Vega – Anarchy And Unity

Anarchy And Unity Album Cover Art


Vega – Anarchy And Unity
Frontiers Music srl
Release Date: 17/09/2021
Running Time: 48:39
Review by Beth Jones
10/10

Vega have been a staple for me since seeing them live at Amplified in 2017. They deliver a fabulous early Bon Jovi-esque sound, which is right up my street. So, every time a new release from my favourite British Melodic Hard Rockers pops up, I grab it without a second thought. And here we are chatting about them again, in the shape of their seventh studio album, “Anarchy And Unity”. This album brings with it two new band members, Billy Taylor (ex-Inglorious) on guitars and Pete Newdeck (Nitrate, Midnite City) on drums, and for me, their arrival has reinvented and rejuvenated Vega’s already excellent sound, which I’m very happy about.

This album is a voyage into more ambitious territory I feel. They’ve taken the already highly set bar, and raised it a little more (ironically, this is a lyric in ‘C’mon’). This is their most complete and well-rounded album to date. Everything from the actual songwriting, to the playing, and production, seems to have hit the sweet spot here, and I really can’t fault it. So, I’m going to give you a rundown of some of the highlights for me.

The album opener, ‘Beautiful Lie’, is a hard-hitting up-tempo track, which is delivered with ferocity musically, and Nick Workman’s vocals are just fabulous. Gravelling, gritty lower end tones, and then impressive richness in the soaring higher vocals. He has a fabulous range. This track is also full of great vocal harmonies, and classic 80’s Hard Melodic Rock sounds, and an awesome guitar solo.

‘End Of The Fade’ is an absolute banging power ballad. It’s got a sinister minor undertone in the verse, and the chorus throws in a minor cadence, which I just love. Again, I am in awe of Nick’s vocals, as well as the fullness of the instrumentals. It’s a really satisfying track, which I keep going back to.

‘Welcome To Wherever’ is completely Bon Jovi through and through. I don’t really need to say anything else, but it’s a great track. It’s got some superb keyboard moments too. ‘Live For Me’ is another great standout ballad to start, but with a hard edge, that moves everything to a more up-tempo middle section, with a properly good guitar solo.

I’m loving the mix of upbeat and ballad tracks on the album as well. It makes it really easy to listen to and get lost in. And the production is crystal clear throughout, with everything balanced and placed masterfully.

Track 10, ‘C’mon’ explores new territory, switching between Jazz and Rock in an ingeniously smooth way. Groovy! And why the hell not – it’s exciting and alive. Honestly, there is nothing not to like about this album. Every track is a banger. If you like Melodic Rock, and are partial to a bit of Bon Jovi (I should probably point out that I LOOOOOVE Bon Jovi, and one of my favourite ever gigs was seeing them in the Etihad Stadium in 2013) then you will love this album, and Vega in general. They should be huge. They should be playing stadiums around the world. End of. LOVE IT!!

‘Ain’t Who I Am’ (Official Video)

TRACKLISTING:
01. Beautiful Lie
02. Sooner Or Later
03. End Of The Fade
04. Ain’t Who I Am
05. Welcome To Wherever
06. Bring The Riot
07. Live For Me
08. Kneel To You
09. Glow
10. C’mon
11. Had Enough
12. 2Die4

LINE-UP:
Nick Workman – Vocals
Tom Martin – Bass
James Martin – Keyboards
Marcus Thurston – Guitar
Billy Taylor – Guitar
Pete Newdeck – Drums

LINKS:

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.

Ghosts Of Sunset – No Saints In The City

No Saints In The City Album Cover Art

Ghosts Of Sunset – No Saints In The City
Golden Robot Records
Release Date: 14/09/2021
Running Time: 41:40
Review by Beth Jones
9/10

There’s something so comforting about familiarity, isn’t there? Familiar tastes and smells. A go-to song when you need a sonic hug. Your own bed when you arrive home after a trip. It’s a warm fuzzy feeling; nostalgia that puts you in your happy place and takes you back to good days and good times. Ghosts Of Sunset, our subject here today, basically epitomize that nostalgic familiarness, and wrap it up in a cosy bow for the listener. I had the pleasure of reviewing their EP “Headed West” earlier this year, and having the chance to trip down nostalgia lane again by reviewing “No Saints In The City”, their latest release, was something that I couldn’t let pass me by.

