RAMzine - Issue 11 by RAMzine

ROCK & METAL

ISSUE #11 WWW.RAMZINE.CO.UK

! L L E H K C HARD RO E O J D I K Y L G U , S A X E T SOIL , VODUN, SONS OF

LIVE!

INTRODUCING!

Contents Featured

04 Hard Rock Hell

classic

09 Blizzard of Oz

INTroducing

12 End of Salvation

Live 14 Rob Zombie 15Amon Amarth 19 Opeth

17 Reviews // Those Damn Crows // Brutai // Valensole // Coco Star and Tor Marrock // Gravves // The Mansters // Delicate Steve // Halestorm // Guttermouth // Dommin // Hunter Kill Hunter // Chisel Beeches // Babymetal // King Colobus // Johnny Deathshadow // Death Valley High // Jupiter Hollow // Vermilion Whiskey // Attila // Smash Into Pieces // Bowling For Soup //

easons Greetings Rockers! Has it been a whole year already!? Time to hang up the wellies for the dreaded end of the festival season. In this issue, you will find five wonderful pages about the last festival of this run - Hard Rock Hell! We also introduce you to Berkshire based death metal band, End of Salvation - they are rumoured to have played a pretty damn good show at Bloodstock this year! Look to the left to find out their UK tour dates. Support the underground scene! In true RAMzine tradition, we shall be covering a whole host of festivals for you in our next issue! -Victoria Purcell

Testament by JAY RUSSELL

CONTRIBUTORS On the cover: Vodun and Soil by Lisa & Rob Billingham of Billibee Creative at Hard Rock Hell 2016. End of Salvation by Benji Walker. Rob Zombie by Jay Russell.

Head to RAMzine.co.uk for lots more Rock & Metal content! Jay Russell

Photograher & Writer -Rob Zombie -Amon Amarth -Opeth

Release Reviews by: Natalie Conway, Neil Mach, Stephen Stanford, Jules Burnan, Ash Crowson, James Paul Matthews, Pagan Hel, Neale McGeever, Stuart Iversen, Shaun Brown, Marcus Wheeler, & Milly Youngman.

Pagan Hel

Writer -RAMzine Classic

Bernie marsden

fan photos soil

ugly kid joe 4

by pete key

band photos by

and cooking not your forte, then there are plenty of options when it comes to food; Burger King and Papa John’s pizza always seem to be popular; Cook’s do some of the tastiest fish and chips I’ve ever had; and the Mash and Barrel offers your standard array of pub grub if you feel you want something a bit more wholesome. If not in one of the holiday apartments, you’ll find yourself in a well-appointed caravan, in fact, my experience tells me that the caravans are actually nicer to stay in than the apartments: the sofas are more comfortable, the showers are better, and the heating works…

HARD ROCK HELL 10 REVIEW By Marcus Wheeler

One of the later events on the festival calendar, Hard Rock Hell, in case you have not heard of it before, is a three day festival that takes place at the so-called ‘camp HRH’ in Pwllheli, North Wales - the Hafan Y Mor holiday park, to be precise. When not hosting these music events, the holiday park sees families doing their family thing and, probably, a number of has-beens prancing about the stages - I saw Bucks Fizz at a holiday park when I was younger, and apparently this was a big deal. People were easier to please in the twentieth century. It’s a festival of relative luxury - beds, heating, and self-catering which, let’s be honest, is a godsend when compared to the prospect of paying upwards of six quid every time you get hungry. Of course, if cash-flow is not your concern

THURSDAY Having arrived early afternoon, we had settled in good time. As five o’clock drew in, denim-and-leather-clad rockers started to gravitate toward the main arena. Inconsistent stage-naming made it difficult to know where folks should be, but the state of the stage in Arena Two suggested that the opening ceremony was going to take place in the larger Arena One. Although the main entrance to Arena One was still closed at 16:55, the ceremony scheduled to start at five, it was possible to get in via the back entrance, where security apparently had no problem with letting people in, and grab one of the twenty or so precious tables

RATT available to those not on VIP or Dark Circle passes – the mysterious Dark Circle, where sacrificial rituals and satanic orgies are as much a part of the festival experience as the music itself; note that I have no evidence for this claim. At 17:05, people started pouring in to the venue from the main entrance, but the only sign of an opening ceremony taking place was the ongoing preparations on the stage. One after another, rockers, druids, witches and other such characters strolled in for ‘HRH X The Druids Ball’. Fifteen minutes late, the opening ceremony started with dancers and a fire-poi performer, all dressed in a tribal motif, dancing around a large gorilla in a cage. The drama unfolded as the gorilla burst out and started clumping around the stage to a soundtrack of the dramatic composition ‘O Fortuna’ from Carl Orff’s Carmina Burana, Rammstein’s ‘Du Hast’ and Metallica’s ‘Enter Sandman’. As the bass got so powerful and shook my eyeballs so violently I could not see properly, things started to get rather more burlesque when the angle-grinders came out and one of the dancers stripped off to titty-tape and a practically non-existent thong and proceeded to stroke the gorilla — I’m not sure if there was some intended symbolism here. You’re may be feeling as confused as I was. Putting analysis aside, it was a different way to start a festival and was actually a very entertaining show. It was performed by the guys and gals from the Caravan of Lost Souls, who made a couple of appearances over the weekend.

band photos by

PRAYING MANTIS By the time the opening ceremony had finished, the room had filled out well for HRH regulars THE TEXAS FLOOD, who jumped straight in with ‘Gamblin Man’. They delivered a solid set, despite admitting to a cock-up in ‘Treading Water’ but were let down by a distracting and unpleasantly loud kick-drum.

Fortunately the issue with the bass drum was finally sorted for SWEET SAVAGE, but despite the better levels, the performance was just too bland following Praying Mantis. Sweet Savage would have made a better opener, and were met with a much colder reception from the audience than Praying Mantis.

