Recently, Maggy got the chance to do a Q&A with Kello González, bassist with Guadalajara, Mexico based Virtuoso, Instrumental Prog Metal/Rock Trio, Parazit. Big thanks to them!

What is your name, what do you do, and can you tell us a little bit about how you ended up doing it?

Kello González, bass player for Parazit. This started as an experiment, a project to work on all that music that didn’t fit anywhere else…

What Country/Region are you from and what is the Metal/Rock scene like there?

I live in Guadalajara, Mexico. Loud music is not an easy endeavour, so we try to navigate scenes without much heed to fads or genres.

What is your favourite latest release? (Album, EP, Single, Video)

I’ve been listening to Haken – “Virus”, Tool – “Fear Inoculum”, The Claypool-Lennon Delirium – “South of Reality”

Who have been your greatest influences, in music or in life?

I’m bass: Cliff Burton, Les Claypool, Flea, Geddy Lee and Justin Chancellor mainly.

What first got you into music?

In middle school I got hooked to Metallica’s “Justice” album. I started playing bass and finally felt like belonged somewhere…

Which current bands or musicians would you like to see collaborate on a record?

Les Claypool, Danny Carey, Tosin Abasi.

If you could go to any festival in the world, which would you choose and why?

Resurrection Fest, Hellfest or WOA. But as part of their line-up. 😊

What’s the weirdest music related thing you own?

Not weird but I’ve got drum sticks, picks, wristbands and a cymbal…trophies from Metallica concerts I’ve attended.

If you had one message for your Ever Metal readers, what would it be?

At this time and age, everyone stay strong and stay safe so we can all put these hard times behind us.

If you could bring one rock star back from the dead, who would it be?

Cliff Burton!

If you could change one thing about the music industry, what would it be?

Royalties from streaming and fair payment for musicians.

Name one of your all-time favourite albums?

Rush – “Moving Pictures”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

All have their pros and cons. Being able to enjoy music is the end goal

What’s the best gig that you have been to, and why?

Rush – Gibson Amphitheater – LA (2012)
Metallica – Foro Sol – Mexico City (2009)
King Crimson – Teatro Diana – Guadalajara (2019)

What do you get up to when you’re not writing/ taking photos?

Making bass guitar cover videos

Which five people would you invite to a dinner party?

Mike Patton, James Hetfield, Les Claypool, Maynard J Keenan and Geddy Lee

Jaffa Cakes? Are they a cake or a biscuit?

Haven’t had the pleasure, but the name says cakes, so I’ll go with that.

Thank you for your time. Is there anything else that you would like to add?

Stay healthy!


‘Asleep Reason Horror’ (Official Video)

Kello Gonzalez – Bass
Christian Gomez – Drums
Jose Macario – Guitar

Disclaimer: This interview is solely the property of Maggy S Nell and Ever Metal. It is strictly forbidden to copy any part of this interview, 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.

Monolith – Sentience

Monolith – Sentience
Release Date: 13/11/2020
Running Time: 53:10
Review by Beth Jones

Hands up who likes Progressive/Tech/Djent/Industrial/Electro Metal??!!! Ah good!! Me too! Well I’ve got a little something you might like.

Monolith is a one-man project that’s got all that and more. It’s the brainchild of multi-instrumentalist, and an old friend of mine, Nathan Hughes. And his debut album, “Sentience” has just landed. Formed as a project for his university degree in 2018, Monolith has grown into his ‘passion project’, culminating in this release. It’s a meld of everything, like one big metal caravan filled with whatever the hell you want, ready to set off on a trek to wherever the hell you want, down all the twisty and turny A roads and dirt tracks you can find! Metaphorically speaking!

The album explores a myriad of soundscapes, infusing synth effects with more traditional metal instrumentation. It starts with ‘Sentience I – Awakening’. The opening couple of bars sound like ‘2001: A Space Odyssey’, which I thought was pretty fitting for the direction this album is aiming to take. But it quickly becomes a guitar and drum driven track full of darkness and intrigue, as well as a myriad of complex rhythms and interlocking sections. A great start.

‘Lucid’ is up next. Groove funk central!! It starts off with drums and some pretty nifty bass licks, and then tumbles into groove laden guitar. But don’t get too comfortable, as some crazy synth then drills into your brain followed by a ridiculously complex rhythm section, then some full-on thrash! It’s impossible not to move to, but do NOT try to bang you’re head, as you will either a) get annoyed at yourself for going off beat, or b) look like you’re having some kind of episode.

‘Departure’ takes you on a much floatier and more calming journey to start with. Massive reverb on a solo guitar, with wave sound effects in the background, lead into bass synths, and a Pink Floyd style guitar solo that’s indulgent, but not to the point of it becoming tacky. It’s just peaceful. I likey. ‘Skyline’ comes next. This takes the crazy djent prog madness of the first two tracks, and the mellowness of ‘Departure’, and chucks them both together, purely because it can. It also has synth sax, again, because it can. Although, I’m a bit of an old fuddy duddy when it comes to wind instruments, because I was brought up in a house full of very proficient sax players, and synth versions of them grind my gears. They just sound corny. Sorry.

Anyway, moving on! In the middle of the album, at track 6, ‘The Elusion’ we’re introduced to some more new sounds. An almost 90’s grunge feel, cloaking, but not completely obscuring, the crazy proggy madness that we have been gifted with so far. Given the point in the album, and the track name, I think this is very cleverly thought out bit of placement. Possibly a metaphor for the ‘more socially acceptable’ version of ourselves that a lot of us over here in metal corner have to create in our day to day lives, in order to be accepted within ‘normal’ circles.

The next tracks, starting with ‘The Price Of Reality’, are a much darker journey. Slower than what has gone before, and with more trepidation. ‘The Price Of Reality’ using sludgy doom inspired sections, and ‘Lost’ making use of a minor key, an altogether slower tempo, and synth strings, giving it a stark and overarching feeling of sadness. Being a melancholy soul, this is my favourite track on the album. The musicality in the instrumentation really is superb here, and the progressions and cadences almost send it into the realms of a classical composition.

