com/13_Stars1
www.instagram.com/13_starsuk
www.youtube.com/channel/UCt3pEsMdP6CYVtwbLKBx0xw

Disclaimer: This review is solely the property of Beth 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.

Battle Born – Battle Born EP

Battle Born – Battle Born EP
Self Released
Release Date: 26/06/2020
Running Time: 24:16
Review by Beth Jones
8/10

So here we are my friends – still in the midst of weirdness, and slowly pushing the boundaries of our sanity a little further every day, complete with lockdown haircuts and all-day drinking! Add in to that a bank holiday weekend at the sweaty end of May, and you would be forgiven for thinking that I may have finally cracked! But thankfully the saving grace in all this madness is, as ever, music, and the new releases certainly haven’t slowed down here at EMHQ. So, I’m cracking open another bottle and settling in for the long haul. I have new music and wine. I could think of many worse ways to spend a Sunday evening!

Tonight’s listening pleasure is brought to me by Battle Born, a Power Metal quintet from the UK, who are about to release their debut EP of the same name. The Power Metal scene here in the UK has always been small, but perfectly formed (a lot like me!!) and it is great to see a host of new bands flying on to the scene, holding aloft the mighty sword of European Power Metal sounds, pulling their flowing manes and theatrical anthems behind them! The inspiration for Battle Born’s Debut EP apparently came from the hugely successful game, Skyrim. Now, I am a bit of a gamer, but alas being a bit old, and a staunch Nintendo girl, unless it has Mario in, it’s not on my radar! However, you don’t need to know the game in order to appreciate good music. So, without further procrastination, let’s talk Power Metal!

Without giving me chance to slurp my wine, the opening track and title track, ‘Battle Born’, burst out of my headphones with all the power and speed that you would expect from a very well healed band of the genre. Beginning with a very regent and full chord progression sequence, it quickly progresses to the gold old ‘riggidy diggidy’ beat so synonymous with Power Metal. Jack Reynold’s vocal are crisp and powerful, whether that be in a clean range, or giving us a couple of screams. I really like that every word is crystal clear. There is also some lovely keyboard work and a great guitar solo in this track. A proper barnstormer to start with. I like!

This theme continues throughout the EP. Classic Power Metal riffs, fantastic vocals, and metronomic rhythms. The addition of some 80’s style Synth in the second track, ‘Bring the Metal Back’, adds an interesting flavour and is a subtle nod to some of the greats. This 80’s feel is continued in track 3, ‘Man of War’, although this is less of a Power Metal anthem, and more Classic Metal. The band’s press release says that it ‘could comfortably have lived on 80s hard rock radio alongside Judas Priest.’ I concur. It comes complete with the sound effect of marching feet – very 80’s, hugely cliched, but perfect! A gold star again here to Jack Reynolds scream just before the end of the song! It’s big! I expect he needed a sit down after delivering it!

Track 4, ‘For Our Home’, slows things down into the realms of Power Ballad (lighters at the ready folks). It is a beautiful and very poignant and thoughtful composition amidst the thumping pace of the rest of the EP.

The final track, ‘Sovngarde Awaits’, starts of in a slow and melancholy fashion, but doesn’t stay there for long! Bringing the whole thing back full circle, it moves at a pace, and explores the full scope of the instrumentation on offer from Battle Born; the dramatic keys of Will Kerr, riffage a plenty on from Tom O’Dell on guitar, and a thumping and thunderous rhythm section provided by Chris Beattie on bass and Charles Lamacraft on drums. And of course, Jack Reynolds vocals.

You can’t help but smile at Power Metal, I find. It’s just joyous. And Battle Born have shown us here that they are certainly in contention to join the Power league with the big boys! Well done chaps!

TRACKLISTING:
01. Battle Born
02. Bring the Metal Back
03. Man of War
04. For Our Home
05. Sovngarde Awaits

LINE-UP:
Jack Reynolds – Vocals (also in Bykürius and Asira)
Will Kerr – Guitars, Keyboards
Tom O’Dell – Guitars, Vocals (Track 4) (also in Dwarrowdelf and Deavhronun)
Chris Beattie – Bass
Charles Lamacraft-Perrett – Drums
Extra guitars from Ethan Bishop (Asira/Bykürius/Cairiss on Tracks 3 and 4)

LINKS:
www.facebook.com/battlebornuk/
www.instagram.com/battlebornuk/
www.battlebornuk.bandcamp.com/
www.youtube.com/channel/UCg8iwUhNagsNEpSzLAui07g

Disclaimer: This review is solely the property of Beth 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.

