I Built The Sky – The Zenith Rise

I Built The Sky – The Zenith Rise
Release Date: 01/11/2019
Running Time: 43:29
Review by “Dark Juan”

Good afternoon, dear friends and acolytes of the slightly left field version of whatever bastardised sort of religion that’s entertaining me in my thoughts these days. I am Dark Juan and today is a momentous occasion for I am writing this in a) the early afternoon, b) sober and c) with Igor the Evil One “assisting” me by crawling under my left arm and refusing to move, rendering the blood supply to my left hand absolutely useless and causing numbness and discomfort. Like what I appear to do to nubile young ladies when I’m on the pull. Apparently telling them it is the will of God is not the way to go. Neither is Satanic chanting and brandishing your sacrificial dagger and telling them you are going to cut out their beautiful, still beating heart and drink the lifeblood from its last laboured pulsations as the life fades from their dark kohled eyes. Also, being a follower of the Flying Spaghetti Monster and wearing your sacred colander when you go out does not a successful encounter make. Wearing an Ever-Metal.com t-shirt does in fact turn you into a pussy (or cock) magnet though, so I suggest you all render yourselves irresistible to the opposite sex and purchase one immediately, and you too could be drowning in clunge…

Where was I?

Politicians are all cun… no. I did that last review and I do like to try to keep things fresh and novel for you, my good people. Ah yes… I Built The Sky. A solo project of an obviously possessed Australian musician who appears to have about 47 fingers on his fretboard hand, judging by the speed and complexity of his soloing and general playing! I’m quite scared for him because the price he must have had to pay the devil for this level of talent means that he’s going to be suffering extraordinary levels of punishment in Hell for quite some time. I Built The Sky is an instrumental project, and my first task is to assess whether the music suffers from a lack of vocals. It doesn’t. Not having the distraction of a vocal allows the guitar to breathe and to allow other instrumentation to come through and not have to compete with some wailing cretin trying to be the centre of attention. I also enjoy the style of playing on this record – its progressive, not in the naming songs after Cirith Ungol and dwarves sense, but in the experimental and satisfyingly complex sense. There are unusual time signatures and dissonance and all manner of good things here. Remember Yngwie Malmsteen and the fact that his musical prowess appeared to be built entirely from how fast he could play arpeggios and scales and he only had a singer to bridge the gap between guitar solos? I Built The Sky are nothing like that. They are built more on the Joe Satriani and Steve Vai principle of exploring the outer reaches of what the guitar is capable of as an instrument. Also, he quite clearly has mutant hands with elongated, prehensile fingers because some of the solos he plays appear to be physically impossible to us non mutants with normal hands. Bet Ro Han wouldn’t have any problems playing “Arpeggios From Hell”.

There’s a pleasing sub-djent quality to some of the songs on here too – opening track “Up Into The Ether” reminding me greatly of Infinitee in particular and having an excellent djenty central riff. On the middle solo, there’s some fearsomely fast picking going on as well, but I like the outward looking, expansive feel of the music, where on the slower bits it’s allowed to grow and spread in front of you. Here’s a musician with that rare ability to know just when to shut the fuck up playing and allow the music to breathe and become a living thing. Second track “Journey To Aurora” is probably the nearest we get to actual djent on the album – it straddles the fine point between full on djent and the pinnacle of heavy metal guitar playing and switches seamlessly from one to the other and back again before going into Floydian explorations of inner space before coming back out spitting venom because it clearly didn’t like what it saw in there. And from the point of view of a (admittedly very poor) musician I am blown away by the complexity of the arrangements of the music as well as the high quality of the actual songwriting. There is not an extraneous piece of music on the whole record. It all fits perfectly together and is surprisingly legible and easy to listen to. I find myself preferring instrumental albums more and more these days.

