THE DEFIANTS DRIVE

For lovers of heavy melodic rock, The Defiants can be described as not only members/ ex-members of Danger, Danger, but an international supergroup. Together again after four years for this third album ‘Drive’, vocalist Paul Laine, who was with DD for eleven years, is reunited with guitarist Rob Marcello, whose brother is Kee of ‘Europe’ fame and bassist Bruno Ravel, who was also in ‘White Lion’ for a while. On drums this time is Van Romaine who has a bio which is as impressive as it is long, having performed with stars, ranging from ‘Enrique Iglesias’ and ‘Pitbull’ to the ‘London Symphony Orchestra’.

The song ‘Hey Life’ released as a single in early April, is a phenomenal introduction to this band. The guitar shudders with a riff that takes your breath away and Paul’s voice has extraordinary power. Van’s beating is high in the mix, so you are subjected to a full-on sound that you only hear from the best production, so it’s incredible to learn that Paul and Bruno also produced ‘Drive’.

‘Miracle’ is a ballad with beautiful harmonies and a melody that allows you to float away without a care. A track of complete contrast is ‘So Good’ which picks out Bruno’s bass and some epic rich tones. ‘The Night To Remember’ is a rock anthem, standing loud and proud, again full of richness, while the eleventh and last track ‘Nothing’s Gonna Stop Me Now’ has blasting guitar interlocking with vocals, on a pristine level.

A band consisting of a Canadian, Swede and two Americans, The Defiants live up to their name and defy any international obstacles, the result is a new album that turns back time, to those heady melodic days of the 80s, but with renewed zest and 21st Century overlays.

Words by Diane Davies

Enforcer Nostalgia

Baton down the hatches as Enforcer returns with their sixth studio album Nostalgia, released via Nuclear Blast Records on May 5th, 2023. Formed in Arvika, Sweden 2005, these thirteen bangers see them at the top of their game. A point proven by the brief ‘Armageddon’ - an instrumental with tinges of ‘Tubular Bells’ for a call to battle-like feel.

Other choice cuts include ‘Unshackle Me’ - a track which is no frills heavy metal that quickly breaks free from its bonds. The vocals are melodic but also menace as riffs strafe away over a sturdy drum pound and 24-carat quality guitar solos raise the bar even higher! Banshee screams open up with ‘Coming Alive’, hurtling along on seriously fast and furious rhythms that don’t pause for breath. This song lives up to its title hands down as finger-blistering solos fly off the fretboards, breaking the speed of sound.

A smooth intro for ‘Heartbeats’ eases into hefty heavy hard rock. Steadfast dynamics give off a metronomic feel until it heads off into the fast lane for tarmac melting speed and a roughedged vocal. ‘Demon’ is mid-paced thrash metal that summons up from hell. They take no prisoners for the power metal of ‘Kiss Of Death’. The pace doesn’t waver as it zooms along on a kick drum assault of epicness as Nirvana is reached by twin lead overload.

‘Nostalgia’ is a four-minute power ballad that doesn’t outstay its welcome as its gently strummed intro adds a shimmering vibe towards a heavy outro of histrionic screams.

The album closes with a bang as ‘When the Thunder Roars (Crossfire)’ sees the spirit of NWOBHM taken on by Enforcer to let it flow through their veins as they go for the kill with an outstanding performance to end the album on a high.

Words by Dennis Jarman

The Dust Coda Loco Paradise

The Dust Coda drop their next offering of off-the-hook rock ’n’ roll railing with the album ‘Loco Paradise’. Following up after 2021 LP ‘Mojo Skyline’ the boys are back at it again with more fist-to-sky hard-hitting attitude and a few cooler tones chucked into the mix with sincere tracklisting composure.

The opening song and first released single ‘Road To Hell’ is a vision board of how the album plays out in both theme and feel. It’s a war cry and nothing short of meaning business. Those soaring vocals of Josh Drake are as good as they’ve ever been with the entire album demonstrating his stronghold as one of the finer singers of this generation. ‘Call Out The Dogs’ and ‘Rock ’n’ Roll Paradise’ are the obvious anthemic riff chuggers whilst the last track ‘It Won’t Be Long’ is the suitable cool-out wrap-up.