Relative newcomers, THE AMORETTES followed opening with a promising start but were quickly let down by poor levels that soured what could have been a cracking set opener. The bass drum, in particular, was still far too loud and dominated the room. The performance was let down by consistently sloppy soloing; perhaps it was just an off-day, but it was a bit of a let down so early on in the event. It didn’t end there, sadly the bass sound was muddy and failed to cut through. The Amorettes are a good band, but their performance did not do them any justice.

HAYSEED DIXIE closed up the night with their unique and ever-popular bluegrass rock and metal covers; their so-called Rockgrass. Hidden behind their marvellous humour is the exceptional musicianship of these guys. There is really nothing quite like it - their rendition of Queen’s ‘Bohemian Rhapsody’ is one of the delightfully amusing things I have ever heard!

Formed over forty years ago as NWOBHM was gaining its momentum, the experience of PRAYING MANTIS was immediately obvious; every band member supported with backing vocals, even the drummer, and to great effect. Opening with ‘Fight For Your Honour’, they raised the bar very high indeed. The sound was excellent, all apart from the torturously loud bass drum. There was natural interaction with the crowd, a very warm and genuine manner that seems to be more prevalent in the older acts.

PRAYING MANTIS

FRIDAY Whereas Thursday’s schedule is a single stage with a start time of 17:00, proceedings start earlier on the Friday at 13:00 and with both stages on the go. One of the great things about music festivals is the discovery of new music; last year’s pick was jam rockers Skånska Mord, this year it was VODUN. The three-piece afro-doom group, outfitted in greens, yellows and facepaint, were an interesting addition to the bill. Without a bass guitar, the guitarist has a tough job of trying to cover both bass and treble roles; the sound was balanced somewhere in between, not really achieving either, which is a real shame as their recorded material is incredible. They had a great crowd but lost a few people after the first song it may have just been coincidental as CHASE THE ACE had just begun their set on stage one. ‘The Marassa’ (guitar) did well to fill out sound on his own, but like so many others, was let down by the live sound; I could see some work being down on the guitar but the intricacies were lost in the depth of the muddy sound. By the time they had played stomping track ‘Mawu’ the crowd was down to about 15%. Despite the muddy sound, it was still a great, high-energy show and I would be very keen to seen them play again. JOANovARC could teach The Amorettes a thing or two; the four ladies put

on a great performance with ripping solos and great melody; in addition to their own material they played Skynard’s ‘Free Bird’ with flawless delivery, including a face-melting solo which saw Shelley Walker picking with her teeth and playing behind her head, which pulled such an applause that they played an encore in the form of Zeppelin’s ‘Whole Lotta Love’. Cambridge hard-rock five-piece THE TREATMENT gave it their all, with high energy and good sound – even the bass drum had been sorted by this time! Back over at Arena Two, WHITE MILES, coming all the way from Austria, pulled a respectable audience. The duo had great presence in their delivery and their sound but the crowd started to thin as the material got a little repetitive. DORJE delivered some great tunes and really benefitted from good sound; the bass cut clearly, and guitars crunched nicely, though the vocal levels were a touch inconsistent, but the solos cut through well. They drew a pretty big crowd for the second stage. Meanwhile, over at Arena One, GRAHAM BONNET was delighting fans with such classics

as ‘God Blessed Video’ and Russ Ballard’s ‘Since You Been Gone’. I shot back over to Arena two to watch the rest of Dorje only to catch the last chords of a disappointingly short set. UGLY KID JOE Ugly Kid Joe packed out the main arena. They had a great rapport with the crowd and saw them singing along for a number of tracks. ‘Cat’s In The Cradle’ went down particularly well, and before the following song, Crane (vocals) gets ‘the table people’ - those sitting in VIP - to stand up with the rest and encourages the whole room to jump with them - of course, half oblige and half do not, but even half is impressive. Over at arena two, DEADLORD gave a solid performance but didn’t break out anything special – I began to wonder if the crowd was comprised mainly of people that couldn’t stand the claustrophobia of the main arena.

SATURDAY

WHITE MILES

LIVING COLOUR

The first thing that was apparent about SOiL was the delightful sound of the bass guitar and how crisp the the guitar was - they were certainly up top in terms of sound quality for the weekend. Given how early it was in the day they had pulled a rather impressive crowd, even to Ryan’s astonishment, however, it thinned out when CHERRY GRIND came on who struggled with early attempts at crowd interaction, a bit of an injustice as they certainly did not lack groove.

Outside, between the two arenas, Igor Rasputin’s CARAVAN OF LOST SOULS were entertaining revellers; chimps danced about and set about erecting the stage while Igor played an accordion. Following this was a series of women dancing, stapling cards to body parts, stubbing cigarettes on tongues, and pouring hot wax on themselves. Then, after an impressive juggling routine, we saw fire-poms, fire-eating and fire-breathing. Back in Arena One, BERNIE MARSDEN (ex-Whitesnake) was captivating the crowd with his conversational, comical style. A natural and comfortable showman and great bluesman, he commanded the attention of the room where other bands would still find people milling about and chatting. Nipping over to HAND OF DIMES, I caught a raucous round of applause following their last chord and got a sense for how well they were received and promptly walked back over to see the rest of MARSDEN’s set. I found the band in the midst of some mellow jamming while MARSDEN talks to crowd. The atmosphere was teeming with energy and the audience’s singing really held up when everything but the drums cut out - granted he has the advantage of well-

