King Satan – I Want You To Worship Satan

I Want You To Worship Satan Album Cover

King Satan – I Want You To Worship Satan
Inverse Records
Release Date: 22/11/2019
Running Time: 41:28
Review by ‘Dark Juan’
10/10

Welcome to the Netherworld, you obsidian questing souls of black. If you wish to follow the Left Hand Path, I am Dark Juan and I will be your guide as you descend the circles of hell to find your own special brand of damnation. Or I will in a short while as I am currently fighting off food induced lassitude and am lounging upon my Satanic sofa after consuming my own body weight in provender earlier this evening.

“Bewildered and weak, yet with colossal chippy tea replete, I won’t be hungering for anything apart from copious quantities of fucking slamming industrial metal from Finland. And perhaps a very cheeky IPA that caught my eye in Shamansbury’s! Citrusy, bitter and fruity! Just how I like the keyboard players in fucking slamming Finnish industrial metal bands!”

Well, that Cradle Of Filth quote went totally wrong, even if it was indeed factually accurate. Sorry, Dani. Tonight, for a change, boys and girls, we are going to just plunge into a record review instead of you all having to wade through pages of entirely 100% true stories of what occurs in my life. Never have I lied to you, my flock. Never…

King Satan are from Tampere, Finland, which explains the fact that they are quite stupendously more bonkers than Evil Scarecrow, Nazi shitbiscuit, Varg Vikernes and an entire cheerleading squad off their tits on magic mushrooms dancing to Boney M songs on a mirrored revolving dancefloor. In space. Oh shit. I hate my imagination sometimes. Now the song has changed to Baccarat’s “Yes, Sir, I Can Boogie” and they are all wearing roller-skates. Fucking hell! FOCUS, DARK JUAN!

Yes. King Satan. A band that sounds like nothing I have ever heard. Like Cubanate without the grimness and the iron greyness! Like Combichrist with sexy, molten dollops of metal guitar slathered all over Andy LaPlegua’s vigorous torso. Like Rob Zombie’s technicolour horror universe if he had discovered techno at a formative age. Like aggrotech, metal and hellektro met and had a frenzied, bloody three-way in a filthy Venetian back alley after meeting when wasted on PCP. All underpinned perfectly with the gut-wrenching roar of King Aleister Satan. This is violent shit, man. You’re losing limbs in a King Satan moshpit. We all know I am partial to a bit of industrial music now and again, and you’re probably all quite sick of me spouting on about aggrotech on a heavy metal website, but this is a bit fucking special. There’s everything in here. It’s schizophrenic musical promiscuity in its purest form! There’s utterly murderous industrial metal a la “Houses Of The Mole” era Ministry overlaid with the strident sonic warfare of Christ Analogue, then there’s waves of synth fuelled fury over 1980’s New Jack hip hop beats. This transcends mere metal, and welds it into a wholly different musical form. THIS is what terror EBM and metal have been threatening to do for years and their love child is frankly terrifying.

Opening song ‘The Killing Of God’ sets the tone for the album in stunning style, with Ultraviolence style gabber keyboards over serrated, precise riffing – kind of like a slower, less intense, more musically minded Berzerker song. The throat ripping vocal style fits the violence in the music perfectly. The only other band I have heard in the industrial genre who is as musically diverse is one man French horror show Obszon Geschopf, and even they are not close to the level of savagery King Satan display. The amusingly (and accurately) titled second song is ‘Fuck Yoga’. Quite! Anyway, it kicks off with full on techno keys and beats before settling into an almost Rammstein sort of groove. But faster! The guitar work (and how it dovetails with the keyboards) on the whole record actually reminds me a lot of the work of Neue Deutsche Harte bands like Rammstein, Eisbrecher, Stahlmann and Megaherz. You know, the endless pursuit of perfection in the riff and the metronomic precision of the palm muting…

Synth player Katherine Boss also shares vocal duties, and her demented cutesy little girl meets Mike Patton at his most insane when he was in Mr. Bungle voice adds another level of madness to an already clearly psychologically fucked up band. Peak “Oh shit, they are madder than a box full of tiny pissed Ozzy Osbourne’s next to an historic monument” moment hits three songs in on ‘Psychosadomasochism’ which can charitably be described as deranged. And that’s being nice to them because they are approaching the levels of insanity Dark Juan normally operates at. If you want a picture of what the inside of my head looks like, listen to this song and then run away. Save yourself…

Oh, hang on. I thought they had finally purged the madness. This was not the case. They’ve gone completely off piste again. Just when sanity had temporarily restored itself with a most satisfying slab of industrial grind, they are back again with church organ overlaid with techno beats, one of the most incongruous guitar solos I have ever heard and yet more girlish babbling on ‘Fuck The World’. ‘The Antichristification’ is pure hardcore techno with fucking killer guitar – exactly how I imagine Cubanate picturing their acidic music when they were developing their sound.