‘Cmd_Shutd0wn’ sees us heading swiftly back into Electro/Djent, and is hugely Gojira inspired. It’s only a small track, but it’s no less technical. It also marks the beginning of the reverse, which will bring us full circle to the sounds that opened this album. This is more noticeable however in the penultimate track, ‘Transcend’ which draws influence from everything that has already been introduced, and neatly packages it into a little under 4 minutes. ‘Sentience II – The Neon Dreamscape’, closes the album in much the same way, ending with the same synth sounds that we were first met with in the opening bars of the album.

Musically, this album displays the undeniable talents that Nathan has, as both a musician and a composer. It’s also superbly mixed and mastered, given that the sound is huge, but was basically put together in his bedroom. But, there is a fairly large elephant in the room, that I haven’t addressed as yet. This album, in its current form, is purely instrumental, and is crying out for vocals. While every track is masterfully constructed and played, there is a vocal shaped hole in them all, that needs filling to take this album to the next level. Maybe I’m biased as vocals are my thing, but for me, with vocals, this album would be a solid 10.

That said, if you like any of the aforementioned musical styles, you really should check out “Sentience”. With Monolith, and this release, Nathan has taken a really great step onto the metal project ladder.

01. Sentience I – Awakening
02. Lucid
03. Departure
04. Skyline
05. Overseer
06. The Elusion
07. The Price of Reality
08. Lost
09. Cmd_Shutd0wn
10. Transcend
11. Sentience II – The Neon Dreamscape


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.

Autocatalytica – Powerclashing Maximalism

Autocatalytica – Powerclashing Maximalism
Release Date: 16/10/20
Running Time: 37:30
Review by Steven Hooke

Progressive music in 2020 is a funny old thing. New music typically falls into one of two camps; the wild and frenetic mathcore side which consists of seeing how many notes you can play in a two and a half minute period before your fingertips catch fire, and the classically trained/musical theory side where you show off how many musical scales you know and most conversations people have end with “what do you mean you don’t know who Alex Lifeson is?” Inevitably, you’re going to get artists who try to emulate both, as is the case with New York-via-Boston four-piece Autocatalytica.

Having begun life as a musical outlet for guitarist and frontman Eric Thorfinnson, Autocatalytica soon formed into a more traditional band structure, albeit with an ever-changing cast of characters with up to 15 musicians contributing to the band over the years. The rather chaotic nature of the band’s origins (combined with the apparent and alarming thought processes of Thorfinnson) is reflected onto its sound, a heavily jazz-inspired progressive racket that stretches into the extreme levels of a Meshuggah or Between the Buried and Me and reaches all the way to the other end of the spectrum, rubbing shoulders with the likes of Steven Wilson or Cloudkicker.

As a result, it becomes such a bastard of a time trying to gauge the overall quality of an album like this because of the polar opposites trying to work together. “Powerclashing Maximalism” opens with ‘Borndun’, a crushing opening track that sounds like Meshuggah fronted by Avatar’s Johannes Eckerström playing the hits of Protest the Hero. And much of the first half of the album remains of this ilk, it is consistent in its inconsistency, utilising an avant-garde approach to song structure that keeps you on edge for what madness they conjure up next.

When you hit track four ‘Cheggo’ though, that’s when the avant-garde side of Autocatalytica really kicks in. An instrumental barrage of classic prog rock, guitar effects, some brass instruments, and maybe even a cheeky bit of organ in there for good measure. It is impressive for sure, but it edges too far into the world of “I’m a Grade 8 in guitar”, especially coming so soon after the extreme metal influences seen earlier in the album.

‘Dukka Dukka’ does better at finding that middle ground that “Powerclashing Maximalism” seems to be searching for, drawing comparisons to BTBAM’s “Automata I & II” albums from 2018, where the two sides of prog are used to build towards each other instead of fighting for attention. But then the final third of the album breaks down once again, losing a lot of the momentum re-established by ‘Dukka Dukka’. ‘Bananas Have Potassium’ (great title by the way) is equal parts classical music used for an end credits sequence of a game, street busker and cat walking on a piano; ‘Crawboi’ is a half-decent attempt at recreating “Ki”-era Devin Townsend Project (complete with their own Ché Aimee Dorval-equivalent); and ‘Graveo’ is the kind of idyllic music that’s usually played over a babbling brook or something.

“Powerclashing Maximalism” feels like what would happen if you tried to compress Opeth’s entire back catalogue into one album. For some, it’s a wet dream. For others, it’s an acute bout of vertigo. Multiple times during this write-up alone, the grade for this album has changed from a 6 to a 7 even to a 5 just because of how much is going on. Dedicated prog folk and those with more affiliation for jazz will view this album much differently, but for the filthy casuals, the pacing is a little jarring, good ideas and healthy inspirations are there but mismanaged, and there’s a distinct lack of killer hooks to really latch on to. Good songs like ‘Borndun’, ‘Trash Serum’ and ‘Dukka Dukka’ are worth sticking around for though.

01. Borndun
02. Zippler
03. Trash Serum
04. Cheggo
05. Dukka Dukka
06. Bananas Have Potassium
07. Crawboi
08. Graveo

Eric Thorfinnson – Lead Vocals, Guitars
Erik Sorensen – Guitars
William Purcell – Bass
Emmett Ceglia – Drums


Disclaimer: This review is solely the property of Steven Hooke 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.



Hi everyone! Welcome to our new EMQ’s interview with Sydney, Australia based Post-Progressive Rock/Metal band, SteelSwarm. Huge thanks to vocalist/guitarist Dane Simms for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Dane Simms and I play seven-string guitar, clean and screaming vocals for SteelSwarm. Jamie (Bass) and I started SteelSwarm back in 2013 as a Thrash inspired metal band. As our skills developed and tastes changed to more of a complicated progressive sound we acquired our current percussionist Zac Stewart who added a huge amount of dynamics and uniqueness to our sound to where we were able to release a film clip, two singles and ultimately our debut album “Aspects of Dissonance”.