In case you didn’t read my EP review (tut tut. Don’t worry, there’s a link at the bottom of this review so you can rectify that) here’s a bit of history. Ghosts Of Sunset are an American 80’s Rock/Hair Metal project featuring singer-songwriter John Merchant, and drummer Todd Long. These two gents have been kicking it in the music business for a long time and were joined on the EP by some classic names. “No Saints In The City” has come about after the roaring success of that EP. And I’m very glad it has. While this isn’t as conceptual as the EP, each song tells a melancholic story of times gone by, but in a happy and upbeat way, that is 100% classic hard rock and hair metal, but that also draws inspiration from 70’s punk and rock ‘n’ roll.

This is an album that not only brings back the sound of the 80’s completely, but demonstrates some fine writing skills, both lyrically and musically. It’s got high octane numbers, and classic ballads. It’s got face melting guitar solos, catchy riffs and hooks, great vocal harmonies, punchy rhythms and gravelly, rocky lead vocals, that tell of long nights fuelled by rock ‘n’ roll! It is impossible not to tap your feet and nod your head along to the sounds, nothing is fussy or overcomplex, and nothing outstays its welcome.

One of my favourite tracks on the album is title track, ‘No Saints In The City’, which was actually the first single released from the album. It’s an up-tempo ballad about the quest for the protagonist to “make it” on the streets of New York City. It’s masterfully put together, and tells a great story, in such a familiar way that you will be singing along by the second line of the chorus. (The elephant in the room with this song, however, is the fade out at the end [*sighs and facepalms*]. Please don’t fade…please, please, please! It irritates the living hell out of me!)

This really is a great album that makes you smile. There’s one weird song opening that I can’t get my head around though – on, ‘Bastards Of The Bowery’. It sounds like an early 2000’s Nokia 3310 ringtone. And since connecting that thought with the opening of this track, I can’t unhear it!

But, if you’re looking for a nostalgia trip done brilliantly well, this album needs to be in your playlist.

‘No Saints In The City’ (Official Video)

TRACKLISTING:
01. Tonight
02. No Saints In The City
03. Look Me Up (If You Come Down)
04. If You’re Not Coming Back
05. Queen Of Used To Be
06. Love Ain’t Enough
07. Bastards Of The Bowery
08. Puzzled Heart
09. Tonight You’re OK
10. Us Against Them
11. Something To Believe

LINKS:

LINK TO BETH’S REVIEW OF THE “Headed West EP”

Ghosts Of Sunset Promo Pic

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.

All Seeing Eyes – Reinventing Time

Reinventing Time Album Cover Art

All Seeing Eyes – Reinventing Time
Self-Released
Release Date: 16/08/2021
Running Time: 52:02
Review by Beth Jones
6/10

All seeing eye are a Progressive/Power Metal duo from Hertfordshire and Cambridgeshire right here in good old Blighty. We don’t get many Eurometal style bands coming out of our little island for some reason, I think possibly our failure to embrace the more flamboyant side of Metal in case we don’t look ‘cool’ enough. Well, personally, I’ve never been one for looking cool, so I love it when some homegrown metal like this lands in my review pile.

This is only the band’s second album, despite having existed for nearly a decade. A hiatus put things on hold, but, after their original keyboard player left, they decided to carry on as a duo.

So, to the album in hand. There’s a lot of influences in it, definitely – from Classic Heavy Metal, with Euro Power vocals, modern guitar crunch, and even some late 90’s Grunge. It’s certainly a unique plethora of sounds mixed together. It varies from track to track, too, keeping it interesting.

Musically, the songs are great, and there are some moments of brilliance, Ben Colton’s vocals and the guitar solos being prime examples. But I’m struggling with the overall mixing of the album. There are some issues here, that kind of spoil things for me. They’ve recorded it in their home studio, and mixed it themselves, which they deserve credit for…but then, due to the situation we have found ourselves in, so have a lot of bands over the last 20 months. I think the track, ‘Perspicacity’ is probably the most successful on the album because everything is at roughly the same level. It’s a decent song, too. Lots of different elements, from 70’s Progressive to Thrashier sections. However, in other tracks, it can sometimes be difficult to pick out the vocal line, the keyboards are too full on, or the snare sounds like a tin can. It’s a big shame.

The final track, ‘A Sequence Of History’, is pretty impressive at over 15 minutes in length, and doesn’t suffer from too many production issues. This starts quite Iron Maiden like, with pacey rhythms and guitars. It then alternates between this, and sweeping sections that feel more Euro Prog Power. It’s an epic song, and I can see it being spectacular live.