I fucking love this record. I’m on my third spin through the album already and I’m not losing interest. It’s vaudevillian, carnival music for demon hellspawn… It’s perfect music to flagellate your dogboy to. It’s filthy, dirty, musically slutty, coruscating, shockingly heavy and dense music. It is BDSM in musical form. It’s black latex covered in blood and sweat, unguents and lubricants. It is whip welts on alabaster flesh, livid scars over intricate tattoos of inverted pentagrams, a Chelsea smile on a beautiful girl’s face. It’s savage, violent, unpredictable and utterly impossible to resist. I can’t see how King Satan will ever top this. It’s absolutely fucking insane.

If you are musically adventurous, you’ll love this. If you are like me and have a foot in both the camps of metal and EBM, you’ll fucking love this. If you appreciate demented humour, you’ll like this. If you’re a purist, you might not, but I beg all of my acolytes reading this nonsense, give this record a chance. If you listen to nothing else on my recommendation ever again, listen to King Satan. I truly do think they are that good.
Holy fuck. Just… holy fuck.

The Patented Dark Juan Blood Splat Rating System (Patentoitu Dark Juan Blood Splat-luokitusjarjestelma – there’s umlauts in there somewhere) is currently sitting silent in a darkened room wondering whether he should quit his Satanic ministry and just join King Satan instead, and awards 10/10 for the industrial record I always dreamed of.

TRACKLISTING:
01. The Killing Of God
02. Fuck Yoga
03. Psychosadomasochism
04. I Want You To Worship Satan
05. All Magick Is Chaos Magick
06. Fuck The World
07. The Antichristification (Is that even a real fucking word?)
08. Circus Of The Mind
09. Transgression
10. Raison D’Etre
11. The Portrait Of Darkness

LINE-UP : King Satan are: fucking mental!
King Aleister Satan – Vocals and programming
Katherine Boss – Synths and vocals
Jerry Rock ‘N’ Roll – Bass
Pete Hellraiser – Drums
Frater E.F. – Live guitars

LINKS:
http://www.kingsatan.net/
https://www.facebook.com/kingsatan616/
https://www.instagram.com/kingsatanofficial/

https://www.youtube.com/channel/UC3_nV0hfri-8wi7wzmxWO3Q

 

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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.

Miasthenia – Sinfonia Ritual (feat. Ifall)

Sinfonia Ritual Cover

Miasthenia – Sinfonia Ritual (feat. Ifall)
Mutilation Productions
Release Date: 31/08/2019
Running time: 30:32
Review by Victor Augusto
10/10

One thing that I do admire in some bands is when they constantly keep evolving even after two decades of existence. If they can still impress their fans after so much time, they probably deserve all the attention they get. Firstly, I do have to describe Miasthenia’s music to make it clear. Miasthenia are a Pagan Metal band who bring the creepy sonority from Black Metal, but they play it incredibly with the harmonies, melodies and techniques of a great Heavy Metal band. The Portuguese lyrics are far from the silly Satanism or Antichrist themes you often get. Vocalist Susane Hécate delves deep into old civilization histories and describes how the Christians enforced their dogmas and culture, sometimes with bloodshed, during the 16th Century colonization. She has a Doctor’s degree in history and teaches at a local university and both of these things help her to create romances based on the theme.

Her keyboard parts are very noticeable on the compositions and have a great contrast with all the riffs. Marcos Thormianak is a killer guitar player too and his riffs and guitar work, together with Hécate’s keyboards, create a dense atmosphere. It is not superbly overblown like the symphonic parts from bands like Dimmu Borgir, however, it is as well composed, and Miasthenia just play it in a simpler manner. Basically the band have extreme and aggressive songs, that talk about Maya or Indians. All of this is strongly highlighted with an awesome record production, but don’t forget that I am talking about a band that was born from Black Metal influences in Brazil. Can you believe that this is possible? Yes, it is!

“Sinfonia Ritual”, specifically, consists of songs from Miasthenia’s last three albums, Antípodas (2017), “Legados do Inframundo” (2014) and “Supremacia Ancestral” (2008) that have been rearranged into totally symphonic versions. If the original tracks are amazing by their arrangements and heaviness these versions, created in collaboration with producer ‘Ifall’, create a vastly more epic atmosphere. Orchestration has reproduced all the riffs, vocals and keyboards. Just the drums and solos have been left behind.

The extract from the five songs that you can read on the CD booklet says: “In the ritualistic disease of the singing and dancing of Taqui Ongo’s preachers, Andean priests lamented the forgetfulness of ancestral rites and they announced the rebellion of the Huacas (Andean spirits) against the Christian religion. In Yucatán, the Mayan priest Chilam Balam predicted the “13 Ahau Katún”, that is an age marked by the arrival of Christians colonizers and it corresponds to the end of an ancient era, when agony evokes the force of blood sacrifices in the revival of death-rebirth-life rites to Xibalbá. In North America, the great tribal alliance of the Iroquois gave rise to the “Kayanerehn Kowa” or “The Great Law of Peace” which celebrated the end of wars and conflicts, in rituals that ensure the balance and harmony among native nations that fight for your rights. In 1542, in the South America forests, the powerful female Indian warriors Coniupuyaras confronted the Orellana conquering troops on the huge Amazonas River, disturbing the Christian and patriarchal order imposed by colonialism. “Deuses da Aurora Ancestral” celebrates the ancient tribal resistances that inspire us and connect us with the infinite ways of be, ways of being and ways of resist; in the past or in the present”.