How did you come up with your band name?

Jamie and I thought that we are the ‘Steel’ or ‘Metal’, and the audience is the ‘Swarm’. So, we just combined them together to make “SteelSwarm”.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from Sydney, Australia, the metal scene here is strong and the progressive one is even better. Melbourne tends to be the hot spot for music in Australia.

What is your latest release? (Album, EP, Single, Video)

Our latest release is “Aspects of Dissonance” which is our debut album released on the 6th of August 2020.

‘Wasted Signals’ (Audio)

Who have been your greatest influences?

I would say the people who made the biggest impact on me as a guitarist would be Dave Mustaine, Marty Friedman, James Hetfield, Cliff Burton, Victor Wooten, Chris Broderick, Tosin Abasi and Shawn Lane.

What first got you into music?

When I was a teenager I was obsessed with System of Down, Slipknot and Cannibal Corpse. Seeing The System of a Down film clips ‘Chop Suey’ and ‘Toxicity’ made the first impact on me for music. As for guitar, it was hearing Metallica’s ‘Fade to Black’ for the first time.

If you could collaborate with a current band or musician who would it be?

I would love to collaborate with Plini or Tosin Abasi, I think it would be a thought-provoking meeting to say the least.

If you could play any festival in the world, which would you choose and why?

Currently we are aiming to play on “PROGFEST” in Melbourne, which is the kind of Avalon of the best prog bands in the country.

What’s the weirdest gift you have ever received from a fan?

One time I got a hug from a woman after one of our sets and she said “You make me want to become a better guitarist”

If you had one message for your fans, what would it be?

Keep listening to music in general, and every now and then go exploring for a new Aussie band, you might get a big surprise.

If you could bring one rock star back from the dead, who would it be?

Cliff Burton for sure!

What do you enjoy the most about being a musician? And what do you hate?

I have a deep respect for music and being a guitarist, it got me out of my 9 to 5 job, and every time I sit down to practice or record a song, I get a sense of satisfaction like nothing else. Searching for riffs and melodies and new techniques on the guitar is so fun for me. Being a muso is expensive, that’s what they don’t tell you when you start out, you will be putting in more money than you will be getting back.

If you could change one thing about the music industry, what would it be?

In our band we have found it is tough to get shows sometimes because our songs don’t follow a specific structure and are very complicated, which we understand doesn’t cater to everyone. We feel though being able to branch out and do something really original is getting a lot harder, because of this feeling of conformity you have to have to get on a specific bill.

Name one of your all-time favourite albums?

System of a Down – “Mesmerize”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Whatever gives you a kick, go for it!

What’s the best gig that you have played to date?

The first show we ever did created the drive, so let’s go with our first gig back in 2013.

If you weren’t a musician, what else would you be doing?

I love history, something to do with Ancient Egypt or the Maya, or even WW2 history.

Which five people would you invite to a dinner party?

Modern people don’t interest me much so let’s say, Nefertiti, Theodore Roosevelt, Shawn Lane, Joseph Stalin and Mao Zedong. That should be an interesting dinner party haha.

What’s next for the band?

Working towards getting on bigger and better shows, which will lead onto our second album.

What Social Media/Website links do you use to get your music out to people?


Jaffa Cakes! Are they a cake or a biscuit?

They are Cakes! Made from Batter!

Thank you for your time. Is there anything else that you would like to add?

Thank you, Ever Metal, and be sure to check out our debut album “Aspects of Dissonance”.

– Dane Simms

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, 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.



Hi everyone! Welcome to our new EMQ’s interview with Johannesburg, South Africa based Progressive Metalcore band, Riddlebreak. Huge thanks to lead guitarist Julian Vosloo for taking part.

“Riddlebreak calls the dark void somewhere between Pretoria and Johannesburg (South Africa) their home. Since its original inception ten years ago, it has taken four member changes as well as two shifts in musical orbit to bring this current collective of weirdos together – and they have been inseparable since. Over the last 7 years they have snowballed to break minds, sub-genres and necks. It is difficult to put Riddlebreak in a box because the sound of an injured bear hurtling through space is not considered a genre in most circles.

Since its birth, the music has forged a trajectory within metal, remaining close to its progressive and metalcore neighbours. They draw inspiration from many curiosities, from hedgehogs to collapsing stars – always searching and exploring. Riddlebreak tests constructs, whether it be society, gender stereotypes, gravity or what constitutes the perfect potato salad. Their ever-contrasting ideas and sounds make Riddlebreak difficult to compartmentalise but impossible to ignore”.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Hi, I’m Legless-Lego-Legolas, but everyone calls me Julian. No for reals, my name is Julian and I play 6-and-8-string guitar in the band Riddlebreak.

Riddlebreak was formed by a group of people who through their time together have become the best of friends. I joined about 7 years ago and at that time the band had already been around for quite a while, so our current line-up is well-versed within the metal community.

How did you come up with your band name?

So, me Julian, this person, is not really the best to answer this question. Believe it or not as I am told, once upon a time Riddlebreak was some sort of weird Indie Rock band. Weird right? A LOT has changed since those days of the Indie band and only one original member remains. Since that time, the band has collected an assortment of rather strange humans and thus made way for the Riddlebreak you know today. The origin of the band name has since been lost to time and space, to forever be a mystery. It is what it is because it is.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from a country called South Africa, this does not mean the south of Africa, though we can be found in the southern most point of Africa (you’ll be surprised to find how many don’t know that South Africa is a country within Africa.) Anyway, Riddlebreak can be found in Johannesburg within one of the nine provinces, called Gauteng, which in one of our official African languages translates to “place of gold”.