If you like Power or Prog there will definitely be something on “Reinventing Time” for you, but it hasn’t connected with me in the way I had hoped. I don’t like being negative because music is life. But, at the moment we are being spoilt with real quality, in terms of production, from so many bands, and that turns us into music snobs.

‘This Is Cypher World’ (Official Video)

TRACKLISTING:
01. Welcome To Cypher World
02. Proselytized
03. Love Is Illusion
04. The Gift Of Madness
05. Perspicacity
06. Ghosts Of Yesterday
07. Angel Fires
08. A Sequence Of History

LINE-UP:
Ben Colton – Vocals/Lead Guitar
Kenny Fraser – Lead Guitar/Bass

LINKS:

All Seeing Eyes Promo Pic

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.

Bring To Bear – Light And Shadow EP

Light And Shadow EP Cover Art

Bring To Bear – Light And Shadow EP
Self-Released
Release Date: 08/10/2021
Running Time: 11:58
Review by Beth Jones
7/10

Good evening my fellow humans, how the hell are you? I hope this review finds you well, in good spirits, and in the mood for some more METALLLLLL! If the answer is yes, and you happen to like a bit of Symphonic Folk Metal, then you’re in the right place, as tonight’s review subject are a fledgling band, in that genre, from right here in the UK. When I say fledgling, I mean that they are very, very new. Having formed with, nearly their full line-up in January this year, only adding final member, bassist Richard Knight in July and this is their debut release. And, in fairness, it’s a pretty accomplished three track EP.

Opening with ‘The Shadow Ruse’, we’re launched straight away into a tempestuous Viking jaunt. Powerful rhythms and rumbling bass lines are topped by pacey guitar riffs, synth strings, and interspersed with clean and growl vocals, which cement the idea of the contrast and relationship between light and dark. It’s got a really catchy hook to it as well. A good opening track, although I think there is more to give. It’s a little tentative. But it is the debut song on the debut release from a band who’ve only been working together for 10 months, so I’ll let them off.

“What better way is there to infinitely improve a Queens Of The Stone Age track than to Accordion Metal it up?” is a question I ‘ve often asked, but until now have never had answered. As if by some telepathic masterstroke, that is exactly what Bring To Bear have done with ‘No One Knows’. Now, I’m not usually a fan of cover versions, but this one’s flipping mega! Again, thunderous, symphonic, and pacey, but with added accordion! They have completely made it their own.

…But, my favourite track by far, is the final one, ‘From The Abyss’. The other two are good, but this steps it up a level. It’s fuller and more powerful than its predecessors, and full of great riffing, and tribal battle cries. Bring on the war, release the ships, and drive forward to command and conquer! This is proper meaty, folky, symphonicy stuff. More of this please!

Aside from the actual sound, this is a well-constructed brief introduction to a band who I think could make a big name for themselves. It’s recorded, mixed, and produced well, and makes you sit up and listen. I look forward to more of this from Bring To Bear in the future!

TRACKLISTING:
01. The Shadow Ruse
02. No One Knows (Queens Of The Stone Age Cover)
03. From the Abyss

LINE-UP:
Izabela Smyt – Lead Vocals
Ian Tarboton – Accordion, Keyboard & Growls
Hristo Nikolov – Guitar
Nikiforos Rotas – Guitar
Richard Knight – Bass
Simon Jones – Drums

LINKS:

Bring To Bear Promo Pic Photo by Nikiforos Rotas
Photo by Nikiforos Rotas

BRING TO BEAR ‘No One Knows’ Exclusive Video Premier:

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.

Deadglow – Machine Skin/Your Blood (Parts 1-3) Dual Singles

Machine Skin, Your Blood (Parts 1-3) Dual Singles Cover Art

Deadglow – Machine Skin/Your Blood (Parts 1-3) Dual Singles
Self-Released
Release Date: 01/10/2021
Running Time: 17:02
Review by Beth Jones
8/10

Hello, my lovelies, I’m here voicing my opinion again. Now, we don’t usually review singles, but today’s subject is slightly different. It’s a dual single release – what would have been a double A side in the good old days – and it’s prog, so is just over 17 minutes long. In my book, that counts as an EP, and I co-own this site and make the rules, so there!