Victoria K- Essentia

Victoria K- Essentia
Rockshots Records
Release Date: 24/04/2020
Running Time: 36:17
Review by Tsarina Wilson
10/10

Wow, well this is what I call a good start to my day by listening and being able to review the album “Essentia” by Australian band Victoria K. I then decided to check out some of their videos on YouTube and no wonder they have such a great reputation…

The Melbourne singer/songwriter first released her debut single ‘Monster’ in 2016 featuring guitar work by John Farnham band member Brett Garsed along with her 2019 follow up track ‘Lacuna’, this was distributed in Australia and New Zealand by Warner Music Group (Australia) and was the lead single off this album. This track gained a great amount of interest and media praise creating an opportunity for Victoria K to support Swiss folk metal giants Eluveitie for their May 2019 date in Melbourne. This was received so well the crowd were chanting for an encore. (That one I totally understand)

The idea was for a solo project, but this has developed into the current band structure with each member bringing their own energy, presence and skills to the project

Victoria K added; “I really hope that when our fans and new listeners hear the album, they can all find something they can connect with on a deeper level (Oh yes, I have definitely found that). Whether that connection is found from within the music itself or from specific lyrics, I really hope they find something familiar, which can connect them to some experience they have had, invoking memories and feelings, eliciting an emotional response”

Whilst Victoria K’s talented songwriting and compositional influences include Evanescence, Within Temptation, Nightwish and Kamelot amongst others, they have also racked up hundreds of thousands of views on YouTube with their own creations. They have also covered such songs as ‘The Trooper’ (Iron Maiden) and ‘Nothing Else Matters’ (Metallica) and after checking these out the word ‘wow’ just doesn’t seem enough of a description for this band

Okay, back to “Essentia” (which is Latin for ‘essence’)! I could say it starts of gently then builds into a great album, but I can’t lie…it starts off in epic fashion and keeps going all the way through with no let up. With, what seem like, effortless and crystal-clear vocals, but with an immense amount of power Victoria K shines. Yes, you can kind of hear the influences of Nightwish and Kamelot etc, but Victoria K definitely, and collectively, makes this style their own. Apart from Victoria K the band (on the album) consists of Extreme Vocals from Sheri Vengeance (Black Like Vengeance, ex Ne Obliviscaris), who can be heard on three tracks, the aforementioned guitarist Brett Garsed, bassist Rich Panaia (except on the track ‘Lacuna’ where bass is provided by Chris Rourke), drummer Gerry Pantazis and keyboard, piano and synth man Lee Bradshaw. The Budapest Scoring Orchestra also make an appearance conducted by Zoltán Pad.

For those who have not seen any of the videos released for “Essentia” and were expecting the stereotypical band of a female lead singer, some metal looking guys in the background and a tattooed and grizzled looking bloke singing the extreme vocals, well, take a look and be as shocked as I was as theses vocals are sung by female Sheri Vengeance and ‘oh my god’ she is utterly amazing, it’s like Evanescence meeting Slipknot in a dark alley and it blows your mind, and eardrums, when listening to it through earphones…ouch. Memo to self, next time turn the volume down slightly!

‘Freedom Uncharted’ kicks the album off and it immediately makes you sit up and take notice, it’s hypnotic and then ‘Surreal’ hits you into next weekend. It has a Middle Eastern twist at its finale, and I was thinking ‘mmm, okay, what can they throw at me next’, only to be greeted by breath-taking track after breath-taking track, there seriously is no let up here. ‘Shroud Of Solitude’, which features Michalina Malisz from Eluveitie on Hurdy Gurdy, gives you a few minutes to catch your breath but it’s still outstanding! My favourite track has to be ‘Freaks’. It starts with keyboards that sound almost like a musical box then…boom, another track that hits you, once again, with a vocal range that is just so clear and powerful.

At no time do the guitars, bass or drums take anything away from the vocals but they are still so clear and blend seamlessly. There is so much emotion in all of the performances, things I can relate to and, hopefully, many others can as well, which is exactly what Victoria K wanted. The track ‘Humanity’ so needs to be used as an end film credit sequence. This song is so powerful and haunting and when you listen to it, you can feel/see the orchestra with the band standing out front (any film directors out there please listen and take note)! Another standout performance on the album is the drumming. Gerry Pantazis must have had smoke coming out of his kit in some places, man can that guy drum!