If you ever find yourself in South Africa, you will come across a community of close-knit weirdo’s all enjoying the music, the company and a nice cold beer. Most of us here are super friendly, welcoming and honestly just looking for a good time and some new friends.

What is your latest release? (Album, EP, Single, Video)

Earlier this year we released ‘The Hog’, a song written about an adorable pet hedgehog with a bad temper, told as a story of a mythological beast bringing ultimate destruction! Apart from that we are very excited to release new music soon that we have all been working hard on.

‘The Hog’ (Audio)

‘The Hog’ (Bass Playthrough Video)

Who have been your greatest influences?

For me it all started with Dimebag Darrell of Pantera and his masterful guitar playing. From there I veered off into more progressive and djent styles, inspired by the likes of Meshuggah, Animals as Leaders, Tesseract, Periphery and many, many more! Through this I tried to focus on my individual sound, and I would say that comes through within the music of Riddlebreak.

What first got you into music?

My father occasionally played an acoustic guitar while I was young, and I guess that’s where my interest started. One day after school a friend of mine introduced me to the bands Devildriver and Cradle of Filth and from that point I knew I needed more. Soon after I walked into a CD store with a handful of cash and asked the only alternative-looking person if they could recommend me some metal. I walked out with Iron Maiden – Brave New World, Children of Bodom – Are You Dead Yet? Soil – Scars and the newest Slipknot album at the time The Subliminal Verses. Since then I have been an avid music consumer.

Even though my father started the interest, the credit goes to my mother who motivated me to pick up the guitar and from there I started taking lessons and eventually studied music. Overall, I chose to play guitar so that I could make the same crazy noises that I heard on those CD’s!

If you could collaborate with a current band or musician who would it be?

Personally, working together with artists like Annisokay, Erra, and Anup Sastry would be absolutely mind-blowing if the metal Gods ever did allow it. It would be a true honour and I know I would learn so much from them all.

If you could play any festival in the world, which would you choose and why?

I suppose the typical answer would be to play on the biggest stages in the world and even though that would be great, I’m more invested in playing festivals like ArcTanGent, UK Tech Fest and 70,000 Tons of Metal. These festivals often host bands I’m more interested in seeing and it is for that reason that sharing the stage with them would be life changing.

What’s the weirdest gift you have ever received from a fan?

Honestly, I don’t think I’ve ever received a weird gift from a fan. I’m not sure if I’m just lucky or if I’m missing out on something. Hopefully someday a fan will give me something weird like a rock or a cool stick they found in the woods. I feel so fortunate just to be able to perform music – that in of itself is a gift.

If you had one message for your fans, what would it be?

I think we, as Riddlebreak, would simply like to thank everyone who has supported us over the years, whether that’s attending our shows, buying our merch, sharing our music, etc. It all means so much to us that there are people who connect with what we create, and we would like them to know that they are appreciated. So ‘thank you’ from the bowels of our hearts! <3

If you could bring one rock star back from the dead, who would it be?

Because I still consider Dimebag to be such a huge influence in my life that I would be hard pressed to think of anyone else. I can only imagine the kind of music he would be creating today and to think how amazing it would be to listen to that makes me both a little sad yet nostalgic. So here I am putting on some Pantera in honour of what he was able to create in his time.

What do you enjoy the most about being a musician? And what do you hate?

While trying to come up with a good answer to this decent question I found myself laughing because my answer is both honest and silly. I love being able to create music that I really enjoying playing, and to share that with others is phenomenal. On the downside I really loathe driving to shows, unfortunately venues are usually a little way out, so it takes time to get there and back – but it is always worth it.

If you could change one thing about the music industry, what would it be?

I think that my answer focuses a lot within our local scene but that it can be applied universally. I believe that all those within the metal community see themselves as open-minded people because we enjoy such an ‘extreme’ form of music – and that is great, it helps unite us in a way that we have not felt before, since many of us are outcasts. But in that I find that many of us can become complacent and this leads to elitism, where people dictate what they deem as metal, as well as a divide within a community that was built on accepting what is different.

Name one of your all-time favourite albums?

One? How could anyone ever only give one? Music is incredibly diverse and becomes so personal that I would create a list that would truly never end.

Here’s the short version: (in no particular order).
Periphery – “P2”
Erra – “Augment”
Meshuggah – “Obzen”
If These Trees Could Talk – “The Bones of a Dying World”
Ovid’s Withering – “Scryers of the Ibis”
Monuments – “The Amanuensis”
The Contortionist – “Clairvoyant”
Tesseract – All of them, lol.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

As a teenager I collected a mountain worth of CD’s and I was truly proud of my collection, but I cannot deny the convenience of online platforms. However, we do make an effort to buy physical copies from our local artists. We are then supporting both our friends and the metal community.

What’s the best gig that you have played to date?

At first, I assume we might individually recall different events, but I have no doubt that each of us fondly remembers the show with Monuments, played at Krank’d Up 2015 (A locally produced show that hosts some of the best international acts alongside local artists.) It was one of the first times we ever got to meet musicians that we are huge fans of and look up to, and to know that they are genuinely cool dudes to hang out with was such a great experience.

If you weren’t a musician, what else would you be doing?

Honestly, I have no idea – and I don’t think any of us do, lol. We all have ‘normal jobs’ which we’re pretty good at but music is such a huge part of all our lives that we would not be the people we are today without it and without each other.

Which five people would you invite to a dinner party?

So, sticking with music I would invite an interesting bunch of folks, starting with Randy Blythe from Lamb of God. I am a big fan of his music, his photography and Dark Days his autobiography about his time in a Prague prison.

Corey Taylor would no doubt be on the guest list. He is such a boss! Need I say more?

Third would be Anup Sastry because I am so impressed by his music and his jolly presence, it would be such a pleasure to hang out with him. Plus, he always wishes me a happy birthday which is nice.

Next would be Hanz Zimmer because have you ever watched a great film and been overwhelmed by the incredible score so much so that every time you listen to the music it hits you in the feels? Now imagine seeing that in human form!