Listening to “Sinfonia Ritual”, I felt like I had entered inside the soul of Miasthenia and discovered thorough details from them. It is like I can see their skeleton and ‘spinal tap’ from them their melodies, music structures and harmonies; all of it without the “Skin” of heaviness of the original songs. You just have to open your mind and embark on this saga to feel how glorious Miasthenia are.

TRACKLISTING:
01. Taqui Ongo
02. 13 Ahau Katún
03. Kayanerehn Kowa
04. Coniupuyaras
05. Deuses Da Aurora Ancestral

LINE-UP:
Susane Hécate – Vocals, Keyboards
Thormianak – Guitars
Prometheus – Drums
Ifall – Arrangements, Synths, Vocals and Percussion

LINKS:
https://www.miasthenia.com/
https://web.facebook.com/miasthenia/
https://www.instagram.com/miasthenia_band/

https://www.youtube.com/user/Miastheniaband

 

 

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

Various – MetalMessage VII: Respect The Steel

MetalMessage VII, Respect The Steel Cover Top

Various – MetalMessage VII: Respect The Steel
MetalMessage
Release Date: 14/10/2019
Running Time: 56:59
Review by Mark Pritchard and Rick Tilley
9/10

Hi Everyone, it’s Rick.

We don’t often get asked to review a Label/PR Company compilation and if we do receive them they often get put to one side as there are just too many other albums arriving, but they are definitely not pointless. Personally, I tend to listen to them in car going to or from other gigs and have discovered some really great bands on them that I would otherwise have missed.

German PR Agency METALMESSAGE are one of the many companies we deal with to bring you news, features, interviews and reviews and their owner Markus Eck is one of the nicest people you could wish to deal with so when he asked Mark if he could write a few words about the latest compilation album he had put together called METALMESSAGE VII: Respect The Steel” I said it was fine.

The following paragraph belongs to Mark and I have to say I pretty much agree with him on everything. You could certainly do a lot worse than checking out any one of the bands on this sampler, even the artwork by Serbian illustrator Dusan Markovic.is fabulous, and you should definitely check out METALMESSAGE too, a company that does things the right way!

Mark
The other day I was asked by METALMESSAGE owner and friend Markus Eck to have a listen to a compilation album he has spent months putting together with the possibility of me writing a small review and I can only say that I jumped at the chance! Ladies and Gentlemen, what we have here is an awesome album called “METALMESSAGE VII: Respect The Steel” which is comprised of thirteen tracks from thirteen different metal bands who come from various countries and there isn’t just one genre of metal being portrayed. ”VII: Respect The Steel” is, in my own words, a masterpiece of metal combinations all rolled up into one awesome album. With the likes of Invictus, Hell’s Guardian & Atrium Noctis, to name but three bands featured, ”VII: Respect The Steel” just entices to be heard and listened to. My album rating is an easy 9 out of 10 and I want to say a huge thank you to METALMESSAGE main man Markus for the huge amount of time he put into making the compilation and for asking if i would like to write a small review.

Below is a tracklist and links for all the bands and for METALMESSAGE.

01. ASH OF ASHES (Germany) ‘Down The White Waters’ (Unreleased Single Edit)
https://www.facebook.com/AshOfAshes/

02. HELL’S GUARDIAN (Italy) ‘Blood Must Have Blood’
https://www.facebook.com/hellsguardian.official/

03. INVICTUS (Germany) “Burst The Curse”
https://www.facebook.com/InvictusHeavyMetal/

04. REVEREND HOUND (Germany) “War Of The Wolves”
https://www.facebook.com/ReverendHound/

05. DAWN AHEAD (Germany) “Sinister Thoughts”
https://www.facebook.com/dawnaheadofficial

06. WOLVES DEN “Nachtmahr”
https://www.facebook.com/wolvesdenband/

07. AFTERMATH (USA) “Diethanasia”
https://www.facebook.com/AftermathChicago/

08. ONTBORG (Italy) “Within The Depths Of Oblivion”
https://www.facebook.com/Ontborg/

09. HOLLOWED (Germany) “Sick Society”
https://www.facebook.com/Hollowed.FFM/

10. MISANTHROPIA (Germany) “Mirror”
https://www.facebook.com/MisanthropiaArea/

11. ATRIUM NOCTIS (Germany) “Leviathan”
https://www.facebook.com/atriumnoctis/

12. HANGATYR (Germany) “Blick aus Eis”
https://www.facebook.com/derGehangene/

13. FORGE (Switzerland) “The Death Of A Warrior”
https://www.facebook.com/forgemetal/

 

METALMESSAGE
https://www.metalmessage.de/
https://www.facebook.com/metalmessage.pr/

https://www.instagram.com/metalmessage/
https://metalmessage.bandcamp.com/
https://metalmessage.tumblr.com/

https://www.youtube.com/METALMESSAGE

 