Disclaimer out of the way, let’s talk music! Deadglow are a Progressive Rock/Alternative Metal trio from Oulu in Finland, an area of the world that has a habit of producing some pretty epic musicians. This dual single release is a precursor to the release of their debut album, “Machine Skin”, on 29th October. I have to say, that listening to these two tracks has whet my appetite for the upcoming release, which I will be gladly snaffling off our review pile! So, what are Deadglow all about?

Well, instantly, I’m getting Pink Floyd vibes – the soaring guitar solos, steeped in echo and sumptuousness. But that’s melded with a darker, and more modern tone on percussion, and a more gothic element in the vocals.

‘Machine Skin’ begins with some very 80’s prog synth, with a pulsing rhythm. Then, without warning, it drops into a complete rhythm change, melding 80’s anthemic rock ballad with Floyd-esque guitars. It’s straightforward from this point, and a nice listen. Great vocals, and vocal harmonies, bags of echo, but a strong rhythm holding everything together. There is some impressive guitar work here too, from soring solos to dual harmonised sections.

‘Your Blood (Parts 1-3)’ is much darker. Beginning with a single, Hammond style, synth chord, joined by guitar (this really couldn’t get any more Pink Floyd influenced if it tried). But then along comes the heavier toned drums, giving it a modern twist. And when the vocals hit, it’s very 90’s gothic. Think Nick Cave doing a guest spot with Pink Floyd, and you’re somewhere in the right area. Personally, I think that would be spectacular!

I like this a lot. It’s different, yet familiar, all in the same breath.

We are very much looking forward to the videos that accompany these tracks and to reviewing the album.

TRACKLISTING:
01. Machine Skin
02. Your Blood (Parts 1-3)

LINE-UP:
Simo Lukkari – Lead, Rhythm & Bass Guitar
Juho Mikkonen – Drums, Percussion
Jukka Ruottinen – Vocals

With Guests:
Sami Perttunen – Co-Lead guitar on ‘Machine Skin’
Mika Pohjola – Keyboards

LINKS:

LINK TO OUR INTERVIEW WITH DEADGLOW:

Deadglow Promo Pic (Credit Sami Perttunen)
Photo by Sami Perttunen

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.

Leprous – Aphelion

Aphelion Album Cover Art

Leprous – Aphelion
Inside Out Music
Release Date: 27/08/2021
Running Time: 56:02
Review by Beth Jones
10/10

Certain areas of the world seem to have an outstanding ability to produce astonishing musicians, Norway being one of them. Maybe it’s the dark nights, rugged and vast scenery, or temperamental and often tempestuous weather that inspires the melodies out of their composers, maybe it’s the diet or way of life that feeds the creative mind or perhaps it’s purely coincidence, who knows. But the goodness of whatever it is, that brings forth such art, makes me an incredibly happy Beth indeed.

Leprous, one of Norway’s more recent, and arguably one of its finest, musical groups have been releasing music since 2009, and their most recent offering, “Aphelion” has just been released. Now, I’m a little behind with my reviewing, so bear with me, and nod in agreement, if you’ve already purchased this album. If you haven’t, please read on, and then go and purchase this album, because it is something very special.

You can tell from the first few bars of opener ‘Running Low’ that this album is going to be an expressive and emotive listen. Dark cinematic piano and sparse percussion set the opening, with the powerful but delicate vocals of Einar Solberg cutting through above anything else. Ebbing and flowing like the swelling of the incoming tide, this intriguing and masterfully written, and played, song lets the listener know that this album means serious business. It will challenge your mind, as well as your musical appreciation, with its intricacies.

And this is really how the whole album works. At the forefront, delicacy and intricate thought, coupled with immense skill and musical maturity, create a sound that really is stunning. I am in complete awe of Einar’s vocals. His voice is so unique, with a pure and crisp sound that he controls superbly well, so nothing is ever over or under-done. It is almost as if his singing is entirely controlled by his emotions, which in itself is paradoxical, as emotion is so uncontrollable. The inspiration for most of the compositions on this album have come from Einar’s own personal struggles with anxiety and depression, and every song does have a deep connection to feeling, whether it’s through the composition, instrumentation, or lyrics.

Every track on this album is simply perfection. Driven by piano and vocals – which are both hugely important to me – it explores heaviness in contrast with gentleness, pace in contrast with pauses, rhythm in contrast with freeform, and the full expanse of dynamics. It’s hugely cinematic, and symphonic, and would be fascinating to see performed live at some of the great opera houses around the world. I can only imagine how immersive it would sound in the likes of the Royal Albert Hall, or Sydney Opera House.