My favourite tune on here is the staggeringly massive “Wormhole Traveller”. Holy fuck. Jesus Holy High Christ in a chariot driven sidecar from the stars. It goes from black metal warp speed to introspective slow grind industrial to glorious goth metal solo, out – Tool’s Tool for musical creativity and complexity and still remains groovy and listenable. It is very very good and has left this hellpriest a metalgasmed out dirty, sticky, drained and sated mess on the lounge floor. Which I’m sure you’ll agree is a fine outcome, if a slightly disturbing image that will be sticking with you for your evening meal. Thank me later. Mrs. Dark Juan won’t. It’s such a persistent stain. So, we have extreme talent, musical promiscuity, staggering technique and an ear for a good tune and no need for squealing attention seekers. Dark Juan is pleased. And spent. If you like dense, complicated music that will give you something new on every listen, then I Built The Sky come highly recommended – however if you wish to listen to something boneheaded and simple, this ain’t for you. Cerebral music for cerebral people. Or guitar enthusiasts who will spend their lives picking the record apart note by note. Good luck learning it, chaps and chapesses. You need fingers that can do the Kessel Run in less than nine parsecs to keep up with some of it.


The Patented Dark Juan Blood Splat Rating System (Mate – for Ro is Australian and has so far avoided my notably dodgy sense of humour about where people come from) has tossed another shrimp on the Barbie and cracked open a tinnie in the back of its ute (ah, that’s more like it) and awards I Built The Sky 10/10 for a whooping skyrocket of a record. Well done, sir, well done. Bonzer.

I Built The Sky are:

Rohan “Ro Han” Stephenson – Antipodean guitar wizard.


01. Up Into The Ether
02. Journey To Aurora
03. Wormhole Traveller
04. Stellar Evolution
05. Light Pillars
06. Stars And Darkness
07. The Zenith Rise
08. The Only Way Out Is Up
09. Diamond Dust
10. Moonbow


https://www.instagram.com/ibuiltthesky https://open.spotify.com/artist/4URPAJlk8ay7npvNVVLpKN

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

EMQs with Aspherium


EMQs with Aspherium

Hi everyone! Welcome to our new EMQs interview with Aspherium. Huge thanks to guitarist, Marius 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?

Hey! My name is Marius, I play guitar and sing in the progressive death metal band Aspherium. We started out in 2007, and have released three albums. The latest one The Embers of Eternity which just recently was released!

How did you come up with your band name?

The name just appeared when trying to figure out a band name. I was trying to combine different words and finding something cool, and somehow I ended up with Aspherium. We thought it sounded nice, and it wasn’t taken by anybody else since we just made it up!

What country are you from and what is the metal scene like there?

We are from Norway, and as is well known around the world, black metal is a pretty major thing here. But Norway has a lot of great bands in most genres. We have played with so many great Norwegian bands, and we have made really good friends in the Norwegian metal scene.

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

We recently released out third album The Embers of Eternity! It’s a concept album where our planet has ended up in a pretty dystopian future. The whole albums flows as a cohesive piece, and we are super proud of this album. It has everything from death and black metal sections to acoustic guitars and even a synth solo. We blend a lot of different elements together, but we work really hard on the arrangements and how well everything flows together naturally.

Who have been your greatest influences?

I’d say band like Metallica, Opeth, Machine Head, Fear Factory, Dream Theater, Pink Floyd, Pantera, Nile and Meshuggah. I don’t think we sound a lot like those bands, but those bands helped shape us as musicians, and have definitely influenced how we write and play.

What first got you into music?

I’ve always loved music ever since I was a kid, and that love just kept growing as I got older. I got a keyboard for Christmas when I was 9, and tried that for a while, but it didn’t really stick. But when I got into Metallica at age 11, I knew I needed a guitar, and from that point it has been a major part of my life.

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

It would be amazing to do something with Devin Townsend, if we could get him to something really brutal and epic that would be awesome. Also it would be fantastic to do something with Marty O’Donnell who used to work for Bungie and who did the Halo soundtracks. He and Halo in general has been huge inspirations for us, so that would be perfect.

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

It would be really cool to do something huge like Rock in Rio, Download festival or Wacken. We have played a few festivals in Norway, but never at the big stage and at a good time slot, so to have the opportunity to play for such a huge crowd would really get our music in front of so many new potential fans, it would be amazing.

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

We haven’t really received anything weird. I think alcohol is the one we get, and that’s just appreciated!