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

Acid Reign – The Age Of Entitlement

DISS0149CDD_4pp_1_TRAY_BOOKSLEEVE_ADP04004.indd

Acid Reign – The Age Of Entitlement
Dissonance Productions
Release Date: 27/09/2019
Running Time: 44:05
Review by Victor Augusto
9/10

It is very interesting how Thrash Metal bands that appeared in the middle to late 1980’s have some similarities. First of all, their main purpose and sonority were different from the first Thrash Metal bands created, probably as a natural evolution of this musical genre. The second thing I think is similar between them is how they have great technique to play riffs to a very high level. I don’t know why many of those bands quit early, but returned after decades, for our happiness. Did the name Death Angel come to your mind while reading this? Yes! It is an example of a band that has a similar history to UK Thrashers Acid Reign.

Born in 1985, they had a great career with two full albums ‘The Fear’ (1989) and ‘Obnoxious’ (1990) before quitting in 1991. Their rebirth happened in 2015, where, had they not disbanded, they would have been celebrating 30 years of noise and now their new offering is the amazing “The Age Of Entitlement”. On first listen, I could hear bands such as Havok or Overkill as reference points, but after careful listening it has been possible to catch personal influences and details which make Acid Reign different.

Despite their experience to create remarkable riffs and an excellent recording/production that increases the killer compositions further, it is the influence of classic British Heavy Metal bands in some melodies and also of Hardcore/Punk in a few songs that register with the listener. Of course these just complement the band’s style, because the Thrash Metal reigns supreme here.

The instrumental song ‘T.A.O.E. ‘shows an epical spirit before the destruction of ‘The New Low’ kicks in with the main Thrash Metal elements that we all know. Slowing down the rhythms, ‘Within The Woods’ is a long eight minute track with a more complex structure and (again) I could feel a little of the classic British bands in it with all the harmonies and tempos changes. The Hardcore influence is strong in the short song ‘Ripped Apart’ as is the Punk Rock vibe on the dancing ‘Blood Makes Noise’. The awesome ‘Sense Of Independence’ explores the heavier side of Acid Reign as does the track ‘United Hates’ which closes the album.

There is no doubt that Howard, Paul, Cooky, Pete and Marc knew exactly what they wanted and desired when making this album. “The Age Of Entitlement” shows a mature band that has taken all the heaviness from great Thrash Metal and has mixed that with many good influences from other genres to create their own identity. It is a magnificent way to show the world that Acid Reign is really back.

TRACKLISTING:
1. T.A.O.E.
2. The New Low
3. #newagenarcissist
4. My Peace Of Hell
5. Blood Makes Noise
6. Sense Of Independence
7. Hardship
8. Within The Woods
9. Ripped Apart
10. United Hates

LINE-UP:
Howard “H” Smith – vocals
Paul Chanter – guitars
Cooky – guitars
Pete Dee – bass
Marc Jackson – drums

LINKS:
http://acidreign.co.uk/
https://www.facebook.com/acid.reign.thrash/

https://www.instagram.com/acidreignukac/

https://www.youtube.com/user/AcidReignTV

 

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

Beyond Forgiveness – Live To Tell The Story

Beyond Forgiveness - Live To Tell The Story

Beyond Forgiveness – Live To Tell The Story
Sliptrick Records
Release Date: 23/09/2019
Running Time: 54:00
Review by Victor Augusto
8.5/10.0

Maybe I am getting old and forgetting things I’ve said before, but probably I’ve already told what I am thinking now. After many years listening to extreme Heavy Metal, I have started to appreciate all kinds of work, no matter what the genre is. Symphonic Metal was never something that I listened to often, but with the small amount of experience I have since starting to hear all kinds of Metal, I have begun to give more value to compositions where musicians put their soul into the music.

Beyond Forgiveness has just released their second full length album and don’t expect music full of happiness as most symphonic bands used to play. First of all, the 10 tracks of this record are full of feeling with lyrics that are very well expressed alongside the heaviness from the rest of the band. The angelical voice of Talia Hoit is always calm and very well complemented by the guttural and clean vocals of Richard Marcus and Greg Witwer (also guitar players). It is extremely interesting how the album is very dynamic, like the soundtrack of a multi-chapter epical history.

Musically, the band offers a heavy riff structure. The fact is everything on guitar is played in a good cadence which helps to increase the immersion of the dense atmosphere along with the keyboards and symphonic arrangements. Following the same idea, the double kick drums are not as fast as is usual with this kind of style. The opening song ‘Echoes’ shows the calm side of the band as the track ‘Live To Tell The Story’ shows the fast side of them. The lyrics navigate from mythological themes, like the famous story of Icarus in ‘If I fall’, to human experiences lived by man.

I enjoyed the opening riffs of ‘One Last Time’ and also the clean depressive notes of ‘Consolation’ that was able to change the course of the music a small amount. The album ends with Talia singing with a symphonic background, without drum or guitars, in ‘Forever Dream’.