Finally, a man who needs no introduction, Neil deGrasse Tyson – because science bitch!

What’s next for the band?

We have recently mixed and mastered two new tracks for an upcoming four-track EP that we hope to release very soon – keep your eyes peeled. Besides that, we are looking forward to being able to perform live again now that restrictions have slightly lifted in our country.

What Social Media/Website links do you use to get your music out to people?

If you’re interested in following us you can find us on Facebook and Instagram, and all of Riddlebreak’s music can be found on any major streaming platforms like Spotify, iTunes and more. Fans are able to buy digital copies of our 2016 EP, “Collapsar”, on Bandcamp. We also have some music videos and drum and guitar play-throughs on our YouTube Channel.


Jaffa Cakes! Are they a cake or a biscuit?

Well, I am not that familiar with said treat as I don’t think they are as popular here. But upon a Google search I learnt that, for tax reasons, they are classed as cakes. Does that help? I hope that this information will end the war between cakes and biscuits for good!

Thank you for your time. Is there anything else that you would like to add?

Right back at ya [finger-guns] thank you for taking the time to get to know us a little better.

A quick joke before we go: A Buddhist walked up to a hotdog vendor and asked him to “Make me one with everything.”


Represented by David Devo Oosthuizen

Devographic Music Media, PR, Events & Artist Management Agency – South Africa

by David Devo Oosthuizen

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, 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 – Stranger Than Fiction

Reaper – Stranger Than Fiction
Release Date: 16/10/2020
Running Time: 37:53
Review by Beth Jones

Merseyside. An area in the North West of England, known for some interesting stuff; The Beatles, a couple of decent football teams (one arguably better than the other – which one that is, I’ll leave up to you to decide), and the exit point of the River Mersey into the North Sea (I believe there’s a ferry across it, too. I heard it once in a song 🤣). And now, Merseyside has a new offering! A young four-piece Progressive Thrash Metal band, by the name of Reaper. Over the last couple of years, we’ve become quite friendly with their frontman, Dan Moran, so it’s a great pleasure to now be able to review their second full length album, “Stranger Than Fiction”.

Inspired by the great and good of Thrash, Prog, and Classic Metal, Reaper create a sound that’s full of thumping melodies, entwined with faster thrash riffs, and intricate rhythms, which give the sound a distinct edge. “Stranger Than Fiction” was originally set to be an EP, but then Covid happened, and the lockdown that followed led to some intense and inspired writing, leaving them with enough material to go the whole hog! The concept of being thrust into life in a world full of chaos, then learning to accept that chaos is all part of life’s rich tapestry, forms the basis of this album. It explores some of the harsher sides of life that run starkly through the world, especially at the current time.

After a short introduction, made up of a collection of chaotic samples to set the scene, ‘Sigil’, the bands previously released single, kicks the actual music off. It’s pacey and full of epic riffage and thrashy rhythms, with Dan’s vocals ripping over the top of everything. His voice is somewhere between Rob Halford and an angry Bruce Dickenson! Powerful and gritty, with a great range, and an even bigger lung capacity (there’s some ridiculously long notes in this track)!

‘The Titan’ is slightly slower, but still with all the vim and vigour you want from a meaty Thrash track. It’s a real thumper. It gets a bit trippy in the middle, too, before coming back to shotgun staccato work on the guitars, bass, and drums, and a pretty epic guitar solo. This thunderous sound is continued in the first half of ‘Upon The Sun’. However, halfway through, it suddenly drops into a quite acoustic section, followed by a proggy interlude, which really mixes things up a bit! Again, this is another belter.

‘Flight’ takes an amble through full on prog, with a heavy edge. It’s many cross-rhythm sections, discordant guitar solos, and bonkers vocal effects, intertwine to create a reasonably psychedelic, hallucinogenic experience. Don’t try and bang your head to this one. It will just annoy you! Just pay attention instead! There’s so much going on in it, that you’ll find something new with each listen.

The business end of the album brings the thrash back, (with ‘Jericho’ being a full-on thrash number that you just have to move to) then goes all out thrash prog genius for the final two tracks, ‘Afterlife’ and ‘Walk The Sky’, which are both of epic length, and by far my favourite tracks on the album.

‘Afterlife’ starts off pacey and powerful, then builds and builds, until it crashes into the stratosphere of epic melodic prog, before finally coming back down to earth, with an acoustic guitar closing the track. It’s so emotive and exciting! I think it might be my favourite Reaper song ever, actually! ‘Walk The Sky’ is almost a resolution of ‘Afterlife’. It offers a fair amount of heavy and pacey thrash riffs early on, but then floats down into intricate, measured, chilled out prog. The symbolic “moment of acceptance and contentment” realising and resolving the discordant chaos.

I love this album. And the more I listen to it, the more I hear in it. If you like anything thrashy, with some added diversity, then you need this in your playlist. It’s interesting and exploratory, and musically, its skilfully executed, tight, and displays a mature professionalism that goes way beyond the band’s years. I’ve only held back from giving “Stranger Than Fiction” a perfect 10 because I believe that Reaper still have even more to give. And that, my friends, is a hellishly exciting prospect!!

01. Event Horizon
02. Sigil
03. The Titan
04. Upon The Sun
05. Flight
06. Jericho
07. Afterlife
08. Walk The Sky

Daniel Moran – Vocals, Guitar
Anthony Capitano – Guitar
Elliott Kyriakides – Bass
Anthony Longworth – Drums


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.

Milk White Throat – Hierarchy EP

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Milk White Throat – Hierarchy EP
Release Date: 18/09/2020
Running Time: 21:51
Review by Tammy Lomax

I miss Brighton, I miss it a lot. Not just because of the diversity, but because of the people. My circle of friends are the most important and genuine people I have in my life, some of them coming from Brighton.