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

I just want to let them know how much we appreciate that they take the time to listen to our music and help spread the word a out the band. And the people who buy music and merch, we can’t thank you enough!

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

I think it would have to be Dimebag. That’s the one that affected me the most. Dimebag and Pantera were huge inspirations when I was getting into metal and learning to play guitar. If Dime never died, I think Pantera definitely would have gotten back together and made more great music.

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

The most enjoyable is the journey that you take with the music. From creating it, to recording it and then finally playing it live. It’s so cool to create something from nothing and then end up playing it live for people who love it.

What I hate is working really hard and spending countless hours working, only to end up with nothing. Not in regards to writing music, this is more the business and industry side of things.

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

The most obvious thing would be that bands would actually get paid decently on streaming services.

Name one of your all-time favourite albums?

Opeth – Still Life. Pretty close to a perfect album! The songs are amazing, very intricate, but also brutal and beautiful. I really dig the concept, and everything on the album works so well together to create this amazing musical journey.

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

Vinyl for the experience! I feel like you appreciate it more when you have a physical part to relate to. You put the album on and look at the artwork when you listen. And you can’t just skip to another song, or any other artist in the world for that matter… You have to get up and flip to the b side. I really love the whole experience. That said, I love the convenience of streaming. I stream music every day when I’m out walking and doing stuff. It’s a great way to check out, and find new artists. And extremely easy access to pretty much all the music you can think of.

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

The one that comes to mind first is Paris a few years ago in a fairly small club. We won the crowd over and they went crazy with crowd surfing and stuff. It was very cool to see how they went from “Who the f are these guys? ” to “This is amazing!” in just a few minutes.

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

When I was a kid I wanted to be an archaeologist, so maybe that? More likely I would probably make video games, music videos or maybe photography.

Which five people would you invite to a dinner party?

Gordon Ramsay can make the food, Mikael Åkerfeldt can play acoustic guitar to set the mood and then James Hetfield, Robb Flynn and Devin Townsend can tell stories from the road.

What’s next for the band?

Right now we are waiting for our drummer to get done with some surgeries on his hands. So we will be back on the road next year. We are working on promoting the new album, so since we can’t play live right now we are trying to more online stuff, like interviews like this one 😉 We will also try to make more video content to promote the music. So tell your local promoters that you want Aspherium to come to your town next year!

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

We are on most social media platforms, but Facebook and Instagram are probably the main ones. And Spotify for the music streaming.

Jaffa Cakes? Are they a cake or a biscuit?

Jaffa Cakes are clearly biscuits designed to infiltrate the cake community, and try to convert them to biscuiteers. It worked for a while, but growth has stagnated somewhat the last few years.

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

Thanks to everyone for reading, and I hope you take the time to listen to our new album The Embers of Eternity! Be sure to let us know what you think on social media!






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 Boston, MA. Alternative Progressive Metal band Carpathia! Huge thanks to them 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?

Samantha: vocalist
Jason: Drums
Bobby: Guitars
Andrew: Bass

Bobby and Jason had known each other for a long time because their dad’s grew up as friends. Periodically they would get together and jam until one day they decided to start a band. Bobby and Andrew were playing in another band together at the time.

How did you come up with your band name?

Andrew was doing some research on Captains of ships names, and stumbled across the name “RMS Carpathia”, the ship that saved the remaining survivors from the titanic ship wreck.

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

USA. We live in New England, and there are times when shows are quite lively, and at others not so much. It’s difficult to get people out to local events nowadays, but we try.

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

We just released our very first EP called “1912”.

Who have been your greatest influences?

JASON: Matt Halpern, Thomas Pridgen, Matt Greiner

SAMANTHA: Chris Cornell, Eddie Vedder, Lacey Sturm

ANDREW: Avenged Sevenfold, Parkway Drive

BOBBY: As I Lay Dying, Killswitch Engage, Dream Theater

What first got you into music?

SAMANTHA: “Growing up I used to sing a lot of Mariah Carey and pop like material, and my sister Sheila was always encouraging me to develop my skills. It wasn’t until after she tragically passed away that I started getting into the heavier stuff”

JASON: “I had a bunch of cousins who played guitar as a kid, which made me want to become a musician too. I wanted to do something different than them, so I decided I would try drums. My parents bought me a drum set and I instantly fell in love with it.”