DORJE 7

known songs but regardless, it was, in my opinion, the best performance of the weekend. CROSS EYED MARY, suffering a sparse crowd, thank those for coming pointing out that they are aware there are monkeys outside, referring to the Caravan of Lost Souls performance. Sadly that may not have been the reason for the lacking audience as the sound was terrible. HAILMARY managed a better mix and their groove had the audience nodding along - nodding along is about as favourable a reaction at HRH that a band can hope for. I was also please to see that the TVs on second stage were at this time turned off; usually they play interview footage, obviously without sound, but they are distracting nonetheless. Australian female trio, TEQUILA MOCKINGBYRD, kicked off with a technical fault which left Estelle (guitar) without sound from the first moment, however, Jess (bass) and Josie (drums) keep grooving; Jess, after nipping off stage to see what was going on, while still playing, came back to talk to the audience and tell them a little about the band. Once the sound issue with the guitar was sorted, they reset and kicked back in - a truly professional handling of a very challenging situation. LIVING COLOUR were supposed to be coming along with Glenn Hughes but after some behind the scenes management decisions, they ended up sched-

sons of texas 8 by pete key

uled to tour with Alter Bridge resulting in Glenn Hughes’ cancellation of his entire European tour. The vocals were of a different flavour to most of the acts and the change in delivery style was most welcome - Corey Glover has a wonderfully versatile and powerful voice. Living Colour brought the room alive with their music, Cult Of Personality really got people moving and singing. Heavy metal band RATT have seen over 30 musicians since they came together in 1976, they have no original members, and the longest serving member to currently remain is drummer, Bobby Blotzer who joined the band in 1982. Front man Joshua Alan thanks Bobby for keeping Ratt alive; a nice gesture considering the legal turmoil over the last couple of years which revolved around disputes of ownership of the Ratt brand. The band put on a great show and the love for the music really came through, especially from Blotzer. Over at Arena Two, Aussie rock and roll four-piece BLACK ACES were dominating the crowd with their performance and it was the largest crowd in Arena Two I’d seen all weekend. They were flawless in their delivery and had so much energy that I was exhausted just watching them. There was a forced vocal delivery (all part of the show) from the front man between songs that attracted a few mocking sniggers, but they were more than respected for their music and performance. It was a very different set from Bernie Marsden and deserves recognition as one of the

most outstanding shows of the weekend. You absolutely must see these guys if you ever get a chance! After Ratt and Black Aces had finished, the arenas got much, much quieter. SONS OF TEXAS struggled in following Black Aces but still put on an energetic show giving it all they had to what was a comparatively empty room. It was a similar story for MOLLY HATCHET in Arena One who were perhaps a little bland for such a late set. Like most festivals the people don’t just come for the music, but for the atmosphere and environment; it allows people express their musical alignment through the medium of denim, leather, excess hair and sewn on patches, and HRH is certainly a home for these things. Good sound levels are always crucial to the enjoyment of any show, and in this respect it was a bit hit and miss; good sound production is the most important aspect of a live music show and there seemed to be a lack of appreciation for this on occasions with an approach that appeared to be based on the misguided principle of ‘the louder, the better’. Sound issues aside, it was ,as ever, a great event and remains one of the most enjoyable, most comfortable, and friendliest events on the festival calendar. The dates are already set for next year (November 9-12) with artists such as Airbourne, Y&T, Gun, The New Roses and Systeria already confirmed to play.

Classic

Blizzard of Ozz Jet Records Review by Pagan Hel Released 20th September 1980 When John Michael Osbourne was fired from Black Sabbath due to his drinking, the world went into shock, nobody could quite believe it, however, Ozzy, being Ozzy didn’t stay unstuck for long and formed Blizzard of Ozz. The debut album hit the world like a nuclear bomb with the addition of the mega-talented Randy Rhoads who had formerly been with Quiet Riot at 22 years of age, went to Osbourne’s hotel room in the September 1979 with his Gibson Les Paul and a small practice amp after being introduced by bass player Dana Strum and history made itself. Ozzy literally thought he was hallucinating after hearing what just flew from Randy’s fingers and of course Randy was offered the slot of guitarist with Blizzard of Ozz on the spot. Ozzy and Rhoads immediately became close partners, bouncing ideas off each other like a high ranking tennis match. ‘Crazy Train’ was the first single released from the album and became Ozzy’s signature anthem. Let’s face it though, there isn’t one duff track on Blizzard of Ozz. Granted there are a couple of less well known tracks on the album – one being a non-Blizzard track ‘You said it all’ but for the main part 95% of that album everyone knows and can relate to, so Ozzy need not have worried that Black Sabbath would become more popular without him – Ozzy is Sabbath and will always be associated with Sabbath, we all know that, and as much as we loved Dio not even he could pull off Sabbath quite like Ozzy did, but Ozzy was the root of Sabbath and like bind-weed that will always stick in the hearts and minds of Sabbath fans everywhere. There was a lot of controversy surrounding ‘Suicide Solution’ which as Ozzy said himself, he drew inspiration to write the track after the untimely death of AC/DC frontman Bon Scott who choked to death aged just 33 in February 1980, and this made him reflect on his own battle with the demon drink. It was only in 1984 that a teenage boy shot himself to death while it was claimed he was listening to ‘Suicide Solution’ and the parent’s decided to try and sue Ozzy and again the same thing happened in 1986 which prompted a lawsuit – however, both cases were dismissed by the courts.387 The album Blizzard of Ozz peaked at number 21 on the U.S. album chart and in the UK, it went straight in at number 4. To date, Blizzard of Ozz has sold more than six million copies worldwide. Four million of those have been in the United States alone. It is very sad to think that the Ozzy-Rhoads phenomenon was short-lived as on 19th March 1982, Randy, at just 25 years of age, despite his fear of flying perished in a plane crash at Leesburg, Florida along with Rachel Youngblood and Andrew Aycock. This debut album from Blizzard of Ozz will always remain a favourite despite the sadness that oozes from its core. Track List: I Don’t Know Crazy Train Goodbye to Romance Dee Suicide Solution Mr Crowley No Bone Movies Revelation Mother Earth Steal Away (The Night) You Looking at Me Looking at you You said it all (Live) Members: Ozzy Osbourne Randy Rhoads Bob Daisley Lee Kerslake

Top Releases of 2016!

but none like AntiClone. I feel this is the alternative metal album I have been waiting for - for over a decade. The Root Of Man takes us back to the exciting days of nu metal and shows newer bands can do their own thing and produce a great album at the same time.

Metallica Hardwired... To Self Destruct Review by James Paul Matthews It could have been easily foreseen that Metallica could have made another sheer let down of an album by their fiercest of critics. Only this time it was different... a LOT different. Metallica have come back and released what might be their finest album they have released since The Black Album. Whilst this album does not necessarily push boundaries, it certainly is a reaffirmation of why we fell in love with Metallica in the first place. 12 tracks of pure, unashamed metal and hard rock influenced gems - which challenge even give their previous material a jolly good run for their money. ‘Hardwired...’ is an album for the fans, and Metallica have just given their all to provide us with something wholesome and kick ass in equal measure!