Adam Mackie on lead guitar pulls some sterling solos out of the bag without taking away from the core magnetism of the band which lies in their songwriting. ‘Loco Paradise’ hits that sweet spot between 70s hard rock and a larger scale of production which comes together to form something to please many. It’s high-quality craftsmanship to hear the entire band come out in each song with Scott Miller snipping in drum licks in ‘Love Sick’ and some prominent bass work from Tony Ho. An all-around all you can eat ten track feast which will no doubt see The Dust Coda step further into a reign of their own.

Words by Monty Sewell

Black Roze Penny For Your Sins

Taking three years to complete ‘Penny For Your Sins’ is not only eleven tracks of differing genres but there’s also a reflection on past experiences. Each song has been written with amazing insight, recognising, and overcoming the hardest of situations, thus creating a journey for us to follow. This sophomore album from the Kent rockers is in their words ‘a rock version of our confession booth... an outpouring of our deepest darkest thoughts, deeds, and desires’.

The title track starts the proceedings. A tale about the allure of addiction, it’s loud and forthright rock. Viixen epitomises how a female vocalist should hammer out her lines and Baz Roze delivers screeching guitar. Sleazy does it for ‘Give Yourself to Me’ shifting into the gutter for some dirty exposure.

‘Hit Me Up’ retains the grime, is provocative and has a hell-bending rhythm, this is just delicious.

Viixen was hospitalised, having a lifethreatening illness back in 2020. The idea for ‘Devil’s Door’ was a result of those deathdefying days. It’s a sorrowful and melancholy track, that releases all those past fears. ‘Wake Up!’ is a zany number, with plenty of off-the-wall vocals and bouncy chords, that could bring anyone out of dreamland.

‘Burn It Down’ will be familiar territory for Black Roze fans, as it came out as a single in March 2022. The ballad ‘Footprints in The Sand’ is evidence of the band’s dexterity, a heart-warming piece full of warmth. ‘Not Your Whore (Anymore)’ from 2021, is a favourite that’s often played live. I hope the newer single ‘Poison Voices’ also stays on the setlist, as it’s a remarkable song and Baz lights up the frets yet again.

The bonus track ‘Curse of The Black Roze Part 2’ is an acoustic gem, very much in the ‘Stevie Nicks/Fleetwood Mac’ vein. Black Roze have put together a gorgeous album.

Words by Diane Davies

Elegant Weapons Horns For A Hallow

When it comes to creating a band with a group of famous musicians, it’s an immutable fact that expectations will be sky-high. Plus, if the right calibre of players sparks a creative reaction from each other then, surely, the end results must be as good as the sum of their fiery parts. Fans need not worry. This is as spectacular a record as one can hope to expect from the combination of Judas Priest’s Richie Faulkner and Scott Travis; Pantera bassist Rex Brown; and ex-Rainbow frontman Ronnie Romero. By weaponising these compositions, from Bitter Pill’s starting gun, with a scudding sonic attack, there’s an almighty nuclear blast in the fusion of quality songwriting and their sizzling execution. Initial single, Blind Leading The Blind, alerted the metal masses to this formidable army of songs arranging themselves on their listening horizon.

Horns For A Halo is an emblematic album title, and as a title track, it’s a saintly slab of feral metal, for the extremely good heavyweight serried rank of songs delivered with a hefty measure of menaces. The brainchild of Judas Priest guitarist, Richie Faulkner, he leads this pack with adrenalised power as former Rainbow singer, Ronnie Romero, reveals his best studio album vocal performance yet across these ten tracks. As Downfall Rising, Dirty Pig and the smouldering slower-paced The Ghost Of You adds a touch of class and further proof to there being plenty of live bangers waiting to explode in venues across the globe. There’s no sign of snagging as they swiftly move up through the gears throughout this wild ride. A snarling cover of UFO’s Lights Out confirms this and EW’s well-chosen influences and unrivalled metal supergroup provenance.

Words by Paul Davies

Cradle Of Filth Trouble And Their Double Lives

Following on from their 2021 studio album, Existence Is Futile, Cradle of Filth release an absolute juggernaut of a live record featuring two brand new tracks to quench the ominously spine-tingling thirst that has lingered on our tongues since.