BOBBY: “My grandfather bought me my first drum kit at the age of 10 years old, and I grew from there”

ANDREW: “My stepdad was always in bands growing up and a good bit of my childhood was spent at local shows so it’s always been something I wanted to do. Having a stutter also lead me to pursue ways to express myself without speaking so music naturally filled that void for me.”

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

SAMANTHA: Nothing More

BOBBY: The Joy Formidable

JASON: Periphery

ANDREW: Tech N9ne

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

What’s the biggest festival of all time? That one!

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

SAMANTHA: Well, one time a fan actually gave me a $50 gift certificate to a lingerie store *eye roll*.

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

At every show, we always encourage those who are dealing with any issues, whether they be big or small, to reach out; talk to us, talk to someone, just as long as they are heard and understood. No one should have to be alone in this world.

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

SAMANTHA : Chris Cornell

JASON: Kurt Cobain

ANDREW: Cliff Burton

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

The best parts of being a musician are playing your songs in front of an audience that enjoys it, writing music, expressing yourself, and being unique from most other people in the world. The worst parts of being a musician are the lack of funds, the expensive equipment, and the emotional toll we take upon ourselves.

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

There should be more opportunities for musicians to succeed, whether that be through jobs, or actually touring/signing with labels. Labels should help the band, the band shouldn’t help the label. Also, we wish people would rather like to see a live performance than watch one on their phone.

Name one of your all-time favourite albums?

SAMANTHA: Gojira – “The Way Of All Flesh”

JASON: Killswitch Engage “As Day Light Dies”

BOBBY: Can’t Decide!

ANDREW: Parkway Drive – “Horizons”

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

We like a good CD.

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

Puddle of Mudd, Main Stage, Worcester Palladium!

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

JASON: I’d want to work with Animals in some way.

BOBBY: I’d either be a chef, or a fucking sniper.

SAMANTHA: I always thought it would be cool to work a job where I’d be able to travel the world.

ANDREW: Own my own landscaping company or go back to school to be a lawyer

Which five people would you invite to a dinner party?

Russel Brand, Andrew’s Dad, Arnold Schwarzenegger, Jack Black, Ozzy Osbourne!

What’s next for the band?

We are literally, as we type, in studio recording our next EP and have discussed touring come October/November.

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


Jaffa Cakes? Are they a cake or a biscuit?

We’re Yanks so we’ve never had one before, for some Boston cream pie?

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

Thank you for reaching out, and we hope your followers enjoy our music and get to know us a little better!


Promo Pic1


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 parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Anaal Nathrakh/Akercocke/Khost – The Asylum, Birmingham – 05/04/2019

Gig Poster

Anaal Nathrakh
The Asylum, Birmingham – 05/04/2019
Review and Pictures by Sheri Bicheno

Having just had my chat with Dave Hunt of Anaal Nathrakh – myself, Jim Beerman and Dave Wilkins headed into The Asylum to get our metal on.

The Asylum downstairs main stage is dark, big and already starting to get full and down the front at the barrier, a crowd of people eager to get a similar amount of metal on is starting to take shape.

First band Khost are from Birmingham and if you like your doom, these are the guys to check out. They appear on the stage as a two man act with guitars, synths and raw, deep vocals, chanting and satanic growls, like something you’d expect from a horror movie ritual. Their track played live ‘Subliminal Chloroform Violation’ is a clear example of this. Stage presence is kept dark and smoky with an air of mystery about them. The drawn out, deep and bassy strings deliver an intoxicating feeling with the growling and backdrop of chants and cymbals. I really enjoyed watching these guys perform and liked that the doom and elements of black metal were not compromised.