While we are on the subject of powerful and beautiful things, I have to talk about the album artwork. There has to be merchandise with this image on…please, and if/when there is, I will be getting some, wow just wow! It’s not every day you are blown away by such a great band. They have picked up everything conventional about this genre, thrown it out of the window and made it their own! Stereotypical? Hell no…talented? Hell yes…leaving you wanting more? Without a doubt!

TRACKLISTING:
01. Freedom Uncharted (Feat Sheri Vengeance)
02. Surreal
03. Forsaken (Feat Sheri Vengeance)
04. Matrix (Feat Sheri Vengeance)
05. Shroud of Solitude (feat Michalina Malisz from Eluveitie)
06. The Haunting
07. Freaks
08. Mist Filled
09. Humanity
10. Lacuna

LINKS:
www.victoriakmusicofficial.com/
www.facebook.com/victoriakofficial/
www.twitter.com/VictoriaK2004
www.instagram.com/victoria_k_official/
www.victoriak1.bandcamp.com/releases
www.spotify.com/artist/39zoIuFDfHJOQnqAFudiRI
www.youtube.com/channel/UC4hQDGDErqcmakKo-wVjWoA

Disclaimer: This review is solely the property of Tsarina Wilson 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.

Riot – Rockworld (Rare & Unreleased 87-95)

Riot – Rockworld (Rare & Unreleased 87-95)
Metal Blade Records
Release Date: 27/03/2020
Running Time: 1:16:13
Review by Dawn “The Metal Priestess” King
9/10

If you know me, and have read reviews by me in the past, you will know that I am a big, no humungous, fan of Riot (in all its connotations). The band were resurrected in 2015, after the death of founding member Mark Reale, under the name Riot V. Ever since I first heard ‘Flight of The Warrior’ blasting out through my laptop’s speakers (far too many years after its original release unfortunately) they have maintained their place in my top ten of bands…EVER!

Founded in New York in 1975 by guitarist, Mark Reale, they have undergone various line-up changes, suffered tragedy after tragedy and, in my opinion, really should have been bigger than they were/are. The deaths of vocalist Rhett Forrester in 1994 and Guy Speranza in 2003, were followed by the death of Mark, himself, in 2015 after complications with Crohn’s disease, and even as late as 2020, Lou Kouvaris, former guitarist with the band from 1975 – 1978, passed away after contracting the deadly Coronavirus which, as we know, has caused a worldwide pandemic.

But still they pressed on and 45 years and sixteen studio albums later (the last “Armor of Light” being released on April 27th, 2018) thankfully they are still with us and still making music.

This album was by no means just quickly thrown together as the following statement from Giles Lavery on Jan 8th, 2020 from Los Angeles testifies:

“In mid-March 2016, I was asked to organise and catalogue the considerable archives of the late Mark Reale. As a lifelong Riot fan this was an exciting prospect. Little did I know this would turn into almost a year of working through cassette tapes (mostly unlabelled), VHS cassettes and ancient reel to reel formats…from this many never heard before songs and pieces of music were unearthed.”

Released on March 27th, 2020, this album is a compilation of rarities, from alternatives to album versions of tracks, demo tracks and outtakes that never made it to final albums. All tracks have been remastered by Patrick W Engel and the cover artwork has been provided by Jan Meininghaus.

The album kicks off with the track ‘Rockworld Theme’. Rockworld was a music TV show from the late 1970’s and Riot were approached to compose and record a track for the main theme. How many of you knew that, eh? And what better track to name the album after.

The second track ‘Bloodstreets’ is one of my favourites on the album. It is a Thundersteel era track (no wonder it’s one of my favourites coming from a time when this masterpiece was recorded) but this has a different ending to the album version. Instead of the guitar solo playing out at the end, this version has the chorus repeat itself on a loop.

‘Medicine Man’, ‘Magic Maker’ and ‘Faded Hero’ (another of my favs from the album) were demos recorded for the follow up to “Privilege of Power” prior to Tony Moore leaving the band. They give us just a glimpse of “what could have been” if Moore hadn’t left.