Alongside the sixteen live tracks recorded between 2014 and 2019 we’re gifted with a prelude to their next upcoming LP with new songs ‘She Is A Fire’ and ‘Demon Prince Regent’. The former rightly forefronts the track listing. An ultimate black metal mouth frothing testament to the band’s long-running reign as a British metal institute, ‘Demon Prince Regent’ similarly fires from behind, laden with a dirty riff chug and Filth’s uncanny screams.

As the live tracks go, after twenty years since their last offering it’s not only very much welcomed but even more so well played out. The gripping inclusion of audience cheers sets the tone and magnitude of their live performance’s with ‘Nymphetamine (Fix)’, ‘The Death of Live’ and ‘You Will Know The Lion By His Claw’ amongst the countless Cradle of Filth fan discography favourites. “Let’s see that fucking pit open a little bit there!” growls Filth in-between songs; the energy of the shows blaring out through the live version musical deviations.

Produced by Scott Atkins he takes on ‘Heartbreak and Seance’, ‘Haunted Shores’ and ‘Saffron’s Curse’ to name a few, only amplifying Cradle of Filth’s reminder of why the live version can sometimes be the best.

The record comes to us at the end of a Cradle of Filth era, signifying the start of a new. Transporting the listener back to the heart of the pit it rages out with a darkly delicious nostalgia topped with some stellar new material.

Words by Monty Sewell

Thunder

BACKSTREET SYMPHONY / LAUGHING ON JUDGEMENT DAY / BEHIND CLOSED DOORSVINYL REISSUES

When, in August 2022, news broke of Danny Bowes’ near death experience, the rock world held its collective breath. An accidental head injury led to a subsequent stroke and, for a while, the future looked bleak for the muchloved voice of Thunder. Nine months on and Bowes is back fronting his Planet Rock radio show, remembering how to walk again and celebrating a second chance at life.

So what better time to revel in the records that defined a career and confirmed the former Terraplane frontman as the best blues rock singer of his generation? Given a coloured vinyl gatefold reboot — and featuring a limited selection of bonus live cuts — Thunder’s first three albums have been lovingly reimagined and carefully curated. And while a rather impressive repackaging job is long overdue (expect the remainder of the band’s consistently spectacular back catalogue to receive the same treatment soon) it’s the songs that still sell these storied releases. What hasn’t changed three decades down the line is the impact of Luke Morley’s peerless songwriting prowess.

The architect of Thunder’s iconic canon is criminally underrated as a master of his melodic craft but his tireless work on the band’s explosive debut truly stands the test of time. Fusing elements of Bad Company, Led Zeppelin, Deep Purple and more with Terraplane’s poppier signature sound, Morley reinvented his former band as purveyors of the finest British blues rock.

And in producer Andy Taylor, the genius Geordie who’d made his name in Duran Duran and Power Station, Thunder’s lead guitarist discovered a like-minded creative who shared a bold vision for necessary reinvention. That Taylor revealed he was managing incurable prostate cancer just weeks after Bowes had diced with death adds a fresh layer of perspective to the bullish Backstreet Symphony. As a debut album, it’s a remarkably bold statement of intent from a band bristling with confidence.

And there’s no doubt Taylor’s canny production — coupled with Mike Fraser’s masterful mixing — played a key part in elevating best buddies Bowes and Morley to the next level. Listen again to the driving Dirty Love, evocative Higher Ground or the bashful ballad Love Walked In and it’s difficult to imagine Backstreet Symphony sitting anywhere other than atop 1990’s Best Of lists and flanked by myriad award nominations. In reality, a peak of 21 in the UK album charts barely reflected this game-changing record’s genuine influence within a newly energised British rock scene that had spawned the Quireboys, Gun, Little Angels, Dogs D’Amour, The Almighty and more.

Undeterred, Morley and Taylor joined forces again to co-produce 1992’s magnificent Laughing On Judgement Day and this time commercial success went hand in hand with a fresh surge in critical acclaim. Only Kylie’s Greatest Hits kept Thunder’s second album off the top of the charts as Bowes added his inimitable touch to the sassy Everybody Wants Her, brooding A Better Man and the titanic title track. No second album syndrome here then.