AntiClone The Root Of Man Review by Neale McGeever A lot of young British bands have broke through in 2016,

to Dissociation a hundred times, and you still wouldn’t have heard everything it has to give. It’s at times so abrasive that it will strip the very skin from your flesh and yet there’s also a beauty to it which no other band could do. To pick out one member as stealing the show would be a disservice to a band that at this point in their career works so perfectly together that you can’t imagine them with anyone else. It doesn’t matter what kind of music you listen to; Dillinger Escape Plan are a band that you should respect and when they go the world will be a worse place because of it.

that, after many, many repeated listening hasn’t lost any of that original quality. It would be hard to talk about this album and not mention the tragic death of Architects founding member, lead guitarist and chief song writer Tom Searle who, at age 28, lost his battle with cancer. While the future of Architects remains uncertain, one thing is clear. If this is to be their last release, it is one they can be immensely proud of, and will be championed for a long time to come.

thing Else, Something Rotten’ comes along it is all ears to the speakers and whop up the volume for me. Adding brutality to the mix along with electronic sounds just pushes all my buttons at once and it’s difficult to contain the excitement as something fresh and compelling comes my way. It’s definitely easy to write about a band like Aghast because, really they’re superb!

Anthrax For All Kings Review by Ash Crowson For All Kings was the seminal follow up to Worship Music, not only did it prove Worship Music wasn’t a one off, but it truly cemented Anthrax back at their best with the best release out of the big 4 in years. An album that I cannot help but play once a week, it truly is fit for all kings!

Dillinger Escape Plan Dissociation Review by Stuart Iversen With what is set to be their final album The Dillinger Escape Plan do what they always do. Blow everyone else away. You could listen

Alter Bridge Aghast Architects All Our Gods Have Abandoned Us Review by Stephen Stanford No album this year has better encapsulated the feelings of an entire disenfranchised group of people. Bold statement to make, perhaps, but when you consider all that has happened within the last 12 months, both in the UK and abroad, it suddenly seems fitting. Back when I reviewed the album in May I described it as: “A beautifully worked balance of aggression and passion. Crafted perfectly into a little over 45 minutes of outspoken warnings, disillusionment and rally calls.” Since then it has remained unmatched in terms of musically ability or lyrical relevance and its message has only grown stronger since. It is the most ambitious Architects album to date and one

Something Else, Something Rotten Review by Pagen Hel That time approaches when you are asked “What is your favorite album of 2016?” and believe me it is so difficult to choose just one, but one band among many stood out for me this year so far, and that is a band called Aghast, from London, UK simply because of the diversity they have incorporated in their tracks. As mentioned in my review, it made my shoulders tense up and offered a feverish and compelling listen. They keep the senses alert, as well as alive and kicking. With their death metal meets dub-step was really unusual and attention grabbing. I just couldn’t fault their work, especially as they produced some electronic components which I absolutely love and don’t get to hear much of as it goes, so when something as vehement and catchy as ‘Some-

The Last Hero Review by Jules Burnan Not only is this the best release of 2016, but as I said in my Ramzine review, the best of the past 15. Alter Bridges rise to the top has been awe inspiring. With each album they have improved in every possible way. The Last Hero is a mix of heavy “headbanging” rock and soft “you can do it” inspiring rock. Rock n Roll isn’t dead folks, its being kept alive by these guys.

letlive.

if I’m The Devil... Review by Milly Youngman Letlive. are a band that seem to just go from strength...

News from the scene! Exeter

...to strength, and this year’s release is definitely no different. From the building strings and heart-hittingly personal lyrics of opening track I’ve Learned To Love Myself, it’s clear this record is something quite special. With more melodic vocals than previous offerings, it’s a departure from their previous outputs – but still with solid musicality, and a new level of the trademark vulnerability shown within vocalist Jason Butler’s lyrics and delivery. Technically polished yet still achingly raw, letlive. continue to delve into experimentation and new influences, yet still deliver a sound that’s distinctly their own.

Napoleon Newborn Minds Review by Alex Irons of Alex Irons Rocks Taking the metalcore genre to a poppier place, Napoleon’s debut album concentrates on mental health and positivity, an album which is self focused but is not self absorbed and I very much found myself falling in love with the album from the very first listen.

Gojira Magma Review by Mike James, Mike James Rock Show Gojira always deliver so there was a lot of anticipation surrounding this album, from the very first time i play it through i was hooked, Within days of receiving it I had it on daily play through until it was drilled in to my mind. Having seen some of these tunes played live there is no doubt these guys are here to change the world and this album stands mountains above its rivals in 2016.

The Interrupters Say It Out Loud Review by Shaun Brown 2016 has been an absolutely phenomenal year for rock music. From the crushingly heavy (Vredehammer, Gojira, The Dillinger Escape Plan…) and the wonderfully creative (Black Peaks, Oathbreaker, letlive…) to the British dominance (Milk Teeth, Architects, Zoax…) and the return to form of the old guard (NOFX, Weezer, Blink 182), we’ve been treated to such an extent that choosing the best record of the year would have proven to be an ordeal of biblical proportions if it wasn’t for The Interrupters. Hailing from sunny California, this upand-coming quartet have concocted something so extraordinary with their new

record ‘Say It Out Loud’ that they’re already being compared to the legendary Rancid. On this evidence, the hype is fully justified. ‘By My Side’ and ‘Babylon’ are some of the catchiest songs you’ll ever hear, while ‘Divide Us’ and ‘Phantom City’ combine genuinely important messages with infectious ska-punk that will leave you humming their tunes for days on end. The past year has been a massive one for The Interrupters but, excusing the cliché, the sky really is the limit in terms of how big this band could become. ‘They’re trying to divide us, but that’ll only multiply us!’ You’re damn right it will.

dead label Throne of Bones Review by Victoria Purcell Dead Label had started to impress the RAMzine team at various gigs across the UK last year, so when they released Throne of Bones we were pretty excited! The album brang exactly the sort of umpth that we like to hear in our metal. This is metal and every band member plays heavy! If you have not heard them yet, go to YouTube immediately and watch their video for ‘Salvation In Sacrifice’. Whilst you are there go check out our interview, conducted on the beautiful MetalDays Beach in Slovenia this year.