01 Khosthttps://www.facebook.com/khostband/

Whilst waiting, Jason Mendonca goes along the front line and addresses everyone to ask if they are “READY FOR SOME METAL”. Behind me, the room has filled right up, jam packed to the very back – moving to another spot would be a challenging option here… and the hype is getting more and more intense as the stage fills with red lights and smoke, a red mist effect, and…

Akercocke take to the stage, Sam Loynes smashes right into the long drone of the keyboard synths and then the guitars and bass are let loose on the low and melodic intro to ‘Horns of Baphomet’. Immediately, Jason’s vocals are delivered to us at their full pelt, it is almost majestic. We get a combination of high growls & beautiful whale song type vocals through lyrics “I can hear you calling” to low & deep growling plus the emotion of the wailing for horrifying effect.

David Gray’s drums are masterful, the backbone of what holds Akercocke in place – everything just fits perfectly with the tempo and pace of vocals, strings and synths. How Akercocke can cram so many elements of their style into each song, from one extreme to the other and make it not sound like it’s thrown together is mind blowing.

We are then taken into the song ‘Verdelet’, it is fast paced and energetic. The pit behind me is already going crazy and the crowd surfers have begun. Everyone is having an utterly wicked time. As the set goes on, we get a proper journey through what Akercocke are about, performance wise. How they blend through tones that are hard, fast, energetic walloping into some gentle, progressive and beautifully paced moments to creating devastating emotion, are displayed throughout.

02 Akercockehttps://www.facebook.com/akercockeofficial/

They enter through a dark mist and the UTTER DESPAIR begins straight off the bat. Behind me, a sea of people are going absolutely mental – this is Anaal Nathrakh’s first home town show for a while and they are welcomed back with so much passion from their viewers. It’s bloody beautiful.

Upon entering the stage, the presence of these guys is something to behold. The utter energy that radiates off the stage… strings and beats just bounce off each other, the pace is ever changing and brings a new vibe around every corner. Dave Hunt’s vocals demonstrate demonic low growls and high pitched wails to a beautifully balanced range… all at once! The concepts that come out in the lyrics are of utter relevance, addressing the global issues of poverty, warfare and depravity.

The live track that stood out for me is ‘Forward’, taken from their most recent album “A New Kind Of Horror”.

Forget your fear, the guns at your back scream
Who gives a fuck if your enemy’s starving?
No place for cowards, up and over
Your country needs you, so start killing”.

Throughout their set, bodies are floating amongst the crowd and pints are flying from every direction. There’s a guy next to me that tries his hand at sitting on the barriers and getting his friends to catch him as he falls – which hilariously and epically fails but, unscathed, he emerges back to thrashing around in the room sized pit behind me… cue where Jim Beerman’s famous “Nathrakhccident” happened… but it’s ok, he found a new tooth. 🙂

If you’re not familiar with Anaal Nathrakh, now is a good time to get your ears into these guys. – mixing elements of progressive, death, black and extreme metal, they are a force to be reckoned with!

03 Anaal Nathrakhhttps://www.facebook.com/Anaalnathrakhofficial/

Rick Here;
Thanks Sheri, sounds like everyone had a fabulous night! If you haven’t then you definitely need to check out all three bands!


Disclaimer: This review is solely the property of Sheri Bicheno 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.

Oh. – Metallia

Metallia Cover

Oh. – Metallia
Release Date: 28/07/2018
Running Time: 25:13
Review by Dawn King

I don’t know if this is true for everybody, but there comes a time every now and then that I get bored of listening to the same ol’ music and want to find something “different.” Well, you can’t get much different than Oh.

Oh. is Greek progressive metal multi-instrumentalist, composer and producer, Olivia Hadjiioannou who arrived onto the international music scene in 2013, with her award-winning debut EP, “Sleeping World”. She has since released a prog-metal album “Synemotion” on vinyl and four avant-garde progressive ballads and her latest project is this album “Metallia” released in July of 2018.

Since her appearance on the music scene, she has accumulated many honours including, but not limited to, three international music video awards, most recently at the London Greek Festival for single ‘Deserted Eyes’, semi-finalist in the 2017 International Songwriters Competition and she had been added to the Prog Archives in the Crossover Prog Category.

Driven by a passion to musically reveal an “inner-story”, she can play the guitar (electric and acoustic), bass, drums, violin, piano and percussion and her voice has been compared to the likes of Kate Bush, Tori Amos, Happy Rhodes, Céline Dion, Melissa auf der Maur, Sharon den Adel and Anneke van Giesbergen (impressive list eh?). She composes, produces, mixes and masters her music in Athens, Greece.