Not a chance. In fact, for all of Backstreet Symphony’s undeniable sheen, its superior follow-up was awash with frequent Morley flourishes so fabulous that the white and blue vinyl reissue feels a little tame. Emboldened by the success of Laughing On Judgement Day — and laughing in the face of grunge’s unstoppable rise — Thunder sought to up the ante on 1995’s Behind Closed Doors. Morley might have taken on sole production duties for the band’s third long player but he got the gang back together one more time: Taylor earned a writing credit on opener Moth To The Flame and Fraser served up a trademark mix out of Los Angeles’ Record Plant. Singles Stand Up, River Of Pain and Castles In The Sand all made their presence felt within the UK Top 40 and underpinned another reputationcementing tour de force from the irrepressible Londoners.

Within the space of six years Thunder — thanks to Morley, Taylor, Fraser et al — had nailed a flawless studio sound that would become synonymous with the band’s music for decades to come. But Bowes, in particular, only truly came alive belting out those classic tracks in sweaty clubs and on vast festival stages the world over. So the decision to spread 10 live tracks across these three reissues is the added bonus every long-time fan craves and deserves.

Highlights include a version of Python Lee Jackson’s In A Broken Dream (recorded at Japan’s Club Citta in 2000), Gimme Some Lovin’ (from Nottingham’s Rock City in 2008) and Like A Satellite (live from Shepherd’s Bush Empire in 2007). Bowes is in his element breathing new life into these stirring live staples and it’s a blessing that Thunder’s talismanic frontman lives to fight another day.

Whether Danny boy makes it back to where he belongs — behind the mic and flanking best mate Morley — remains to be seen but revisiting three treasured records offers a timely reminder of a precious legacy.

Words by Simon Rushworth

Revolution Saints Eagle Flight

A project by Serafino Perugino (Head of A&R at Frontiers Records), ‘Revolution Saints’, was created around Deen Castronovo, who has the most majestic voice. ‘Journey’ fans will be well acquainted with the drummer’s singing ability, as he provided live vocals on their song ‘Mother, Father’.

This fourth release, ‘Eagle Flight’, features a brand-new line-up, joining Deen are guitarist Joel Hoekstra (Whitesnake, Trans-Siberian Orchestra) and bassist Jeff Pilson (Foreigner, Black Swan). There’s also a guest appearance by Alessandro Del Vecchio on keyboards, who also produced the album.

The soft keys of Alessandro open up the eponymous track ahead of Deen’s smooth tones. The arrival of Joel’s guitar adds lush and dynamic chords before it travels full circle, ending as calmly as it began. There’s more weight during ’Talking To Strangers’ and ‘Need Each Other’ is melodic perfection, the flow of this track is noble and sublime. ‘Kids Will Be Kids’ offers more time for Deen to reach his highest vocal range’ and ‘Crime Of The Century’ hears Joel delivering awesome strings, it’s another with fire in its body, as the rhythm races relentlessly.

‘Sacred’ brings the album down to earth, Jeff holds the rhythm eloquently while Deen pursues an increase in depth and again there are ample demonstrations of Joel’s talent. ‘Once More’ quietly comes across before gathering momentum. The last of the ten tracks is ’Save It All’ which raises the cadence level, ensuring this album delivers everything that ‘Revolution Saints’ fans have come to expect.

‘Eagle Flight’ is a must for those who adore the heavier and rockier edges of AOR and once again Deen proves himself as a captivating performer. This Mark 2 lineup has so much individual adeptness, but together as a unit, their masterly brilliance is hard to eclipse.

Words by Diane Davies

Allan Jones Too Late To Stop Now

This unputdownable book should come with an excess all areas warning. It’s rammed with finely recounted anecdotes from an era when musicians spent as much effort having a wild time offstage as they mostly did onstage. To report their high jinks, there was a cadre of journalists chopping along also experts in how to take advantage of record company largesse. This involved a few who could easily match if not exceed the excesses of the artists whose rider they were indulging in with wild abandon. Re-enter former Melody Maker and Uncut magazine editor, Allan Jones, who has published his follow up memoirs to the Sunday Times 2017 music book of the year, I Can’t Stand Up For Falling Down, and he’s raised the ante on Too Late To Stop Now. Subtitled More Rock N Roll War Stories. It’s Jones’ shot proof like liver and nose for a good time that emerges victoriously intact from this second magnificent instalment of his storied life reporting from rock music’s frontline.