Mike James from Exeter UK tell us “The Dreamer Within just released a badass slice of a metalcore in the form of their debut EP called This Not Our Home which blends synths & riffs like no other, There cover of Killswitch Engage’s In Due Time has racked up an impressive 90K+ views in a month, They also do the intro on Mike James Rock Show.”

Liverpool Pagan Hel from Liverpool tells us to check out Scare Tactics, who play Groove Metal. “I have not seen them in a while now but they have performed at Bloodstock and are a great live band who want to break out of the confines of Liverpool, where all anyone seems to talk about is the bloody Beatles!”

Peterborough Ash Crowson from Peterborough tells us to chck out Smokescreen. “They are sludgey metal and Just celebrated 15 years together! With their long awaited 5th album due for release mid December, a definite band to check out for fans of Black Label Society, Pantera etc!”

By Victoria Purcell

Bloodstock’s Metal To The Masses in Reading is where we discovered this band. The first word that comes to mind is most certainly ‘brutal’ but this band have a stage presence with the ability to impress the masses, even if you don’t normally appreciate death metal. It’s with this in mind that we wish to introduce you to End of Salvation. How would you describe your band? Ryan: We are a band of merry men, who transform into their alter egos on stage , becoming the heralds of the end of salvation! We’re a genre that encompasses many styles of metal, but remaining true to our hard hitting breakdowns that everyone knows and loves! Brad: Our band has everything you’re looking for ....fast blasts, chugy riffs, fast pedals, groove, and world ending,mountains falling from the sky breakdowns. We see you have a UK tour planned! Ryan: Yeah this will be our first ever! 18 dates across the U.K. And we’re incredibly excited for it. We’re hoping that this will give many people a chance to come and check us out, after getting some amazing feedback from our performance at Bloodstock this year. We’re just so proud that there’s been such a reaction to the tour being announced, and so many people are saying they’ll be at the gig nearest to them. Will you be taking any other bands on the road with you? Ryan: We’re mainly playing with local support, which in our opinion is going to be the best way

to make new networking choices, and of course more friends in different places around the country. We are taking a couple of our friends bands around with us to a couple of dates here and there, namely Gutlocker - they’ll be appearing on our Guildford stretch, Until Thunder - they’re coming with us to Brighton, and The Freudian Session - to Edinburgh! Of course some of the all dayers we have our friends in Karybdis, Divine Chaos and Gutlocker all featuring. Some real exciting events being held and some of the local supports are freakin’ awesome. Brad: A few of our friends bands will be doing a few shows here and there. First Karybdis, an amazing band equal in talent and professionalism to Black Dahlia Murder at the other end of the spectrum the Freudian Session a group rowdy young men that play a great combo of alt-punk metal and sincerely yours a fantastic metal band. What do you expect the tour is going to be like? Ryan: Honestly, having never been on tour as a band it’s going to be largely an unknown experience. But we know that with such a good support network in different places round the country, we can expect the tour to be a big success, with many shenanigans, parties and much craziness. But all the good type! So yeah in a nutshell, we’re expecting the tour to be a great success that will elevate our reach across the U.K.

Brad: Touring is going to be great fun! other than that the experience of it will make us even better as a unit. What is Death Metal to you? Ryan: Death metal for me (Ryan) is a genre that breaks apart a couple of metal genres and merges them together. It gives quite a lot of freedom to explore “what would this black metal riff sound like next to this hardcore riff” and that’s why we love it so much! It’s almost a year since you released your album Monolith of Leviathan, which we said will “Brutalise The Audial Cavities!” When can we exspect something new? Tell us your secrets! Ryan: Well hopefully you’ve recovered from your audial pounding, because the few new songs we have in the pipeline are honestly the next level up for End of Salvation! We’re really honing the sound, the collaborations of furious guitar riffs and crushing drum beats. Expect black metal riffs dropping into huge death metal breakdowns. And we are immensely excited to debut them just not until they’re ready. We’re getting there, and after the tour has finished we’ll be putting it out there through videos and releases. But trust us, album #2 is well on its way! Brad: *big grin* We’re working on new material at the moment should expect an album after our in late April? Pending hahaha

What is the music scene like in the South East? Ryan: Everyone in the last few years has been saying “the scene is dead” but I’m calling bullshit! That may well have been true of some places, but In my opinion, there are more people going out to local gigs than there has been for a long time down here, I guess it’s some kind of metal resurrection! And with such a solid range of metal bands being produced down here, I can wholeheartedly say I’m happy to be a part of this scene! Brad: The music scene is fantastic I’d even go to say it’s more of a family! Who are some of your favourite South East local bands? Ryan: For me, I’ve found some really awesome bands from down here. Exist Immortal, Confessions of a Traitor, and Meta-Stasis to name a few. There’s so many, I couldn’t list them all! All you’d need to do is go back to the Metal 2 The Masses held in Reading, look through all the entrants and you’ll have so much new talent to listen to it’ll make you weep sweet tears of molten iron. What is your favourite dance move, and why? Ryan: Haha! We do actually have an in-the-pit classic. In Alton, our crowd started this weird shake, and it caught on! Whenever we return to Alton to play we always bring it out. Essentially you put your arms out by your side, look up at the ceiling , lean back and then roll your shoulders from side to side and let your arms fly freely. Hard to explain but funny as balls to watch!

rob zombie

PHOTO by JAY RUSSELL

At The Forum, London By Jay Russell

It hasn’t been too long since we last saw Rob & the gang on UK shores and it won’t be that long before he graces us with his presence again especially with the latest Download Festival announcement. Regardless, the UK are always so accommodating when it comes welcoming their favourite zombie back and what better way to do it than with selling out a one-off show at the Kentish Town Forum, London. Electricity fills the venue as a few thousand people wait with anticipation. Unfortunately, there are no real support bands on to pass the time other than DJ Gingerfish who attempts to entertain those early birds with, well…a bunch of songs old and new. In short, the wait is prolonged as we get to watch fish jump around on stage to the songs being played on his MacBook. Suffice to say, fish goes down like a wet fish with those who just want to see the main attraction.