Playing all those instruments, Oh. is a true do-it-yourself artist but she says; “I never felt as if there were a question of whether I can play music or not. Music is always a question of whether you have something to say.”

And she certainly does have something to say. Her music “evokes intense imagery, entices the listener to journey into epic sonic landscapes and finally escape into intense ecstatic oblivion!” She wants to touch the soul with her music, whether that be in “the dark recesses of sorrow or the heights of elation.”

But you need to listen carefully to her music because there is so much more to her than first appears. Combining frenetic, harmonic guitar solos, multi-layered vocals, head-banging riffs, fantastical violins, groovy bass lines and furious drumming, there are many twists and turns to her progressive rock and metal style. And let’s not forget, this lady plays ALL of the instruments herself!

Since its release in 2018, the album has had 32 different reviews from thirteen countries worldwide, was in the top 10 of the 2018 Progressive Metal EP Chart and was listed as one of the best albums of the year in 2018 by Metal Nation Radio!

Described by the lady herself, the album is an “epical prog-metal compilation in 6 parts – a multi-layered sonic piece of ravishing solo electric guitars, time-bending tempo shifts, grooving bass lines and deranged drums” and she is not far wrong!

Featuring just six tracks and lasting a little over 25 minutes, this album goes against everything that should be considered ‘epic’ but that is the only word I can think of to describe it. It is eccentric (I can see where the Kate Bush and Tori Amos references come in!), atmospheric and really does conjure up all sorts of images in your head while you are listening to it. The guitars whisper of Satriani and Vai and there is a whole host of musical sounds (wails, screams, bongos to name a few) to take you on your journey which Oh. describes as a spiritual one that will “transmute your subliminal mind map.”

‘Experimental’, ‘eclectic’, ‘strong’, ‘packs a punch’ are just a few of the words and phrases I have seen to describe this album and I would agree with every single one of them. Although instrumental (how the album is described by Olivia herself!) prog-metal is not really my thing, I can recognise talent where I see it. And this is one extremely talented woman!

This album won’t appeal to everyone, but anyone with a love of progressive music in general should really check it out!

But be prepared to be gob-smacked, bowled-over and totally amazed all at the same time!

1. Red Lion
2. Bee
3. Androgyny
4. Resurrection
5. Dragon’s Kiss
6. Triumph





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

The Paradox Twin – The Importance Of Mr Bedlam


The Paradox Twin – The Importance Of Mr Bedlam
White Star Records
Release Date: 29/06/2018
Running Time: 51:10
Review by Dawn “The Metal Priestess” King

Being a reviewer, I have learnt, is not just about picking the bands that you think you will like, giving them a listen and popping an 8 or 9 out of 10 at the top of a review. It’s about taking a step out of your comfort zone and listening to some bands that you may not have normally listened to and really listening to the musicianship. If you can appreciate this in something that is “not your thing” then you are halfway there.

Now, stepping out of my comfort zone would be reviewing a Black or Death Metal band or, in this case, a Progressive Rock band. In recent times, I have come to appreciate the Progressive Metal genre more than I used to but the idea of Progressive Rock (and yes there is a difference) is still a bit daunting to me.

I have never been a big fan of bands such as Pink Floyd, Yes or Rush (sacrilege some might say but that’s just the way I am!) as they were never heavy enough for me. Progressive Metal, on the other hand, features the heaviness that I like, hence why my love for the genre has grown. So, when a Prog Rock band appeared on the reviews to do list I thought why not?

So, let me give you a bit of background on The Paradox Twin. They are a quartet from Reading in Berkshire, formed sometime in 2012 and are fronted by main songwriter Danny Sorrell. “The Importance Of Mr Bedlam” is their debut album. The band were named unsigned artist of the year in 2014, under the former name of Formby, and were nominated for the best video in the Progress Music Awards in 2018.

The band consists of Danny on guitars/keyboards and vocals, Leland Freeman on guitars, Diane Fox on bass and Rob McGregor on drums.