The page turning tales commence with a last minute one on one champagne fuelled print deadline rendezvous with a gaudily dressed Elton John in his Dorchester Hotel suite. It’s 1974 and Jones is three weeks into his first role at Melody Maker and this booze fuelled interview is a primer for the entertaining on the road shenanigans to come. When not in the pub sharing the good times with his fellow scribes, Jones is in the thick of it being set on fire by The Damned; immersed in an inebriated vodka encounter with Peter Cook, strange and surreal interviews with Peter Gabriel, Jethro Tull’s Ian Anderson and a bizarre meeting with Yes’ Jon Anderson on the French Riviera. All of which is emblematically documented with Jones’ inventive quips and highly engaging prose. As one of the very few journalists to get on with Lou Reed, it’s also clear that the artists and bands mostly got along with Jones and his insatiable quest for danger. The heady blend of interviews, between 1974 - 2014, with rock stars, prog minstrels, punk reprobates, new wave songwriters and much more… and their rise, and decline of some, into household names is a priceless collection of tales from an time when music writers reported without restrictions from the warts and all battleground of music. Taking its title from a Van Morrison song, the wheels quite nearly came off Jones’ many hilarious journey’s as he crashed around with the subjects involved here. Thankfully, and miraculously, he survived to tell these outrageous first hand stories. This is a first-class Rolls Royce Phantom of a book.

Words by Paul Davies

ROBERT JON & THE WRECK LIVE AT THE ANCIENNE BELGIQUE

Robert Jon & The Wreck’s musical journey, especially in Europe, is smoothly drifting from middle lane madness to a life in the fast lane. Playing larger venues on return trips to these shores is a sure sign as is the growing sales and received kudos for the studio output, such as recent EP One Of A Kind.

As is the tradition of bands who require a bit of breathing space between studio offerings, this live album recorded in Brussels in June 2022, documents their musical achievements seven years into their tuneful adventure. Plus, being released on Joe Bonamassa’s record label, it’s certainly a case of so far, so good as Live at The Ancienne Belgique proves.

RJ&TW’S modus operandi from the cautionary tale of The Devil Is Your Only Friend with its intertwining of slide and lead guitar and keyboards, light and shade musical mood colours, and the Allman Brothers influenced duelling guitars on Do You Remember is one of good time blues hued Southern Roots Rock. As those who have seen the band live will attest, lead guitarist Henry James Schneekluth is a guitar genius of this genre who loads up this band’s rocket of songs with a fiery fuel of fretwork par excellence. His guitar solo, three songs in, says it all as he slides into the boogie riff to Hey Mama.

Robert Jon Burrison’s mid to high register vocals communicate these tunes straight out of the dogeared Southern Rock boogie book of how to do it right. Overall, as good as the musicianship is, this bulging genre of bands would be nothing without good songs and The Wreck has very good songs. Blame It On The Whiskey, Oh, Miss Carolina, Tired Of Drinking Alone and, especially, Shine A Light On Me Brother sound as excellent live as they do on record. California’s finest, Robert Jon & The Wreck are the real deal!

Words by Paul Davies

Atreyu The Hope Of Spark Ep

Atreyu returns with “The Hope of Spark’’ and I’m not sure whether it was timing, but this fourtrack E.P. was just what needed. Four songs of no-messing alternative, hardcore metal, complemented with great musicianship, singalong melodies, and stomping hard-core riffs you feel like you want an arena to yourself just to rock out to!

There’s a touch of inspired-by moments for sure, but it doesn’t distract from being unmistakable “Atreyu” under the bonnet, love it all. You just have to turn the volume up and up until your speaker bleeds and fills whatever space you’re in loud and proud!

Kicking off with “Drowning” as you might expect experimenting with different sounds and effects the song blasts straight into a thumbing guitar riff, filled out with a hard and heavy rhythm section, exploding into a passionate heavy laden massive chorus. Second up is “Good Devil’’ the ingredients? Take NIN inspired memory or two, turn it inside out and upside down, and punch it through the Atreyu songwriting machine with a tidy sprinkling of a massive rock chorus you know you’re going to scream out with all your friends at a rock festival and there you have it, an Atreyu classic.