When I moved there, I felt at home for the first time in my life, it’s very versatile. I struggle blending in up North, where I am now. I wear a metal t-shirt and feel I’m being judged all the time. In Brighton, you can literally be anyone you want to be and there is no judging, well you still get the odd dick, it’s expected anywhere.

I left just over a year ago, but Brighton did enable me to broaden my horizons and expand my music career. After removing the dicks from my life and trying to settle in “Planet North”, Mr Editor and I began chatting! He and Beth have lots of cheek kisses coming their way, he has helped me get out of my rut, mentally, and channel the crap into my writing.

I mention all of this because Alternative/Progressive band Milk White Throat are from Brighton. I have seen them play live on numerous occasions and I bloody love them. I do have a dirty mind at times (All the time dear readers, all the time – Rick), and to be fair how can I not go off on a tangent with a name like this?! “Milk White Throat”, Oh gosh. Yes please! 🤭

The name Milk White Throat is actually taken from a line in the Nick Cave song, ‘Black Hair’.

Starting in 2000 as a Thrash/Death metal band, ‘Milk White Throat’ refuse to be pinned down to a particular genre, mainly because there is so much variety and creativity, individually and collectively as a group…fuck the rules!

During this time, the line-up has slowly reduced in size and by 2016 only three members remained.

They have continued to evolve and have now returned with their self-released EP “Hierarchy.” Whilst still sticking to variety, the three songs that make up “Hierarchy” are their most mature and melodic effort to date, progressing forward from 2018 EP “House Of Fire”.

The songs represent an individual’s fragility from different perspectives. Our minds can certainly be a fragile thing for sure, especially during these times.

As “Hierarchy” is only three tracks long. I am going to go through them one by one, with as much information as I can.

Opener ‘Closed Eyes’. It is written from the perspective of the world within oneself. It can be a struggle to accept who we are and what everything around us is actually about. What is our existence worth to ourselves? The track itself is over 7 minutes long and they jump straight in with the most alluring vocals, they are light as a feather, well balanced and everything is…calm. The music moves me in ways I can’t explain. Their guitar work meets the flow then excels as it progresses, giving us some umph. It’s pretty clear there are some personal experiences behind this music, you can feel it and the passion.

Next up is ‘Sleepless’ and It is written from the perspective of a parent and the continuous battles mentally. Are our children a true reflection of ourselves and are we qualified to raise a child? Fans have made comparisons with Deftones, I understand why. There is more energy in this track, but a continuous graceful flow remains. Vocalist Brian Thomas is slightly fiercer, but you can hear his growls being held back, no room for gruesome growls here guys! ‘Sleepless’ is also the lead single and has a wonderful accompanying video filmed in The Underworld, Camden Town!

Finally, title-track ‘Hierarchy’ is written from the perspective of someone failing to live up to society’s expectations. Are we just a number and statistic in the outside world? How do we use all of this information to better ourselves? This takes you on a journey, all sections are dynamic, and the tempo is fast, but it still flows with the other two tracks.

I am now going to sound like the biggest cheese ball going!

“Hierarchy” is a perfect representation of how we see our lives in general. It covers different points of views, experiences, opinions (*cheese ball incoming*) and my perspective is, LOVE! Love is the perspective! We should inject that good juice daily, seeing potential in the negatives, seeing inspiration in the darkest of moments, seeing beyond all limitations. The sky is not the limit, our minds are!

The work that has been created on this stunning EP is exceptional. It moves you in so many emotional ways. Although it is short it is balanced throughout. I cannot really do it any justice, so please do check it out.

01. Closed Eyes
02. Sleepless
03. Hierarchy

Tom Humphrey – Guitars.
Guillaume Croizon – Drums.
Brian Thomas – Bass and Vocals.


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

White Walls – Grandeur

White Walls – Grandeur
Release Date: 23/10/2020
Running Time: 54:01
Review by Beth Jones

Afternoon metalheads! Tis I, MegaBeth!! And it’s time for another review! So, get yourselves comfy with your favourite beverage, and let’s talk tunes! Today’s listening is being brought to me by many bands, of many eclectic styles and genres. And first up on that list is Romanian progressive metal band, White Walls! Namely, their new album, “Grandeur” which is to be released in a couple of weeks’ time.

White Walls formed in 2009, but first came to my attention earlier in the year, when they performed at the European Metal Festival Alliance virtual festival, and were easily my band of the weekend. I am rather ashamed that I’d never been aware of them before, as this is their third album, and they’re bloody good! According to the press release this album is a ‘new sound’ for them, so I must check out the back catalogue to see what they sounded like before!

The album is inspired by the state of the world currently, and explores the juxtaposition of the grandeur presented by the shiny and glamourous things in life, vs the realities of life. The band’s sound has been compared to the likes of Leprous and Opeth, and I concur. So, if those bands cut it for you, then you’ll like White Walls.

The album begins with ‘False Belief’. It starts as a mellow and chilled-out track, with guitar, keys and bass exploring cyclical chords, and Eugen Brudaru’s falsetto vocals sitting atop. This doesn’t hang around for long though, as the track quickly melds into track 2, ‘Eye For An I’. And this is brutal, with crunching guitar riffs, thumping drums, and a tortured vocal roar. It goes through various tempo changes, with Eugen’s clean vocals taking the lead in the slower sections, but it soon picks up the pace and goes back to punching you in the nose with the real world! We carry on in much the same way throughout the album. It’s a very clever mix of clean and harsh, echoing the themes on which the album is based.

Track 5, ‘Velvet’ is one that particularly caught my attention. Full of cross rhythms, dark and heavy, and with some really great bass work by Șerban-Ionuț Georgescu. And even though it’s got lots of changes and complex sections, you can really feel the rhythm, and move to it. If any of my neighbours where watching while I was writing this review, it probably looked like I was having some sort of fit!