This is an album of just 7 tracks, ranging from 6 to 10 minutes long each, and the lyrical content can be linked to various alien conspiracy theories (again, not my thing, but each to their own!) Danny explains that he is “influenced and inspired by the conspiracy theories and the idea that humans on earth are being controlled by extra-terrestrial beings.” It seems a good subject, then, to base a piece of Progressive Rock on and “other ideas on the topics of other worldly seers are gradually unveiled throughout this fine piece of progressive work.”

The album features subliminal messages and samples of speeches throughout from the likes of Lloyd Pye, who was renowned for his theories on extra-terrestrial beings, in which he claims that aliens do exist.

The album was produced by John Mitchell, who also features as a special guest along with Kim Seviour, keeping up the White Star Records cross-collaboration ethos. The artwork was created by Paul Tippett of Vitamin P, who has also done artwork for the likes of Kino, Lonely Robot, Black Star Liner, Kepler Ten, Europe and more.

Danny says he is a fan of the works of Steve Wilson, Opeth and My Dying Bride and the “poetic artistry that comes with these bands,” but he tries not to listen to other music during the song writing process, fully immersing himself, so as not to have too many obvious influences creeping into the band’s sound. Now, that’s dedication!

One of the things I could never get my head around with progressive music is the use of keyboards/piano, but I can see from this album, which features them a lot, why they are used. Combining electro synths with Rock gives the album soul and emotion throughout yet gives the band the chance and ability to “rock it up” when they want to.

Danny has a very unique voice, both gruff and melodic at the same time, adding to the atmospheric vibe to the album. Although I could hear a tinge of James Labrie to his voice, there isn’t really anyone else that he sounds like, and being one for distinctive vocals, this only added to the appeal for me.

The guitar solos are haunting yet melodic and sometimes heavy (just how I like them!) and the rhythm section holds it all together superbly. I seem to be able to pick bass lines up a lot more since my son started playing and Diane is a fantastic bassist.

This is the sort of album that I could imagine listening to in a darkened room, the volume turned up loud and really chilling out. I can hear elements of Dream Theater and Porcupine Tree but the band these guys remind me the most of is Cosmograf and their fantastic album “The Man Left In Space.”

There has obviously been a lot of hard work, tears and sweat gone into producing this album as this definitely does not sound like the work of a newly established band. These guys (and gal) sound like they have been doing this for years and have been building up to this, the greatest album they have ever written!

This is a fantastic debut from a very talented group of people (and this is from a thrash girl!) but as with all great debut’s, the question is will they be able to keep it up!? I for one, and as a non-prog fan, certainly hope so! They could undoubtedly give some of the more established Progressive Rock bands a run for their money……and probably win!!

1. The Mir
2. The Importance Of Mr Bedlam
3. Cycles
4. Earthbound
5. Moonblood
6. Planeta
7. Gravity Time Dilation



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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.

In The Woods… – Cease The Day

Cease The Day Cover

In The Woods… – Cease The Day
Debemur Morti Productions
Release Date: 23/11/2018
Running Time: 54:43
Review by Chris Galea

It feels odd having an album from In The Woods… without the creative presence of the Botteri twins. Despite their departure, original drummer Anders Kobro and English singer James Fogarty (the latter of Ewigkeit fame) were determined not to let their efforts go to waste and with the assistance of guitarist Bernt Sørensen gave birth to this album.

Musically, “Cease The Day” is atmospheric Black Metal with Progressive attributes. Onto this are daubed epic and free-flowing emotional soundscapes. ‘Substance Vortex’ and ‘Strike Up With The Dawn’ are apt representations of these qualities. In comparative terms, “Cease the Day” is an improvement on “Pure”, its predecessor, but not as fulfilling as earlier In The Woods… albums such as “Strange In Stereo” or “Omnio”.

Peeling open “Cease The Day”….’Cloud Seeder’ is an excellent and catchy composition. ‘Transcending Yesterdays’ sometimes risks suffocating under its own weight but also contains some bewitching and cathartic moments. Taken as a whole, “Cease The Day” sometimes tries a bit too hard to be In The Woods… but by and large it should please the band’s fans. It certainly pleased me.