Rob Zombie is nothing short of exciting, energetic and highly entertaining as he graces us with his presence. The crowd reaction is, of course, the exact opposite to the one poor ol’ Ginge received as they dance, jump and sing their way through a couple of hours that seems to fly by. For those looking for a bit more of a nostalgia trip, fans of White Zombie can be satisfied also as the fan favourites are well represented with ‘More Human Than Human’ and ‘Thunder Kiss 65’ also making the set list and eliciting a huge response as expected. The show ends with two encores that have the tracks you’d expect with Rob & co saving the best for last. ‘Dragula’ gets one of the biggest crowd responses of the night with ‘Sick Bubble Gum’ ending the night with every motherfucker in the forum rocking indeed.

AMON AMARTH

PHOTOS by JAY RUSSELL

At The Roundhouse, London By Jay Russell Everyones favourite metal Vikings are back in London and welcoming the winter months with a bang. Its not been long since the release of Jomsviking which was released back in March and the band who are touring in support of it do a stellar job in showcasing the new material. Before then, however, there are some support bands and what a lineup it is. To kick things off, Grand Magus are the hosts of the welcome party for those entering the Roundhouse early and what a treat those early birds receive. The band are vocal about how stoked they are to be back in the great city of London and with their solid heavy metal songs, proceed to get the party started. Its early still but that doesn’t stop the fans by any means. Heads are banging and the devil horns remain in the air.

AMON AMARTH

grand magus

Speaking of the fans, it’s worth just emphasising for a second just how spoiled they are with this lineup. As if Grand Magus wasn’t enough, On come bay area thrashers Testament who tear the place apart from start to finish. Also touring in support of their new album ‘Brotherhood Of The Snake’, an overwhelming feeling of carnage and total anarchy fills the room as the band relentlessly makes their way through a set consisting of a great mix of old and new. At times, the sheer ferocity and electricity feels like it couldn’t possibly be matched and that our headliners may have their work cut out for them. Of course, there is a buzz in the air after Testament finish. Some of that buzz is the comedown from what we all just witnessed on stage. The other part of that buzz is the stirring anticipation for our heavy metal Viking friends who are about to take to the stage which is well decked out with a fairly large Viking helmet that the drummer has the privilege of playing on. We can only imagine what the views must be like from the drum stool. If we were worried before that Amon Amarth may have their work cut out for them given the carnage Testament left on the stage, we were worried no more from the moment the band kicked things off. ‘Pursuit Of Vikings’, ‘As Loke Falls’ & ‘First Kill’ open up the set like a sledgehammer to the face and the crowd goes wild! Bodies are flying, photographers are attempting to dodge the spill of fans into the photo pit and the band are clearly having a blast all at the same time. By the end of the show, it feels as if a whopping 17 song setlist is still not enough for the fans after the final encore featuring ‘Twilight Of The Thundergod’ which proved to be the final battle for those in attendance who gave it their absolute everything to sing and move. We don’t think it gets much better for a Friday night in London.

testament

REVIEWS Halestorm

Coco Star & Tor Marrock

Johnny Deathshadow

BABYMETAL

Vermilion Whiskey

Mistress for Christmas

A Christmas Night Black

Bleed With Me

Live at Wembley

Spirit of Tradition

Atlantic Review by Victoria Purcell If you are struggling to get into the Christmas spirit, then Halestorms new cover of ACDCs ‘Mistress for Christmas’ is a good start! The track is the perfect hard rock rendition, and who would ever complain about listening to Lizzy Hales breathtaking vocal skills, which are shown well on this track. News just in: Halestorm plan to release a six track covers EP in January, covering the likes of Whitesnake, Metallica, Joan Jett and Soundgarden!

Vulture Records Review By Jules Burnan Despite the name, A Christmas Night by Coco Star and Tor Marrock is anything but a traditional Christmas song. It’s slow, its haunting and the lyrics aren’t Christmassy at all. In fact, the word Christmas is only used a handful of times. Probably a safe bet to say this is the most depressing Christmas song ever. Sorry to say, but a time of year that should be joyful and happy shouldn’t be mixed with Cellar Rock.

Make It Big Records Review by Pagan Hel Needing to say more than just ‘brilliant’ or even ‘phenomenal’ these words don’t do the album justice! It’s a powerful stomp of superb hard melodic keyboards and sometimes a robotic voice with the added benefit of a harsh German accent. Every track just thunders madly through its gigantic paces, capturing raw emotion that only Industrial Gothic Metal can. Germany is the headquarters of Industrial metal and they do know how to execute it.

earMUSIC/Edel Review by Shaun Brown When your strength as a band relies so heavily on image, a live CD was always going to be a risky endeavour. However, I am delighted to say that the most controversial band in metal have, to some extent at least, pulled it out of the bag. Tracks like ‘Karate’ and ‘Gimme Chocolate’ sound apocalyptically massive, and despite a few missteps along the way this has everything you could want from a live album. Like it or not, Babymetal will be here to stay for a very long time.

Jupiter Hollow

those damn T crows

Brutai

Delicate Steve

Odyssey

Murder & The Motive

Born

This is Steve

Self-Release

Self Release Review by Neil Mach Brutai create consonant intermixes of modern prog with metal. Born boasts ‘Deep’ — it has swirly keys and tapered-edged guitars. Also soft and positive vibrations. The beats are so elegant they allow the groovy keys to shine beyond the patches. Unclean vocals appear — these elevate it to the metal department. ‘Of Ashes’ is a twist-storm of adroit textures. Reminiscent of early Dream Theater. Pattering rhythms and anglepoise constitutions are filled with parallelogram shapes.