‘Sylvia’, ‘Good Lovin’ and the instrumental ‘Creep’ were all demo tracks from the “Nightbreaker” sessions, but none made it to the final release, although, in my opinion ‘Sylvia’ is a fantastic track.

The last two tracks on the album, ‘Medicine Man’ and ‘Magic Maker’ (different versions to the ones mentioned above) feature Jag Panzer vocalist, Harry ‘Tyrant’ Conklin, and were recorded when the band were looking for a replacement for Moore, a job that eventually went to Mike Dimeo who sang the tracks on the “Nightbreaker” album.

I tend to find rarities albums a bit hit and miss. Either the quality is very poor as the recordings are years old or, and I have seen this, there are three or four versions of the SAME song. Ok, they might be rare recordings, but do we really need that many versions? This album doesn’t do that.

I loved this album and felt like it was taking me on a journey through time (well…1987-1995 anyway!) It shows the what if’s and but’s that could have taken this band onto a completely different path, leading them to who knows where! But, I, as a Riot fan, am glad they are where they are!

This really is a must have for any die-hard Riot fan and I am so incredibly grateful to Rick for passing it over to me for review. I wait with bated breath for anything new this fantastic band release and I really do hope that I get to see them at a gig sometime soon.

Go check it out and see if you agree with me, you know you want to!!

TRACKLISTING:
01. Rockworld Theme
02. Bloodstreets (Alternative Version)
03. Buried Alive (Tell Tale Heart) (Alternative Version)
04. Runaway (Instrumental Early Idea Demo)
05. Killer (Tony Moore Vocals)
06. Maryanne (Rough Mix)
07. Medicine Man (Tony Moore Vocals)
08. Magic Maker (Tony Moore Vocals)
09. Faded Hero (Tony Moore Vocals)
10. Sylvia (Outtake)
11. Good Lovin (Outtake)
12. Creep (Instrumental Outtake)
13. Instrumental 1994 (Brethren Outtake)
14. Medicine Man (Tyrant Sessions)
15. Magic Maker (Tyrant Sessions)

LINKS:
www.areyoureadytoriot.com/
www.facebook.com/riotrockcity/
www.twitter.com/riotvmetal

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

Scissorfight – Doomus Abruptus Vol.1

Scissorfight – Doomus Abruptus Vol.1
Salt Of The Earth Records
Release Date: 06/12/2019
Running Time: 34:29
Review by ‘Dark Juan’
9/10

Nefarious and blood soaked greetings from the nether face of God, your Ipssissimus of groove, and trusted local pet sitting service, Dark Juan. I trust you have all been burning churches and defiling virgins in my name while I have been away singlehandedly combating Coronavirus? Coronavirus caught Dark Juan and is currently self-isolating for 14 days. My mighty and puissant immune system dealt it what could only be described as a biblical arse-kicking and it slunk off to try to infect Chuck Norris. That went as you might expect it would. Reports that our lord of the netherworld Satan is currently self-isolating are true. I last left him nursing his Hello Kitty hot water bottle and clutching his My Little Pony bedspread in new and exciting levels of misery and upset. So I laughed at him. And called him a bedraggled cunt! He wanted his DVD of She-Ra, Princess of Power on while he was in bed. I denied him this and left him wretchedly watching Thomas The Tank Engine. The howls of despair were music to my ears, thankfully fucking drowning out Ringo bastard Starr waffling about Sir Topham Hatt.

Anyway, this review is brought to you by the charnel house aroma of Hodgson Fartpants’ anal artistry, Leffe Brun and other quality beers and the number 13. We are (as I am sure you have already been made aware by the title up there ^^^^) currently experiencing Scissorfight’s latest offering, “Doomus Abruptus Vol.1”.

Opening track ‘Caveman Television’ is best described as the aural equivalent of the old timey Scissorfight song title New Hampshire’s Alright (If You Like Fighting). It is a rock n roll soundtrack to an archetypal bar brawl. It’s like being glassed in the face by a heavily bearded (probably gay but in self denial) redneck in a back street bar in some godforsaken fucking little logging town in the arse end of America. And then five minutes later being his best mate and giggling over beers with blood pouring into your bottle of Dos Equis.  I’m sure you’ll all agree that this already is sounding like a jolly good night out. See Wrexham for more details.