Much of the album is in the same minor key, and they regularly use the Persian scale, which gives things a kind of Middle-Eastern ‘droning’ feel. This really works very well, and brings an air of sombre realisation to their sound. In quiet sections, they also use a lot of reverb, which makes those areas sound almost dreamlike. But it always kicks back in to bring you back down to earth.

I think my favourite track is ‘Locked-in Syndrome’. It’s a hellishly complex track rhythmically, and displays a lot of technical prowess from the whole band. Lyrically it’s tortured, and tormented, and it just really appeals to me. I’m a happy soul like that! From this track onwards the album gets even darker in it’s sound, which again pleases me. ‘The Decent’ is a real mixed bag of everything that’s happened so far, and there’s so much going on at one point that you do feel your descending into some sort of madness. There’s a really low bass note in this track at one point, too, which sits as far forward in the mix as they’ve dared, because of its depth, and literally vibrates your brain. Awesome!

The album closes with a monster of a track. Coming in at nearly 9 minutes long, ‘The Slaughter’ starts with some jazz drums, and guitar, all beautifully panned in the mix. A section of guitar and vocals in the middle of the track give the melancholy feel of a battlefield, in the ‘calm before the coming storm’, which kicks back in pretty quickly. This sequence is revisited at the end of the track, where the full band sound fades into just the guitar and vocal, with repetition of the words ‘just go on ahead’. It’s a very sombre end to a very good album.

When it comes to mixing and mastering, the production of “Grandeur” is great, too. It was done by Forrester Savell (Karnivool, Make Them Suffer, Animals as Leaders), and he’s obviously thought carefully about the placement of each instrument, to create a fully immersive sound with great depth. I must also give a quick mention to the album artwork. Created by Radu Damian, its imagery fits superbly with the sound and themes of the album.

All in all, this is a very mature and well though about album by a band who now clearly see their direction. I really enjoyed it and am extremely glad to have now discovered White Walls.


01. False Beliefs
02. Eye For An I
03. Home Is On The Other Side
04. Holy Worse
05. Velvet
06. Speaking in Tongues
07. Starfish Crown
08. Locked-in Syndrome
09. Month’s End
10. The Descent
11. The Slaughter (Marche Funèbre)

Alexandru-Eduard Dascălu (Dasu) – Guitar
Eugen Brudaru – Vocals
Șerban-Ionuț Georgescu – Bass
Theo Scrioșteanu – Drums


📷 Miluta Flueras

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.

ColdHarbour UK – Live Stream Review

ColdHarbour UK
The Seagull Theatre, Lowestoft
Live Stream Presented by Centrepin T.V
Review by Tammy Lomax

Screw you Coronavirus!!

With all the cancellations it might feel like you’ll never watch your favourite band onstage again, however, we have to adapt to this pandemic, whether we like it or not. So, the next best thing? Live streams baby!! Yeah!!

It’s surely better than nothing right? Be grateful for what we can do virtually, the love of our technology, our saviour but yet our own worst enemy at times.

Beer at hand? Good, now let’s crack on.

On Saturday 26/09/2020 at 8pm I was prepared and ready, sat on my sofa waiting for the live stream performance from ColdHarbour UK. It is a bit odd that I have my fluffy socks on, it’s a very sad affair that my ‘kock out boots’ are collecting dust. Up until now, I have been a Twitch virgin and I must say that it appears to be an excellent platform for occasions like these.

ColdHarbour UK are a three-piece Grunge/Prog/Metal band from Norwich. Tonight, they have a decent 1 hour set and It’s doubly special for us listeners/watchers because they are playing 5 new songs! The stage and setup are really cool. There is enough space between the three members, and they are all facing inwards, ready to open their set! ColdHarbour UK were born ready! I feel some nervousness for them, after all this is still a very new way of presenting a live performance, but that’s exactly what the buzz is about!

By the time fourth track ‘Sonorous’ kicked in, there were a fair few people tuning in to the stream and the fellas were getting some positive feedback on the live chat, this was definitely adding to their performance. At this point, they were all settled in, they sounded tight, the hard work and commitments with rehearsal’s having paid off. More and more energy was coming from all of them, the riffs were flying out hard and the sound of the bass was like a dribbling monster. No lie, one day I want a bass like that. It was a chunky funky BAD ASS!

So, we get to just over half way through and I frantically manage to squeeze a few questions in on the live chat

Tammy: “These times at the moment are absolutely bonkers right?! So, how have you prepared yourselves for tonight’s live stream?”

ColdHarbour UK: “A big shout out to Earth Studio’s, Pete has been fantastic. He has been flexible following social distancing rules and allowed us to use the studio for rehearsal, preparing ourselves for tonight”.

Tammy: “You are playing a lot of new tracks tonight, can you tell us the process of writing these tracks, and what are the inspirations behind your magic?”

ColdHarbour UK: “We build ideas as a group, Alex and Tom work on the main melodies and then we collaborate”. “Our inspirations are varied! Tom and Alex like Prog and Metal and Ian likes Grunge and Metal”.

Tammy: “When Covid-19 is over and some normality resumes, what are your plans and hopes for the future as a unit?”

ColdHarbour UK: “We plan to record and release our stuff, so we can be heard, this does take some time and money though”.

Now, with the questions out of the way, I really need to point out my favourite track from the performance. ‘Silence Is Deafening’ was projected and performed with precision. It was one of the new tracks, but I heard no misfires or awkward notes. Vocals were clean and clear and the bass didn’t overshadow either it was just a perfect mix.

Wow, by this point they were absolutely pumped up. There were positive interactions and even more feedback coming from the crowd. I felt I was attending an actual gig in my FLUFFY SOCKS!!

The rest of the performance was mainly instrumental although there were some vocals and you could really hear their talent. They have a great concoction of ideas and the three of them work together perfectly.

ColdHarbour UK are definitely committed and I personally have a soft spot for these fellas! Regardless of Covid-19, they are still pushing themselves and are full of creativity and new ideas, I really see a bright future for these guys.