Anti-Records Review By Pagan Hel With a name like Delicate Steve, I couldn’t help but be intrigued as to what this guy was all about. It seems he is very big in New Jersey, with 13,670 likes on Facebook and racking up instant fame as he goes on his merry way. It may not be everyone’s cuppa, but that blues sound is certainly very catchy and instantly likable. Steve is a no-nonsense musician who obviously enjoys what he produces as his sunny charisma flows through his magical musical fingers.

10 South Productions Review by Stuart Iversen If you took a pinch of Soundgarden, a teaspoon of Thin Lizzy, a bit of Down and a sliver of Black Sabbath and dropped them into a big old mixing bowl with Lynyrd Skynyrd and enough whiskey to make your doctor give up in despair the creation that emerged might sound a bit like Vermilion Whiskey. Big meaty riffs all delivered with a Southern snarl. Sounds good, right? And yet Spirit of Tradition fails to live up to that description. This six-track release does a lot of things right. Lead singer Thaddeus Riodarn bellows his vocals while the guitar interplay between Ross Brown and Carl Stevens is sure to please anyone whose passion is anything with six strings. The problem is that underneath all that what you ultimately have is a band that has the tendency to slip into the plodding. Take ‘The Past is Dead,’ at four and a half minutes long this should be a perfect rock and roll song. All the ingredients are there and yet by the time you hit the midway point you are kind of ready for it to be over. Those slow riffs aren’t a problem – you only have to listen to those bands we mentioned – but when they cross over into dull it does mean that your mind begins to wander. Occasionally, all those elements do come together and create something fun. ‘One Night’ is the closest the album comes to completely nailing it with its boozy blues tone. You can imagine sitting back with a glass in your hand as the band roars through it in a dive bar somewhere. It’s the feeling that you want this album to give you and it’s nice to be able to capture that even if it is only for a single song. Which ultimately turns Spirit of Tradition into an incredibly frustrating listen. You want to like it, and when you take each element individually, they all seem to add up to something great. However, tracks like ‘Come Find Me’ ultimately fail to catch your attention. It’s never a bad album, but it doesn’t have the spark that’s needed to make it a good one. Instead of coming out of it desperate to hear more you will find yourself seeking out those others bands that they’ve taken inspira.

Self-Release

Review by Marcus Wheeler

A little over a year old, Jupiter Hollow are an emerging progressive-rock outfit from Ontario, Canada. The young duo, Grant MacKenzie (21) & Kenny Parry (18), write, record and perform all music themselves. Their debut release, Odyssey, is a delightful 5-track showcase of what they can do; the quality of the tracks and the execution is astonishing for just two guys so young, and the maturity of their music is at a level that many bands still only dream of achieving.

Review by Natalie Conway

Murder And The Motive is the long anticipated debut album from Welsh Hard rockers, Those Damn Crows. The album opens with the hard-hitting, catchy and upbeat track ‘I Don’t Give a Damn’ which sets the tone perfectly. The whole album is a foot tapping epic journey of great hooks, sing-along melodies and butt kicking riffs. I really like the sound of this album, it’s 13 tracks of hard hitting rock that will put you in the mood to fight the world or party

CHISEL BEECHES

Valensole

GUTTERMOUTH

Dommin

Hunter Kill Hunter h

Last In, First Out

Where We Should Be

New Car Smell

Winter Solstice

Self-Release Review by Stephen Stanford Valensole the Southampton based 3-piece punk rock outfit, who look to revive much of the punk rock ethos through their own style and work ethic, have released their debut EP Where We Should Be recently. The EP opener ‘Staple Waster’ starts with promise. A throwback to Foo Fighters meets Green Day circa 1997, while laying the foundations of the DIY punk rock ethic Valensole professed to embody within the self-recorded and produced ‘Where We Should Be’. It is the forth track, also the title track, where the most notable change takes place, less Foo Fighters meet Green Day, more Stereophonics meet The Vines and that punk rock gleam fades in favour of something more accessible and easy-going. The remaining three tracks all follow the same lead, and rather than attempt to push any boundaries remain very much contained within the confines that Valensole seem to impose upon themselves, rather than letting things flow more organically. Track 4 ‘Where We Should Be’ is where we are shown glimpses of this, and ultimately, it is this that makes it the standout track of the 5. It is here within that the problem lies. The EP opens with potential but doesn’t expand on it to any great degree, instead seemingly sticking to one particular formula. Regrettably it is a formula that hasn’t been updated in over 20 years and as a result ‘Where We Should Be’ fails to bring anything new or inventive to a genre that people are perhaps not quite willing to revive just yet. There is certainly promise to this band, and to judge them too unfairly based on this 5 track collection would be harsh, as there is a lot there that can be built upon effectively.

Rude Records Review by Pagan Hel Looking at the track titles and band name ‘Guttermouth’ - this can only mean one thing and that’s a lot of sweary nonsense and fun. ‘Spud Like a Torso’ is just classic punk, with that jibe of craziness and the proviso that it’s not going to end. Its chorus bleats out a great beat that literally drags you into its wild, untamed and inspirational jaunts into the world of strange vegetables. ‘Soundtrack to the end of the World’ can be described quite honestly as badass. It’s very tongue in cheek with superb lyrics and puts a middle finger up to, well soundtracks basically with an added ‘raspberry’ at the end – very fitting. I had not experienced ‘New Car Smell’ until this Guttermouth release. Although it’s sung so fast to an amazing rhythm that you have to listen to it at least four times to follow it, but it’s certainly a good vibrant track. ‘Perma Walkabout’ is guaranteed to make you pogo. It’s fast, furious and sweary with a good dose of tonguein-cheek, but only lasts a mere one minute fifty-nine seconds! ‘Mail Order Bride’ boats typically shouted lyrics but done so rhythmically. Although again just not long enough to fully enjoy the distorted guitar riffs and bass hooks which are superb and really expressive. ‘The Human Mulligan’ is obviously a satirical rendition of a song that’s going places despite it saying “it’s going nowhere” it’s caustic and paradoxical, accentuating the track perfectly. Punk started in the mid 70’s derived from 1960s garage rock and 1970s pub rock, although the tracks are more basic and a lot shorter using relatively fewer chords to get their point across and of course there is still that slice of hungry aggression.