If you’re not familiar with Scissorfight, then you really need to have a word with yourself and possibly flagellate yourself with razor wire and wash out the subsequent wounds with spirit vinegar, you absolutely shocking tart. Scissorfight have provided us with the kind of good time metal that the scene has been sadly lacking in since heavy metal bands totally lost their sense of humour (notable exceptions exist for this – Lawnmower Deth since forever and the formative experience that was a Lullaby For A Unicorn show. No moshing, just metal fans all over the floor colouring in pictures of fucking unicorns….) and have forgotten that their sole reason for existing is to entertain. Scissorfight entertain and amuse in large and orgasmic measure. The sex wee quotient is quite high, but in deference to the electric bill, the water bill and also my somewhat parlous underwear situation after reviewing White Crone recently, I am writing this review stark bollock naked.  The good burghers of Elland are delighted, because I am also doing it on the front patio of Dark Juan Terrace.

Five hundred and fifty-odd words in then, and I have told you precious little about Scissorfight. Allow me to remedy this forthwith. Formed in 1995 in Portsmouth, New Hampshire, Scissorfight have had one mission and one mission only – to deliver the kind of kick ass rock and roll that makes you want to get your groove on and chase members of the human race that are way out of your league (YOUR league, obviously, for there are no people on this earth immune to the blandishments of Dark Juan on a mega charm offensive. Just ask the Ever Metal staff….) and drink beer and dance like it’s the last day of Homo Sapiens. “Doomus Abruptus Vol.1” is the first release by the band since taking an almost ten year hiatus, the selfish bastards. They play deceptively simple music, but they are too groovy for this earth. The sheer scale of the groove cannot be understated. The groove is everything. The production job on this album is frankly too fucking colossal to describe. The guitar sound is massive fuzzed out perfection, the bass face-vibratingly humungous and the drums have the kind of sound that you’ll hear when being repeatedly smacked against unyielding concrete by hydraulic rams controlled by an absolute sadist (Hi!!!). And then there is the vocal of one Mr. Doug Aubin. A man possessed of a voice so gravelly, tarry and huge, it is reported that most of the state of Maine’s roads were resurfaced with it.

Every song is fucking brilliant, if you like tongue in cheek lyrics, the ultimate in groovy song arrangements and not too heavy you will probably love the fuck out of this. If you enjoy pasty faced, scrawny, screeching small people in extreme metal bands, you’ll hate this with the kind of passion that only the most austere and martial black metal can bring you. However, if you appreciate a wall of noise blasting you clear into the wall  five metres behind you whilst liquefying your internal organs with the power of bass, you’ll fucking love it. Stand out songs are ‘Coagulus’ (what your blood will be doing as it pools around your rapidly cooling corpse after the unholy aural assault you have just experienced) and ‘Where Eagles Drink’. Any song about drinking gets my vote. Anyway, you get sleaze, melody, some of the greatest gruff yet melodic vocals ever committed to record and riffs. The fucking riffs. Riffs of majesty and splendour. Southern tinged riffs of such magnificence you will go into a riff induced coma and when you wake up again all you’ll hear is Scissorfight riffs ad infintum in a bizarre kind of riff tinnitus.

Well done, you exemplary bastards. Well done.

The Patented Dark Juan Blood Splat Rating System is feeling so groovy right now it feels like it really should be a member of George Clinton’s Parliament. 9/10 for one of the most fun records I have heard in years.

TRACKLISTING:

01. Caveman Television (Looking out of the cave entrance?)
02. Dumpfight (I clearly have a sick mind considering the image in there.)
03. Coagulus (And again. Gutter, my head. Filthy gutter.)
04. Rock And/ Or Die (I will just fucking rock, chaps. I’m living forever.)
05. Where Eagles Drink (Would that be Colonel Suslov’s Grey Eagles? Or the Philly Eagles?)
06. Piss In The Wind (The story of the life of Dark Juan’s bank balance.)
07. The Battle Of (Mudhole Mountain) (Really need to do some kind of wholesome activity.)
08. Lead Venom (On a lead with a collar?)
09. Whatcha Get (When you end up with a demented Englishman reviewing your album.)

LINE-UP:

Jay Fortin – guitar, multi-instrumentalist
Paul Jarvis – bass
Doug Aubin – vocals
Rick Orcut – drums

LINKS:

www.scissorfight.com/
www.facebook.com/Scissorfight2016/
www.instagram.com/scissorfight2020/
www.youtube.com/channel/UCg_LS_xevXv4jUVPXOiatGw

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.