I really felt the spirit of all band members in every single part of this album. Maybe you will prefer faster songs, or a more aggressive vocal. Myself, I wished it too had some faster riffs and a mix that could give the instrumental passages the same volume as the vocals sound here; however, it is undeniable that the band have put their spirit into the concept. In a world where we hear plenty of soulless groups release an album just to have one, it is very impressive to hear an album like “Live To Tell The Story”.

Congratulations to the entire band.

TRACKLISTING:
1. Echoes
2. Live to Tell the Story
3. If I Fall
4. One Last Time
5. Reverie
6. Leaves of Lothlorien
7. Labyrinth
8. When Rivers Turn Red
9. Consolation
10. Forever Dream

LINE-UP:
Talia Hoit – Vocals
Richard Marcus – Guitars\Backing Vocals
Greg Witwer – Guitars\Backing Vocals
Sean Rogers – Drums

LINKS:
https://www.beyondforgiveness.net/
https://www.facebook.com/beyondforgivenessmetal/

https://www.instagram.com/beyond_forgiveness/
https://beyondforgiveness.bandcamp.com/

https://www.youtube.com/channel/UCd9DqDHneo1MTewgmQZj_AA

 

Beyond Forgiveness

 

 

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

RAM – The Throne Within

The Throne Within Cover

RAM – The Throne Within
Metal Blade Records
Release Date: 13/09/2019
Running Time: 49:06
Review by Dawn “The Metal Priestess” King
10/10

Rick and I have recently come up with a system when it comes to my reviews. Whereas all the other reviewers will take a look at the album list and pick what they would like to review, Rick will just send over a few albums for me to review. He knows my taste probably better than I do, and, as I am so busy with posting stuff to the site and news to the Facebook page, it means I don’t waste precious time (Rick is the one who puts together the album list so he is already working on it.)

Anyway, enough wasting time telling you about the logistics of how we work behind the scenes, I cannot begin to tell you how happy I was when I saw he had sent me the new Ram album to review (I think I actually did a little squeal!) I have been a fan since I first heard “Forced Entry” way back in 2005 and although they had kind of fallen off my radar for a period of time, I was glad they were still making music.

2019 marks the 20th anniversary of the band, an achievement the band is proud of. Says guitarist Henry Granroth – “it feels great! I would say it’s quite an effort to keep it together for such a long time, and I don’t think anyone involved would have imagined this to be a mission of that length. Hopefully, we’ll have the strength to keep going if not twenty more, at least ten. Who knows?”

And what better way to mark the anniversary than with this fantastic album.

Ok, a bit of history first though.

Ram were formed in 1999, in Gothenburg, Sweden, by guitarist Henry Granroth. He wanted to form a “real heavy metal band” as he had become sick of the misinterpretation of metal that was ruling the scene at the time. He met Daniel Johansson, a young but very experienced and talented guitarist, who had a very traditional style of playing metal guitar.

After a long search they found Oscar Carlquist, a powerful heavy metal vocalist with a mutual hatred of the current metal scene, who, in turn, brought in drummer Morgan Pettersson, who still played in the old 70’s/80’s hard and heavy drum style.
Lastly, the band recruited the legendary Leif Larsson, a former member of Frozen Eyes and their line-up was complete.

In 2003, the band released their first EP “Sudden Impact” and it was a hit on the underground scene, the first 1,000 copies selling out in just a few months. They hit the road, playing a number of festivals in Europe and went on tour as support for Sebastian Bach. They were also recognised by Germany’ Rock Hard Mag as one of the best newcomers of 2004.

They released their full-length debut, the aforementioned “Forced Entry” in 2005, an album which brought the entire old school heavy metal community to its knees, and the rest, as they say, is history.

“The Throne Within” is the Swedish quintet’s latest album, released on 13th September 2019 via Metal Blade Records and it is clear this is a band who has upped its game to deliver a record with its roots deep in classic heavy metal yet wielding an energy and freshness that places it very much ‘in the now.’

Unlike its 2017 predecessor “Rod” there is no concept that unifies the lyrics and every song speaks for itself.

Says Granroth – “it is unmistakable RAM, there are fast songs, heavy songs, mid-tempo and slower tempos as well. There’s melody and there’s grit. The arrangements are recognizable, but some may be unorthodox. We wrote songs with no particular type of record in mind. Sometimes you have a clear picture, sometimes you don’t, and this time we just got together and started writing and saw where that took us.

The album opens with the epic ‘The Shadowwork’, which explodes to life with a scything riff, making it clear that 2019 RAM are playing at full force.

Having previously released six full length albums, this one doesn’t deviate the band away from their core sound which has its roots set firmly with the likes of Judas Priest, Iron Maiden, and Accept with maybe a tinge of King Diamond creeping in here and there.

Instead, it has raised the bar of their founding principles and this can be placed above anything else they have done before. With a high octane, unmissable, 80’s attitude, this band has both the look and the sound that is able to transport us back to the heady days of the 1980’s when, as some people would say, ‘metal was metal!’