“As the fire becomes cold, there’s a story to be told” is a verse from the brief title-track that concludes the album. It’s also an accurate summation of the raison d’être of In The Woods…!

1. Empty Streets (09:30)
2. Substance Vortex (07:26)
3. Respect My Solitude (06:33)
4. Cloud Seeder (06:52)
5. Still Yearning (09:00)
6. Strike Up With The Dawn (06:26)
7. Transcending Yesterdays (07:05)
8. Cease The Day (1:51)

James ‘Mr Fog’ Fogarty – Vocals, Guitars, Basses, Keys
Bernt Sørensen – Guitars
Anders Kobro – Drums
Kåre Sletteberg – Guitars on 2.


https://www.youtube.com/watch?v=GI6IcuGxbiI ‘Empty Streets (Official Audio)

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

Homerik – Homerik

Homerik Cover

Homerik – Homerik
Running time: 46:33
Homerik Productions
Release Date: Halloween 2017
Reviewed by Dawn “The Metal Priestess” King

I always knew when Rick at Ever Metal asked me to do him a favour and review a band for him that it was not going to be a run of the mill band. I knew there was going to be diversity and that there was a very good chance that I wouldn’t like the album. I think Rick assumed that too, and how I love proving him wrong.

Homerik are an American band formed in New York City but after listening to the album, you could assume that they had, in fact, come from anywhere in the world, and this is where the diversity comes in.

A trio comprising of composer and lyricist, Kenneth Candelas and two further lyricists, Andrew Petriske and Obed Gonzalez, they are a melting pot of different cultures and musicianships.  Unsatisfied with mainstream metal and the amount of “regurgitated” stuff around at the moment, they wanted people to look into the possibilities of metal and how such a brutal genre could be made into something beautiful and unique.

Andrew and Ken both derive their inspiration from the many genres of metal the band are influenced by, but, as a whole, they are not shy of exploring other genres of music.

Swayed by their interests which include (to name a few) Ancient Egypt, Dark Fantasy, Lord of the Rings, Norse Mythology and Game of Thrones, they have orchestrated a force of guitars, drums, bassoon (how often do you hear of one of those in metal music!?) piano, brass and strings, that would be worthy of the inclusion into any film score. All this is complemented by the mystifying and alto vocal work of Carla Candelas and Nilsa Astacio, who, combined together, make a chillingly beautiful narrative of a little girl who suffers reoccurring nightmares of abuse and neglect.

Classed by themselves on their Facebook page as Symphonic, Progressive Death Metal, I would also like to add “atmospheric.” With influences such as (deep breath here) Nightwish, Wintersun, Nile, Deicide, Behemoth, Symphony X, Children of Bodom, King Diamond, Opeth, Epica and Kamelot (and that wasn’t all of them!) it is easy to see elements of every one of these bands showing throughout the music and the band can easily switch from one sound to the next, showing great diversity and, above all, talent!

Says Obed Gonzalez: “what you are about to listen to is a project made by people, for people, and for it to unify the world and their peoples.” If any band could manage to unify the world with their music, then this band could. With classic death metal vocals to accompany the symphonic aspects of the band, there are also the sounds of Asia and the Middle East all thrown in for good measure.

This album is not going to appeal to everyone, but even then, it has an approachability to all music listeners whether they are devout music fans or not!

If you like your metal straight forward and in your face then don’t buy this album, but if you like something a bit different, a bit atmospheric and a bit eccentric even, then this is the album for you.

I liked it, proving Rick and, probably myself, wrong…..you might just do!



  • 1. Into the Pits of Oblivion 01:53
  •  2. Unforgotten Kin 03:14
  •  3. An Angel of Darkness 04:49
  •  4. Curse of the Black Nile 05:45
  •  5. The “Ire” of Green 03:58
  •  6. Wendigo 05:00
  •  7. The Balance of Power 05:39
  •  8. Bread and Circuses 03:22
  •  9. A Song of the Night: Part I 07:15
  •  10. The Legion 05:35




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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 do adhere to this will be treated as plagiarism and will be reported to the relevant authorities