Ross The Boss – Born Of Fire

Ross The Boss – Born Of Fire
AFM Records
Date: 06/03/2020
Running Time: 45:22
Review by Victor Augusto

It has not been a long time since I saw a few videos of Ross The Boss playing in great festivals, mostly with cover songs from his old band, which was an interesting reminder of the music from one of my favourite bands, that I listened to exhaustively during my childhood. If you don’t know who Ross The Boss is, he originally played guitar in Manowar, who had a great and controversial history during the 1980’s. Another thing that many people maybe don’t know is that, during the 1970’s, he was in a Punk Rock/Hardcore band too. It was a surprise to me that his band was about to release their fourth full album, and it made me a little angry that I’ve never heard his work on this project before, considering how much of a fan I am.

Despite the title, “Born Of Fire” isn’t a copy of what Ross played in the past. First, let’s talk about the team in this band. It’s brought together great names, like Mike LePond (bassist for Symphony X, Mike LePond’s Silent Assassins), and brought a great dynamic to the music, mixing aggressiveness with skilled technique. Steve Bolognese adds to the Thrash Metal spirit, fleeing from the traditional drum lines of Power Metal. Of course, with Marc Lopes you would expect to hear a typical Classic Heavy Metal/Power metal singer with that kind of gummy voice, but surprisingly, it’s not. Marc has a new power to his vocal, reaching the high notes and adding some screams, which reminds me of Metal Church. His interpretations are great and deliver some good excitement for those who like a heavier kind of vocal.

The album production is excellent, with all instruments sounding loud and clear. The songs are far from old-fashioned Classic Metal and have a mix of progressive and power metal elements, together with a thrash Metal spirit. It’s beautiful to see Ross still playing fast and incredibly well. His solos are amazing, with a lot of feeling and technique. Seriously, everything here sounds simple, but has complex structures at the same time, making it seem that more than one guitar player is not necessary to create remarkable music.

Some epical tracks, like ‘Maiden Of Shadows’, show off Ross’ roots, nodding to things that he used to play, but songs like ‘Glory To The Slain’ and ‘I Am The Sword’ bring a more aggressive sonority. The title track ‘Born Of Fire’ has a melodic chorus, which is easy to memorize and sing along to. Slowing down the cadence, ‘The Blackest Heart’ reminds me of old Black Sabbath, just with less doomy parts. The thing that stands out is that, despite the genre explored in each song, all tracks have an extra dose of aggressiveness!

Without exacerbated virtuosity, what you hear is pure and good Heavy Metal, as it should be! Great riffs, heavy, and very well played. For me, it’s awesome to see Ross The Boss burning his guitar again, with so many precise solos, and with other greats as bandmates, who just increase the beauty of this album. “Born Of Fire” is an incredible work with potential to show the world just how amazing Ross The Boss, the band, has become.


01. Glory To The Slain
02. Fight The Fight
03. Denied By The Cross
04. Maiden Of Shadows
05. I Am The Sword
06. Shotgun Evolution
07. Born Of Fire
08. Godkiller
09. The Blackest Heart
10. Demon Holiday
11. Undying
12. Waking The Moon


Ross The Boss – Guitars, Keyboards
Mike LePond – Bass
Marc Lopes – Vocals, Keyboards

Steve Bolognese – Drums


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.

Visigoth – Conqueror’s Oath

Conqueror_s Oath Cover

Visigoth – Conqueror’s Oath
Metal Blade Records
Release Date: 09/02/2018
Running Time:
Review by Dawn “The Metal Priestess” King

As many of you who have read my previous reviews will know, there are two genres of metal that I am particularly fond of. One is thrash, and the other is power metal, and Visigoth fall into the second of the two.

Now, being a power metal fan, I personally believe there are two distinct types of power metal, the first being the Hammerfall / Blind Guardian / Iron Saviour-esque metal that the Europeans and Scandinavians are so good at producing. The second could only be described as the cheesier type of power metal, you know, the kind that Manowar make…. hail to the king and all that?!

Well, Visigoth fall somewhere in between the two!

Formed in Salt Lake City, Utah in January 2010, they released their debut album “The Revenant King” in 2015 and earned themselves an underground following worldwide with their impassioned and electric live shows, performing at the highly esteemed Keep It True, Frost and Fire and Pounding Metal festivals, sharing the stage with Metal Blade legacy acts and inspirations Cirith Ungol and Omen.

In the words of their own press release, they have dedicated themselves to “worshipping at the ageless altars of heavy metal with a singular focus on writing music inspired by their favourite records,” and because of this, they wear their influences proudly on their sleeves.

Music to me is all about making the listener feel something and if an album can make you envisage a scene or storyline in your head, just like reading a book can, then the music makers have done their job.

This album is a typical “steel and glory” offering, the kind that conjures up images of hammers, axes and swords, of burnt and pillaged towns and of screaming and crying women and children, with heroic themes of conquest and adventure.

The booming baritone of vocalist Jake Rogers is the driving force of the band and, alongside the consistent drums and duelling guitars, with their savoury harmonies and meaty riffs, brings a larger than life energy to the songs.

This is an album of “8 iron-forged anthems of pure metal magick, guaranteed to satiate the hunger of the rock ‘n’ roll hordes.”

It was recorded at the Boar’s Nest with engineer extraordinaire Andy Patterson (Subrosa, Deathblow, Dreadnought) and mixed by Dave Otero of Flatline Audio (Satan’s Host, Nightbringer, Khemmis) The breath-taking cover artwork was designed by underground album art legend Kris Verwimp, whose work has also graced the covers of records by Absu, Bewitched, Desaster, Horna, Moonsorrow, Skullview, Arkona and many more.

This is a good, old-fashioned album full of solid heavy metal, from the slow and triumphant anthems such as Steel and Silver, the faster paced tracks like Warrior Queen. The band sound like they were formed decades ago, despite being a newish band, and although this album brings nothing new to the table, if you want to stick an album on and reminisce about the simpler times of heavy metal, then this is the album for you.

It is a juggernaut of pure American true metal done right. The only thing that really lets this album down is the track “Salt City.” Not because it is a bad song, I actually quite like it, but it doesn’t seem to fit in with things and it distracts you from the unstoppable march that has been the rest of the album.

This doesn’t, however, mean that you shouldn’t give this album a listen, because, if you are a power metal fan of any sort, you definitely should.

A mix of Manowar and Hammerfall with a hint of NWOBHM and traditional heavy metal can’t be all that bad now can it?

01. Steel and Silver
02. Warrior Queen
03. Outlive Them All
04. Hammerforged
05. Traitor’s Gate
06. Salt City
07. Blades in The Night
08. The Conqueror’s Oath


Promo Pic1

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