There are a couple of tracks that I’ll mention, even though this is an album of greatness in its entirity. ‘Have You Ever?’ is first. I love the low rumbling bass that sits in this track. It’s the sort of bass that makes your ribcage vibrate. This track also sits somewhere between Progressive Rock, Jazz, and James Bond theme music, which is just spectacularly bonkers, and very brave.

The other track that I want to mention is ‘On Hold’. Musically, it’s probably the most straightforward on the album. But its mastery is in the lyrics. A beautiful melancholy monologue about feeling stuck in desperation. A feeling that a lot of us can relate to, I think. I know I certainly can. It’s just so emotive… So breathtaking…

“Aphelion” is next level musical connection, and I’m completely blown away by it. Expect to see this album appearing in my top ten of the year… Thanks, Leprous, for creating music that provides solace. It is timeless, and genre-less, and reaches the next level of consciousness and healing. Slightly less thanks for making my job of picking an album of the year harder than it already was…But I’ll forgive you because this is sublime!

‘The Silent Revelation’ (Official Video)

TRACKLISTING:
01. Running Low
02. Out Of Here
03. Silhouette
04. All The Moments
05. Have You Ever?
06. The Silent Revelation
07. The Shadow Side
08. On Hold
09. Castaway Angels
10. Nighttime Disguise

LINE-UP:
Einar Solberg – Vocals, Keyboards
Tor Oddmund Suhrke – Guitars
Robin Ognedal – Guitars
Simen Børven – Bass
Baard Kolstad – Drums

LINKS:

Leprous Promo Pic

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.

Tragedy – Disco Balls To The Wall

Disco Balls To The Wall Album Cover Art

Tragedy – Disco Balls To The Wall
Napalm Records
Release Date: 30/07/2021
Running Time: 57:55
Review by Beth Jones
8/10

I love funny stuff. I love tributes. I love disco. Three facts about me that I never thought would come in handy when combined. Turns out I was wrong, because New York City based Disco Metal band, Tragedy, require their listeners to like all three of the aforementioned things, alongside good old fashioned Heavy Metal. The latest release from this madcap bunch of loud shirted metal lunatics is “Disco Balls To The Wall”, a homage to that most energetic of eras, which utilizes a host of Rock and Metal genres to breath new life into some legendary dancefloor boogey classics. Everything from Abba to Bonnie Tyler put in an appearance, all with a new reimagined twist of tongue in cheek-ness.

This isn’t going to be a long review, because we already know these tunes inside out, from the number of times the original tracks have been played on radio station, at school discos and wedding receptions, and at every single office Christmas party the world over. So, I’m just going to give you my highlights – the ones where I found something clever and unexpected. But before I do, I will say that if you need something to listen to as a pick me up, you should just stop reading here and go and listen to it for yourself, because I can 100% guarantee it will do the job.

My first highlight comes early in the album, with ‘You’re The One That I Want’. Yes, it is the classic Disco Rock ‘n’ Roll track from the 1978 Hit Musical, “Grease”. But imagine, if you will, that Ozzy Osborne was playing Danny, and Black Sabbath were the T birds, and Gene Simmons was playing Sandy, with the rest of KISS as the pink ladies, and they decide to join forces and rebrand as Glam Punk for the choruses. That pretty much sums up this track, and really sets the tone for the rest of the album.

‘Raining Blood/It’s Raining Men’ is another comedy classic, which would be the obvious product of The Weathergirls getting absolutely monster drunk with Slayer and deciding to do a Christmas single Mash-up together but met in a middle ground that wasn’t quite as extreme or pop-friendly as either of the original tracks. Face-melting riffs next to disco lyrics. Classic!

‘How Deep Is Your Love’ gives more than a gentle nod to Rainbow, ‘Tragedy’ lives in the realms of classic 80s Hair Metal, and ‘Dancing Queen’ hangs about in Melodic Rock territory. Then, to close the album we get the high octane, Classic Heavy Metal of ‘Hot Stuff’…Genius.

Overall, a great album to just have fun to, and by God do we need that in our lives.