Long have bands like RAM been the loyal protectors of the old guard of heavy metal and this album proves they are still to this very day. People may say ‘it’s all been done before’ and ‘this isn’t bringing anything new to the scene’ but this album is a true tribute to the metal of the 1980’s and I can only say that this is a good thing. I, personally, like to listen to the new stuff being made today but I also do like to listen to the older stuff too, and if it can be done by a band such as RAM then all the better.

The production of this album is of a greater quality than their previous offerings, providing a polished sound with true grit that gives the guitars, in particular, a bit of extra oomph.

With the twin guitars giving us some awesome solos and riffs, and the rhythm section being tight and solid, the other element that sets this album apart is the vocals. Carlquist has a strong, powerful voice that is so suited to this type of metal and provides that finishing touch to already brilliant musicianship.

This is an album of 100% kick ass metal. But don’t take my word for it, go and get yourself a copy and see for yourself!!!

TRACKLISTING:
1. The Shadowwork
2. Blades Of Betrayal
3. Fang And Fur
4. Violence (Is Golden)
5. The Trap
6. No Refuge
7. Spirit Reaper
8. You All Leave
9. Ravnfell

LINKS:
http://ram-metal.com/
https://www.facebook.com/RAMheavymetal
https://www.instagram.com/ramheavymetal/
https://ramheavymetal.bandcamp.com/

 

Promo Pic

 

 

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.

Nachtfalter – was bleibt

was bleibt Cover

Nachtfalter – was bleibt
Echozone
Release Date: 24/05/2019
Running Time: 42:23
Review by ‘Dark Juan’
4/10

Good evening, droogies, boozers, strumpets and losers! For which greeting we thank the puissant and magnificent Krusher Joule of Raw Power TV fame back in the nineties. This Hellpriest considers Krusher, a splendid gentleman of metal, a formative influence and a man to look up to, even if I was more interested in Ann Kirk in a short, tight dress at the time… If you’re of a similar age, you’ll understand. If not, you’d best get Googling, sunshine!

Anyway, in an effort (probably misguided; Most of what I do is…) to maintain some level of brevity in this review after what could only be described as an epic, last time out, I am resisting the urge to describe to you what is (might be… you’ll never know what shit I make up and what is real! Suffice it to say the more outlandish things I write about are more likely to be the truth) going on in my life and am of the opinion we should plunge straight into dealing with Nachtfalter’s “was bleibt”. That’s German for “what remains”, fact fans. Nachtfalter are a duo of talented gentlemen who wish only to be known by their initials and they play gothic metal with an industrial undertone with vocals in the German language. You’d imagine this to be so far up my street I’d be hailing (Satan?) a taxi to get there quicker, wouldn’t you? Normally you’d be right, but…

Unfortunately, this record is ponderous. And it has the world’s most inappropriate guitar sound. The vocals are sub – Till Lindemann German guttural and the whole sound of the record is off, somehow. It’s as if Nachtfalter could afford Stock, Aitken and Waterman to produce the album. The production is FAR too poppy for my tastes. Especially when we are talking industrially tinged gothic metal with low register German vocals. It should be shaking internal organs loose and making me make a large and unpleasant mess in my underwear, but it doesn’t. In fact, it is basically leaving me with a feeling that could charitably be described as, “Meh.” This is a crying shame because there are some fucking good ideas on this record and they are simply not taken advantage of, at all. The vocals are uninspiring and it would be brilliant, just once, to have a German metal band sing in their native language without doing their best Till Lindemann impersonation. Even Laibach (yes, I know they are actually Slovenian but they sing in German so the point holds, ok?) are guilty of this. Nena didn’t grunt ‘99 Luftballons’, did she? A bit more range would have been a definite bonus. It’s telling when the best song on the record is an electronic body music version of ‘Maschinenklang’. Actually, the electronic version (of already the best song on the album by a country mile) kicks serious amounts of arse and if it doesn’t end up being a cybergoth hit on the dancefloor of Sheffield Corporation then I’ll eat my flat cap (cos I am from Lancashire innit? I’m sending this one out to my homeboys in Radcliffe and Bury…) and put a ferret down my trousers. Other tunes worthy of note are ‘Vollkommenheit’ and ‘Folge Mir’, both being good songs ruined by terrible production values. I have issues also with the homespun quality of the production throughout the entire record. It sounds like it was recorded in a bedroom in suburban Leipzig. There’s no punch to any of the instruments, the guitar sounds like it belongs in a Pretty Boy Floyd cover band and the synths have a disturbingly 1980’s Bontempi quality about them. It sounds cheap as fuck, basically. I’m actually genuinely upset because this band could have been gothically magnificent. They could have been dark wonders. They could have had this Goth loving hellpriest crawling at their feet begging for their attention. Instead, they are pedestrian, inadequate and hollow. There’s no soul to the music. It’s mechanical, not in the industrial sense of the word, but it is gothic metal by numbers and that is extremely intolerable in a genre that is based on emotion. It should be melodramatic and bombastic and rich and lush and powerful and “was bleibt” is none of those things. “was bleibt” is the aural equivalent of the horrible feeling of bleak, crushing sadness you get when you discover a cold cup of tea you forgot about.