“Capital F” comes next, simply put, pure bliss, hard bouncy chorus, complemented with additional sound effects throughout for a more emotive experience while you soak in the lyrics which have quite the aggressive tone. Lastly, “Watch Me Burn” it’s more of the same... but in a great way! Perfectly executed, written, polished, and produced just as you would expect. The experience of only having four songs to play left me feeling really pleased. spent time listening to these songs, and yes wanting more very soon thank you.

Words by Russell Peake

Sweet And Lynch Heart And Sacrifice

The third album from Michael Sweet (Stryper) and George Lynch (Lynch Mob, Dokken) sees the duo reunited for the first time since 2017. Both previous albums, the 2015 debut ‘Only To Rise’ and ‘Unified’ were immensely successful, reaching high positions in the Billboard charts.

Who doesn’t like a bit of George Lynch, he recently stated he’d given up trying to impress other guitarists, he never had to compete in my opinion. Michael’s vocals are legendary, last year he joined forces with Joel Hoekstra, Marco Mendoza, Tommy Aldridge, and Nathan James, for the supergroup ‘Iconic’ whose debut ‘Second Skin’ received wide acclaim. With so many projects happening between them, it was only in 2022 that the pair could start writing together again, resulting in twelve tracks entitled ‘Heart & Sacrifice’.

On bass is Alessandro Del Vecchio who also produced the album with Michael, he is joined by French drummer Jelly Cardarelli (Lalu, Klone) for the rhythm section. George performs lead guitar, while Michael is on vocals and second guitar.

After listening to the title track, it’s apparent this is one of those albums that will stand the test of time. ‘Where Have To Go’ is a song packed with Michael’s delectable vocals and George has the freedom to discharge undying chords. ‘Miracle’ taps into anthem rock while the riff on ‘You’ll Never Be Alone’ is lush beyond words. More guitar splendour on ‘Will It Ever Change’ and ever-pressing lyrics make it a darker encounter.

‘Every Day’ turns the direction to the light, a racing piece where every instrument is given space. George is in his element on ‘It Rains Again’ bearing a gift of thunderous riffing. The ballad ‘World Full Of Lies’ is a poignant finish. Overall, the album leans on dynamic and pretty heavy scores and it does not disappoint at all.

Words by Diane Davies

L.A. GUNS BLACK DIAMONDS

You know it, L.A.Guns are alive and well thank you very much! The work instructions on how to compose and deliver what I feel is a fine piece of hard rock and roll, in this latest release from Tracii Guns, Phil Lewis, and the Gang. From Start to finish, great songs, unashamedly sprinkled with 70’s tones and vibe, but yes, still contemporary. “You Betray” kicks off. Just wow. A great start, blistering into a Zep-inspired singalong, melody, a definite favourite, moving on to “Wrong About You” again, provides superb rock and roll riffage, it takes your mind back to those more simplistic memories of just enjoying well-structured music.

“Diamonds” follows and is what you might say is the ballad on the album, a total classic for sure with a chorus to stay in your head for a good while. Song 4 is “Babylon ‘’ makes me think of just how much this band must be enjoying life currently, flawless with great rhythm and lots of tambourine to dance along to. Song 5 follows with “Shame” which is just classic L.A.Guns, with a mix of sleazy guitars, bopping drums and bass, harmonica, and of course, Mr Lewis singing those songs like there’s no tomorrow. Next up is “Shattered Glass”, quite the contemporary number with a punk-era chorus hook and screaming guitar!

Song 7 “Gonna Lose” for me has drawn inspiration from that 70s era, great licks, and thoughtful musicianship, a track I haven’t been able to put aside yet! This leads us to “Got It Wrong”, a full-on dose of classic hard rock defy any music lover to not rock out to. No messing with an AC/DC vibe follows with “Lowlife” and puts that late 80s vibe back on the map to blast out. Song 10 “Crying” is a touch psychedelic with its vibe, providing a stompy beat and singalong melody your ears are going to love. and the album finishes with “Like A Drug” a reminder of what classic hard rock and roll should sound like.