01. Hour Of The Wolf
02. State Of Mind
03. Dorje’s Wish
04. Sonorous*
05. Subterfuge*
06. Blackest Days
07. Silence Is Deafening*
08. 13 & Four*
09. Somewhere To Call Your Own
10. Fall Away
11. Roots*
12. Battlestar Spactacular

*New Tracks.

Tom Brown – Vocals and Guitars.
Alex Taylor – Bass
Ian Arnold – Drums

You can watch the full performance here…



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

Scardust – Strangers

Scardust – Strangers
M-Theory Audio
Release Date: 30/10/2020
Running Time: 53:02
Review by Beth Jones
(Yes, that is the ‘infinity’ sign!!)

A few months back I reviewed Wilderun’s “Veil of Imagination”, scoring them a technically impossible 11/10. I thought at the time that there was absolutely no way I would hear a better album this year, and probably not for a good few years to come. Well, it turns out I was wrong.

Scardust are a Progressive Metal band from Israel. This album, “Strangers”, follows the critically acclaimed debut “Sands Of Time”. It’s a unique concept album based around the idea of being estranged. The bands vocalist Noa Gruman composed the album with Orr Didi, who she also collaborated with for the first album, and it was mixed by Yonatan Kossov and

mastered by Jens Bogren (Opeth, Devin Townsend, Arch Enemy). Noa explains, “Written from multiple perspectives, it explores the ways in which people can be estranged from one another, from themselves, from society, from their loved ones and even from their own subconscious. After the overture, which introduces musical themes, the album separates into two parts. Every song from the second part is a mirror image of a parallel song in the first. Each pair of songs tells the story of a pair of strangers. They can be played together as a standalone piece, as individual songs or as part of the album, whatever the listener’s heart desires.” That’s bloody clever that is!!

There’s only one word to describe this album, and that’s ‘Masterpiece’. I’m usually pretty good with words, but it’s seriously left me chastising my own lack of comparable vocabulary to explain why I feel this way. So, please bear with my while I try and do it justice! But before I begin, I’ll say this. If I die tomorrow, at least I got to hear this album.

‘Overture for the Estranged’ starts the album, opening with choral harmony performed by Hellscore, the choir Noa formed for the original album. It took me right back to my choral days, from which I became estranged when I left school! Noa’s vocals float in over the top of this, in full operatic beauty, with unexpected cadences all over the place. We’re then led into a fully orchestrated section that Mozart would have been proud of, with the addition of crunching guitar, and thundering drums. It’s just spectacular! It’s like an opening overture to a top rock opera running on Broadway, or in the West End. This style is revisited throughout the album, too. Just for fun, it throws in some jazz and funk along the way, as well as the progressive rhythm changes you would expect from any great explorer of the genre. Right, that’s track 1 pathetically dealt with, like a boxer trying to cradle a new-born still gloved up! 10 more to go – stay with me folks!

Track 2, ‘Break the Ice’, is full on musical theatre, complete with chorus line from Hellscore again, and a melody so catchy I dare you not to hum along! Aside from the vocals, which are simply sublime, we get to see just how skilled the musicians in this band really are. With an awesome guitar solo, and some equally complex bass runs, cross rhythms, piano fills, and orchestral violins, it just makes me want to explode with admiration. I’m so emotional about this album, it’s untrue! The musical theatre feeling continues through track 3 (which is also one of my favourite tracks, more on that later!) and 4, but always with a progressive twist. Complexity is their absolute ethos, and they do it effortlessly.

Track 5, ‘Concrete Cages’ starts with folk instrumentation provided by German Folk musician, Patty Gurdy. It then goes through funk, and heavy riffs, and dives into a whole melting pot of extravagant instrumentation, choral harmonies, and just pure musicality. It’s heavy enough to bang your head to, but so intricately precise that it’s possible to hear every single note like there was no other sound.

Track 6, ‘Over’, returns us to some sort of metal normality, ramping up the heavy for a bit! It also let’s Noa explore her guttural vocals too, which are just as perfect as her operatic tones. In contrast, and forming the other part of the pair, if you’re listening to the album as paired tracks, ‘Under’ is pure funk / gospel/ jazz, complete with snare rim beats from the drummer, gospel choir harmonies, and solos a plenty. Track 8, “Huts” features a performance from Westbrook Hay Prep School Chamber Choir, just to add another element, because why not?!

The next few tracks continue exploring every theme imaginable, until the album is brought to a close with ‘Mist’. A slowed down track in which Noa’s vocals are just sublime. It’s a real ‘lighters in the air’ closing overture, that brings things to an end as stunningly as they began.

When an album is this good, it’s hard to pick out a standout song. But I have gone with the tracks that I’ve had on repeat over the last couple of weeks. ‘Tantibus II’, which is also the first single from the album, and ‘Gone’. ‘Tantibus II’ melds complex guitars with dark choral harmonies, and a hellishly catchy chorus! I actually cried when I first saw the video for this, I was so overwhelmed by how good it was. ‘Gone’ on the other hand, I love for a different reason – we discover the true skills of bass player, Yanai Avnet. It opens with a bass line lick, and he gets a solo section in the middle. This man’s got skills!!! More licks than an ice-cream parlour full of children, I can tell you. Bloody brilliant.

Everything is just bloody, bloody, unbelievably bloody brilliant!! I’ll shut up now, I’ve taken up too much of your time. “Strangers” gets infinity out of 10 from me, because my scoring system no longer matters. Buy this album.

01. Overture For The Estranged
02. Break The Ice
03. Tantibus II
04. Stranger
05. Concrete Cages (feat. Patty Gurdy)
06. Over
07. Under
08. Huts
09. Gone
10. Addicted
11. Mist

Noa Gruman – Vocals
Yanai Avnet – Bass
Yadin Moyal – Guitar
Itai Portugali – Keyboards
Yoav Weinberg – Drums

Hellscore Choir
Westbrook Hay Prep School Chamber Choir
Patty Gurdy


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.