Heart. Broken. Send beer and nubile young metal chicks to cheer me up.

The Patented Dark Juan Blood Splat Rating System awards Nachtfalter 4/10 for destroying his faith in a genre that has previously never failed to deliver some form of excitement. They have managed to corner the market in beige gothic metal. They are the metal equivalent of painting a wall magnolia.

TRACKLISTING:
(With helpful English translations for those of you too fucking lazy to use Google Translate)
01. Fur Mich (For Me)
02. Anderes Leben (Other Life)
03. Maschinenklang (Machine Sound)
04. Eine Stimme (One Vote)
05. Vollkommenheit (Perfection)
06. Im Schatten (In The Shade)
07. Folge Mir (Follow Me)
08. Nacht (Night)
09. Nur Noch Einmal (Just Once More)
10. Maschinenklang Elektro-Version (If you can’t work this one out for yourselves, go and see the doctor and get yourself seen to…)

Nachtfalter ist:
T.S. – Vocals, bass, synth, drums (Vocals, Synth, Bass, Schlagzeug)
T.G. – Rhythm and lead guitars (Rhythmus und Leadgitarren)

LINKS:
http://nachtfalter-band.de/
https://www.facebook.com/nachtfalterband/
https://www.instagram.com/nachtfalter_official/

https://www.youtube.com/channel/UCDmODwD-Lqg_x5pmQ6glNAg

 

Promo Pic2

 

 

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.

Gypsy’s Kiss – Heat Crazed Vole And Other Tails EP

Heat Crazed Vole And Other Tails EP Cover

Gypsy’s Kiss – Heat Crazed Vole And Other Tails EP
Self-Released
Release Date: 25/10/2019
Running Time: 27:17
Review by Chris Galea
7/10

Formed by David Smith and Steve Harris in East London way back in 1974, the band returned to the fore after an absence of over 40 years. Despite the band’s distant origins the last few months have been a time of ‘firsts’ ….first single, first video, first lyric-video, first album (soon)…and, sure enough, here we have Gypsy’s Kiss’ first EP.

Rather than go for contemporary sonorities Gypsy’s Kiss have opted for a sound that harks back to Rock’s nascent years. Think of bands such as Thin Lizzy, early Uriah Heep or early Alice Cooper. All songs in this EP were written by Smith in the 1970s except ‘Settle The Score’ a brand new song with wistful melodies that reminded me of Patti Smith.

Essentially this EP assembles a handful of well-written Rock songs. They sound a bit brash and unrefined but possess some of that candour Smith and Harris must have had all those years ago.

Name-dropping aside, “Heat Crazed Vole And Other Tails” is an auspicious start to Gypsy’s Kiss’ venture into the limelight.

TRACKLISTING:
1. Heat Crazed Vole
2. Endless Pit
3. Gypsy’s Kiss (What Went Wrong)
4. Settle The Score
5. Heat Crazed Vole (live)

LINE-UP:
David Smith – lead vocals, guitars, bass
Jonathan Morley – guitars
Fraser Marr – guitars
Ross Hunter – keyboards, backing vocals
Robin Gatcum – bass
Stuart Emms – drums
LINKS:

Home


https://www.facebook.com/GK74Band/

https://www.instagram.com/gypsyskiss1974/
https://www.youtube.com/channel/UCIVjdkrlmDzk7_wgq0P8HSw

 

Promo Pic1

 

 

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.

Soldier – Storm Rider EP

Storm Rider EP Cover

Soldier – Storm Rider EP
Starhaven Records
Release Date: 12/08/2019
Running Time: 15:49
Review by Paul Monkhouse
8/10

It’s incredible to believe that Soldier are celebrating their 40th anniversary this year and, much like some of their other contemporaries from the NWOBHM era, they still have an awful lot to offer as this three track EP ably shows. Whilst the band have had more line-ups than the Met Police, founding member and original guitarist Ian Dick has found himself a perfect combination of talent to power them on and keep the name and music very much alive. Having somewhat sadly decided not to gig this year (but who knows what the future holds) this new release is a perfect indicator of the force they still harness but also acts as a perfect introduction to newcomers of this seminal band.

The title track ‘Storm Rider’ kicks things off in fine style with its insistent riff, powered by the guitars of Dick and Miles Goodman. This has elements of some of the best of that initial rush of creativity and fire from forty years ago but also gives it a great, modern sound. There was a real song-writing skill that a lot of the bands of that heady era, like Saxon, Praying Mantis, Diamond Head and Samson, had and this is very much the case here as their ear for a melody as well as something that has that visceral excitement comes through on every track. Singer Richard Frost has been a real find and has a voice that’s perfect for the material, his vocals having both power and a honeyed tone to them. The guitar solo at the end of the song is all you could hope for and leads nicely into a fade before the second song, ‘R.N.R.’, kicks in.