An album which will sit with pride in most lovers of hard rock and roll, rest assured it won’t gather dust at the back of your music collection.

Words by Russell Peake

Deathstars Everything Destroys You

The latest much-anticipated opus from Swedish industrial metalheads Deathstars have a new release “Everything Destroys You”. Ten songs you can bite into with their dark horror approach to rock n roll. Overall, the album has a great feel for the genre with many highlights. Standout notes are the blending off female background vocals adding an additional twist to melodies on the vocals which stand out really well.

In addition, as you might expect the horror side is very much still there, you could quite possibly take the keyboards on their own and find they would fit just nicely alongside any Hammer Horror production of yesteryear. There is a slightly generic feel to some of the chord progression on some songs, but the fans will love this album, I have no doubt.

Kicking off with “This is” a total stomper and destined to climb the charts for sure! “Midnight Party” is a favourite on this album. While the melodies come across as upbeat you can party all night to this little number with a great chant for the chorus hook. “Anti All” is third up filled with eerie keys and blasting drums throughout the song. The album title track follows “Everything Destroys You” filled with more eerie melodies in the verses and a punchy chorus to get the crowd singing along.

Track 5 “Between Volumes & Voids” blasts in with some heavy guitars and a sublime chorus, more, please?

Song 6 up is the massive “An Atomic Prayer” Surely a festival favourite in the making. “Blood For Miles” comes across like another single for the future containing all the elements to promote the cause. Interestingly I appreciate the lead guitars with more emotion than shredding so this one has stuck in my mind for its structuring.

Track 8 “The Churches of Oil” for me is a great example of the thought that’s gone into this album overall, every time I listen to this one, I find something new I like about it. “The Infrahuman Masterpiece” is the penultimate singalong, a song which felt like there was a slight tinge of early “Within Temptation”.

The album closes with an all-gunsblazing full-on melodic creation with harmonious keyboards, a thunderous rhythm section, crunchy guitars & sweet sound effects, and a sprinkle of inspiration from a “Ghost” production. “Angel of Fortune & Crime” will have you looking forward to seeing them live in Europe come October! Awesome.

Words by Russell Peake

single Deathwish. The infectious groove and catchy hooks of the latter immediately draw you in at the top of the album. And at just 2 minutes and 39 seconds in duration, it leaves the listener wanting more. Which is a good job, as eleven more tracks follow.

SAMANTHA FISH & JASON DAYTON DEATH WISH BLUES

Dynamic blues force Samantha Fish and country outlaw Jesse Dayton come together for their new collaborative album Death Wish Blues.

The pair’s latest album follows off the back of the three-track Stardust Sessions EP which was released at the end of 2022. This time around fans are treated to 12 tracks including recent

Jesse Dayton takes the lead on Down In The Mud, which has a truly funky groove. Whilst the influence of producer Jon Spencer shines through on old-school blues number and their recent single Riders. A song with RL Burnside undertones, which you can imagine being played in a Mississippi juke joint. The same could be said of Trauma. A song with a tight beat, and a danceable rhythm. The track also showcases Dayton’s lyric prowess. Whilst the fuzz-fuelled psychedelic guitar breakdown of the song once again highlights Spencer’s influence on the project.

The album showcases many different musical stylings. Lover On The Side showcases a country feel with blues undertones. Whilst Rippin and Running has a feel for Bentonia, or Hill Country

Blues typified by the raw guitar tone and unmistakable rhythm. The duo switch things up somewhat with Supadupabad. And with a title like that, you would expect nothing less than an up-tempo funky number with a garage rock feel. The twelve-track release comes to its conclusion with a wonderfully harmonious love ballad titled You Know My Heart.

Throughout her career, it has become apparent that Samantha Fish is not afraid to push the boundaries of the blues genre. From her slide-fuelled guitar riffs to her Motown, Soul, Country and Blues/rock stylings, the artist has gone over and above the traditional limitations of the genre. Now with Death Wish Blues, the blues supremo alongside Jesse Dayton has done it again and to good measure.

Death Wish Blues by Samantha Fish and Jesse Dayton will be released on May 19th via Rounder Records.

Words by Adam Kennedy