‘Raining Blood/It’s Raining Men’ (Official Video)

TRACKLISTING:
01. Gimme! Gimme! Gimme! (A Man After Midnight)
02. You’re The One That I Want
03. Evil/Baker Street
04. Stayin’ Alive
05. Sweet Caroline
06. Raining Blood/It’s Raining Men
07. How Deep Is Your Love
08. Aquarius/Let the Sunshine In
09. Africa
10. Total Eclipse Of The Heart
11. Tragedy
12. Dancing Queen
13. Skyfall
14. Hot Stuff

LINE-UP:
Disco Mountain Man – Lead Vocals, Lead Keyboards
Mo’Royce Peterson – Lead Vocals, Lead Guitar
Andy Gibbous Waning – Lead Bass, Lead Vocals
Garry Bibb – Lead Guitar, Lead Vocals
The Lord Gibbeth – Lead Drums

Lance – Towel Boy, Complete Idiot

LINKS:

Tragedy Promo Pic (Credit Michael Blase)
Photo by Michael Blase

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.

Maitreya – Hyper Reels

Hyper Reels Album Cover Art

Maitreya – Hyper Reels
Self-Released
Release Date: 25/06/2021
Running Time: 48:55
Review by Beth Jones
8/10

I’ve said it before, and I’ll say it again – there is some damn fine music coming out of Canada at the moment, and much of it leans on the Progressive side of things, which pleases me a lot. Today’s subject band are a Progressive Metalcore band from Oshawa, Canada, and their recent release, “Hyper Reels”.

The band started back in 2011, as an instrumental project, but didn’t kick into life as Maitreya until 2016, and this release is their sophomore album. And a pretty damn fine album it is too.

It blends melody with noise, synth with pure dirty riffs, harsh and clean vocals, and frantic rhythms, to create an exciting listening experience. According to their track-by-track breakdown, this album is ‘a collection of dialogues exploring parallels between human consciousness and technological advancement. The music peaks and valleys to the polarities of turbulent and serene emotions of the human psyche.’ And there are certainly a lot of polar opposites explored here.

The opening track, ‘Catalyst’ begins with a catchy, melody driven synth section that you can imagine playing out in a Trace/Ambience club. But that soon gives way to some almost 90’s grunge riffs, then full on metalcore with guttural vocals, before reintroducing the ambience into the mix, alongside some technical progressive sounds and rhythms. What a great way to start an album. Hellishly groovy and exploratory.

From here, the album gets progressively more Progressive, and Technical, revealing the true Metalcore that really drives Maitreya’s sound. The tone of some of the guitar sections are also pretty Industrial sounding, which I think as yet another dimension to the sound. It’s chaotic and frenetic, and sometimes feels like the wheels are going to come off, but it always resolves into something perfect, dramatic, and huge. A great example of this on the track ‘Summit’, which works its way through multiple sections, to create something that’s perfectly balanced on the edge of catastrophe! It’s like that fine line between genius and madness.

Track 5, ‘Invaders’ has to be one of my favourites on the album. It begins with 8-bit style video game music, before smashing you in the face with screams and thumping rhythms and giving way to a sweeping melodic section. Matt Curtrara’s vocals are really put to the test in this song. But he’s clearly up to the challenge, because his clean vocals are strong and crisp, and his dirty vocals range from Low, guttural growls, to blood-curdling screams. That being said, every musician in this band is hugely talented. Everything is so complex and technical, and simply wouldn’t work without the level of skill that these guys have clearly got.

This is an album that builds and builds, to an almost impossible to comprehend level of sound, and contrasting elements, with a few notable ebbs, ‘Pilgrim’ being an example of this. While it’s still heavy, and technical, it’s not quite as chaos driven as the previous tracks, providing an intermission of sorts, before we’re launched back into the beautiful cacophony of ‘Flesh Engine’, on our journey towards the end of the album.

This is a very bold album, which challenges the listening brain with its complexities, in so many ways. If you like Technical Progressive Metalcore, you are going to very much enjoy Maitreya.

‘Summit’ (Official Video)

TRACKLISTING:
01. Catalyst
02. Departed
03. Radical
04. Summit
05. Invaders
06. Bloom
07. Pilgrim
08. Flesh Engine
09. Hyper Reels
10. Iswara

LINE-UP:
Matt McCabe – Guitar
Steve McMillan – Drums
Matt Cutrara – Vocals
Lyam Morrison – Bass
Mark Wylie – Guitar

LINKS:

Maitreya Promo Pic

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.

Acid Reign @Central Live Music Venue, Wrexham, 11/09/2021

Disclaimer: This photo album is solely the property of Beth Jones. It is strictly forbidden to copy any part of these images, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Reaper @Central Live Music Venue, Wrexham, 11/09/2021

Disclaimer: This photo album is solely the property of Beth Jones. It is strictly forbidden to copy any part of these images, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.