Despite the well-worn subject of a guitar slinging hero, the song is utterly irresistible and glories in an instant appeal that sounds just so good whilst treading that line between hard rock toughness and AOR. These guys put other artists of the genre in the shade. The epic ‘Little Big Horn’ is the sort of thing that Iron Maiden used to make when they were at the first, early peak of their career and at just over six minutes in length gives you time to really revel in its delights. It has both the style and subject matter of early Maiden but with a lot more polish as the guitars charge full pelt at you, vocals weaving the tale and the bass and drums (of Steve Barlow and Tim Churchman respectively) pound with precision. It really is a great way to end the E.P. and leaves you not only marvelling at the music therein but desperately craving more. Fortunately, there’s quite a back catalogue to explore and this release is a pure distillation of what makes Soldier’s brand of melodic metal so enduring. Here’s to the next 40..!

TRACKLISTING:
01. Storm Rider
02. R.N.R.
03. Little Big Horn

LINE-UP:
Richard Frost – Vocals
Ian Dick – Guitar
Miles Goodman – Guitar
Steve Barlow – Bass
Tim Churchman – Drums

LINKS:
https://www.soldiernwobhm.com
https://www.facebook.com/soldiernwobhm
https://www.youtube.com/user/SOLDIERNWOBHM1

 

 

Disclaimer: This review is solely the property of Paul Monkhouse 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 New Roses – Nothing But Wild

The New Roses

The New Roses – Nothing But Wild
Napalm Records
Release Date: 02/08/2019
Running Time: 51:10
Review by Paul Monkhouse
8/10

Germany’s The New Roses are a bit of a conundrum and, much to their credit, have so much more depth to them than the casual glance at the new album would give the impression. The snarling wolf artwork, the album title and the opening track all give the impression that these guys are the Teutonic version of Airbourne (in itself, not a bad thing) but as the rest of the album unfolds you’re taken on a very rich journey across a shifting landscape that is much more akin to America than their own home country.

The very rough and ready ‘Soundtrack of My Life’ kicks off the album in true rebel rousing style, kicking up dust and powering you headlong into a furnace of hard rock that comes over like the wild child of Aerosmith at their most kinetic. Thinking that this full on assault is the way that the album is heading, ‘Can’t Stop Rock and Roll’ is a real turn for the unexpected as it’s much more commercial Stadium Hard Rock and third track ‘Down By The River’ has a real Tom Petty/Kid Rock feel to it, bringing memories of happy hazy Summer days. ‘Nothing But Wild’ has a real bluesy Southern kick to it and ‘Heartache’, with its great chorus, would be the perfect soundtrack to dusty road trips, stopping off at roadside bars that smell of beer, chilli and violence.

No rock album aiming for the stadiums would be complete without a big rock ballad and ‘The Bullet’ certainly ticks that particular box. This track could have been written and performed by Lynyrd Skynyrd such is its country tinged, wide screen appeal and you can almost imagine the video, all sepia tinted flatbed trucks, blonde haired high school sweethearts, sunsets and campfires. ‘Running Out Of Time’ is anthemic and joyous and the pace increases for the heavy ‘Unknown Territory’ with its elements of classic hard rock and tinges of New Wave. Similarly ass kicking are ‘As The Crow Flies’ and ‘Give And Take’, the former that takes you from highways to arenas and beyond whilst the latter revels in a ten-million-dollar confidence swagger.

Ballad Number 2 crops up in the shape of ‘The Only Thing’ and ‘Meet Me Half Way’ is another great country number that really shows the quality of the songwriting once again, if any reminder is needed. ‘Glory Road’ rounds off things with another slab of stadium rock that Jon Bon Jovi or Bryan Adams would be proud of. Acoustic bonus tracks ‘Down by the River’ and ‘Fight You Leaving Me’ give you another glimpse of the songs and would be a perfect addition as a mid-set unplugged section for future tours. As mentioned, it’s a somewhat oddly paced album style wise and it will be interesting to see if the next album heads more towards the heads down cranking it up of ‘Soundtrack…’ or the ‘track to break into America’ of everything else. It’s nice to say that the album grabs you because of what it is, rather than what it isn’t, The New Roses certainly defying any expectations and in that lays their genius. Great songs, excellent performances and a band that absolutely begs to be seen live! Everyone needs a bit of good time rock ‘n’ roll in their lives and The New Roses deliver that in spades.

TRACKLISTING:
01. Soundtrack Of My Life
02. Can’t Stop Rock’n’Roll
03. Down By The River
04. Nothing But Wild
05. Heartache
06. The Bullet
07. Running Out Of Hearts
08. Unknown Territory
09. As The Crow Flies
10. Give And Take
11. The Only Thing
12. Meet Me Halfway
13. Glory Road
14. Down By The River (Unplugged Bonus Track)
15. Fight You Leaving Me (Unplugged Bonus Track)

LINE-UP:
Timmy Rough – Vocals/Guitar
Norman Bites – Guitar
Hardy – Bass
Urban Berz – Drums

LINKS:
https://thenewroses.com/
https://www.facebook.com/TheNewRoses/

https://www.instagram.com/thenewroses/

https://www.youtube.com/channel/UCAq1qDH8UemNCfWBFFhgXBw

 

Disclaimer: This review is solely the property of Paul Monkhouse 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.