Scarlet Aura- Stormbreaker

Scarlet Aura- Stormbreaker
Silver City Records
Release Date: 27/03/2020
Running Time: 54:06
Review by Tsarina Wilson
10/10

Well I hope you are all ready for the return of Scarlet Aura because they are back with a bang and a loud one at that. Their new album “Stormbreaker” is like a very heavily shaken can of beer which erupts as soon as the opening track starts and doesn’t stop until the last note of the final song. First track ‘The World Is Not Enough’ is an instrumental but from the first vocal track ‘Metal Hell’, with Aura’s husky, but such powerful, voice you are completely drawn in and from then on, its pure metal all the way!

For those of you who may not be familiar with Scarlet Aura (where have you been living) you are in for a treat. Fronted by Aura Danciulescu, who has the voice of a metal angel, she is joined by Mihai Danciulescu on lead guitar and vocals, Rene Nistor on bass, guitar and vocals and last, but not least, Doru Gheorghita on drums. They are from Bucharest, Romania and pack a potent punch.

“Stormbreaker” continues the trilogy of “The Book of Scarlet”, which consists of three albums and accompanying fantasy books. “Hot n Heavy”, which I was also lucky enough to review, was the first album in the trilogy and was released in 2019 alongside first book “The Book of Scarlet-Ignition”. The books are written by Aura and combine song lyrics and the story of “Scarlet”, so you get an insight into their Metal/Rock world, it uncovers their storyline and for any fan it’s an absolute must.

It features the previously released single ‘High In The Sky’, which was debuted on their summer tour in 2019. It may start like some metal ballad but don’t be fooled by that and Aura’s vocal range is mind blowing. One thing I have found with all of their music is, no matter how intense it is you can hear every word that is sung! With this particular track I can imagine lighters/torches in the air and people singing it at the top of their voices.

One of my favourites is ‘Daddy’s Lil Monster’ this track has it all including great guitar riffs and drumming. It contains the line “I’m on your skin to skin like a spell” and this track will get under your skin and stay there; you won’t get it out of your head and will be singing it for hours. However, I think once you listen to ‘Scarlets United’ you will be hooked totally and this album will be on permanent repeat! This track is like a fan call and if we are all invited to be part of Scarlet United, well I’m signing up to be a part of it.

No matter which is your favourite track you cannot get away from the intense musicianship which sometimes overwhelms you. Not many Rock/Metal bands can combine catchy yet compulsive listening like Scarlet Aura do. Tracks dig into subjects that many bands don’t seem to cover from personal feelings of love to having the courage to do things and they aren’t scared to cover the journey of things that not only trouble others but themselves as well. Most of you would have heard of the quote “Music soothes the soul”, well Scarlet Aura are a band that do that for me. You can sit back and chill out to a track while the next has the hair on your arms standing on end and the next has you with your fist in the air.

Is it possible to sum up “Stormbreaker” in a few words? Powerful, mind blowing and unique come to mind but that doesn’t begin to cover it. Scarlet Aura go from strength to strength with each release and Aura makes a good point in one of her comments “Music heals the spirit, metal heals the heart”; yes, you are so right.

Scarlet Aura will be on tour in Spring 2020 which will see them playing through Germany, Switzerland, France, United Kingdom, Czech Republic, The Netherlands and Austria together with Visions of Atlantis and Edenbridge along with solo album release shows in Romania and Bulgaria. Beyond that they have already announced tour dates for the Autumn where the band will join Primal Fear and Freedom Calls, as guests, for 24 concerts in 10 countries during September-October 2020.

TRACKLISTING:

01. The World Is Not Enough
02. Metal Hell
03. Battle Cry
04. Stormbreaker
05. Loose Cannon
06. I Am The One
07. High In The Sky
08. The Heretic
09. Daddy’s lil Monster
10. A Blast From The Past
11. Scarlet United

LINKS:

http://www.scarletaura.net/
https://www.facebook.com/scarletaura
https://www.facebook.com/groups/scarletsunited/
https://www.instagram.com/scarlet_aura_/
https://www.youtube.com/scarletaura/
https://twitter.com/Scarlet_Aura_

Disclaimer: This review is solely the property of Tsarina Wilson 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.