DNRecords Review by Pagan Hel There is a sense of dreariness rather than ‘Desire’ that washes over the senses like dirty dish water on the first track, however, ‘Show Me’ does show more willing and has a rhythm that picks up, throwing catchy into the mix. ‘The Scene’ is a twiddled execution of beautiful melodic ingredients releasing an inspirational presence. ‘This World’ again employs a choppy character that introduces unusual keyboard sounds, adding intrigue to the list. ‘Beautiful Crutch’ is a solemn and profound track when listening to the words. Rhythmic and beguiling – it’s worthy of several repeats, just to experience the picture it paints. ‘I Die’ offers emotional keyboard notes and soulful vocal that as expected, relentless and mellow, but drains the senses. ‘Vulnerable’ makes its mark with hypnotic beats that suddenly explode into a comforting embrace while vocally holding a graceful lilt. ‘The Flame’ is rather old fashioned and wouldn’t sound out of place for the early 1900’s. Unusual, impressive, melodic, holding plenty of drama and seduction. ‘Madly’ possesses lush keyboard rhythms that are to die for. Inescapably, rich in strong melody and seasoned with scintillating emotion, definitely another of my favourite tracks as the catchy hues are spicy and moreish, along with the chorus that will have you singing along and turning the volume up to savour every moment. ‘The Saddest Dream’ weaves a familiar melancholic tapestry and vocally could be mistaken for Bryan Ferry of Roxy Music. It’s a gripping and edgy track, holding a deliberate prowling endeavour that baits the ears. ‘Outer Space’ is enchanting in its own right, with an anthemic passage ending this very unusual album.

Self-Release Review by Stuart Iversen If you’ve been bemoaning Lower Than Atlantis turning to pop and away from the sound of Far Q and World Record, then we have the band for you. On Last In, First Out Chisel Beeches bring you the same blend of alternative rock and pop punk, and there is more than a dollop of Mike Duce in the blunt and matter of CHISEL BEECHES fact way that the lyrics are delivered. Which could lead you to think one of two things; great, here’s a band that sound like that other band I like. Or, why do they sound exactly like that band I like? Both of which can be accepted as fairly accurate reactions. Chisel Beeches do this well enough that they could easy step into the hole Lower Than Atlantis have left behind as they set off for world glory. Sadly, if you want them to bring something new to the table, you are probably going to have to look elsewhere. Not to say that you should instantly dismiss this band. ‘Friday Night’s A Lie’ kicks things off well and even has the occasional dash of Coheed & Cambria in its more complex moments. ‘V.I.P’ slows things done and is epic enough that while you might not quite be beating your chest, you’ll at least give it a pat. Chisel Beeches can write songs, and that goes a long way. So, it all comes down to whether Chisel Beeches can find something that makes them stand out. Those Coheed moments and the way the music breaks down at the end of ‘Never Know’ suggests that it could happen, but they need to bring it to the fore. There is nothing wrong with sounding like other bands early in your career, most people do it. However, if you want to break away from the pack then you need something that you can call your own.

Self-Release Review by Stuart Iversen Hunter Kill Hunter sound like a big deal. From the ‘Intro’ track that kicks off II to its shiny production, you are meant to sit up and pay attention to this particular brand of alternative rock. It’s downright nice to listen to, but nice only gets you so far. Which is why opener proper ‘Too Much To Take’ is an important first step. This sounds like Hunter Kill Hunter While She Sleeps if you turned the metal side right down and the alternative rock right up. They’ve got one of those choruses that you need to sign along with, but there are elements of hardcore in there as well. It is those moments where they threaten to become an angrier band. It’s a theme that continues into ‘Sinking From Within’. Even while they seem to be aiming for the stars, they do it with an aggression that makes up for anything they lose in doing so. It may have a huge chorus but other parts of it are spat at you, and that keeps it rough and raw despite its shiny gloss. The problem comes after these songs. The two punch of ‘The Hunted’ and ‘They’ve Traded Us For Gold’ is, well, not a punch at all. ‘The Hunted’ is obviously going for massive, but it ends up being flat. It’s quite frankly a bit dull, and it’s hard not to tune out as it drifts on by. ‘They’ve Traded Us For Gold’ tries but ultimately does the same thing, and II begins to struggle. ‘We Are To Blame’ takes things back with a bit of bounce, but it’s almost too late. II has lost its momentum, and it’s frustrating as hell. There is a great band in Hunter Kill Hunter. One with rousing choruses and an edge that makes them snarl. Until they embrace that, though, they will struggle to stand out from the pack.

REVIEWS Death Valley High

Gravves

The Mansters

King Colobus

Attila

CVLT [AS FVK]

Rattle

The Mansters

King Colobus

Chaos

minusHEAD Review By Pagan Hel Death Disco! I can honestly say hand on heart, is one sub-genre I am pleased to have experienced. It’s not like disco of the 70’s as music back then was a lot tamer, but death disco has the great added benefits of sounding raucous with a strong melodic twist. Of course, the tongue in cheek mode goes into overdrive, but I wouldn’t mind attending one of Death Valley High’s death discos! I bet they are superb live. For sure this band are CVLT AS FVK!

Loner Noise Records Review By Ash Crowson Gravves 4 track release Rattle is a conflicting assault on the senses, it cuts like broken glass but with a smooth edge that really opens this up. As soon as you find yourself comfortable with a song, the next will cut you a different direction and keep your interest. Many bands seem to be sound similar and almost radio friendly, so it is real refreshing to find a band like Gravves going against that grain, still sound themselves, and not alienate.

Ampmandens Records Review By James Paul Matthews A short, sharp shock of hyperspeed hardcore punk with subtle hints of chaos and mayhem. Whilst the production slightly lets it down, the musicality and ferocity make up for it in equal measure. This music is the perfect soundtrack for bar fights, so remember to crank this up next time you are in one! Come 2017, be sure to keep a close eye on these vicious Norweigan noiseniks! For fans of Minor Threat, and Man Hands.

Self-Release Review By Neale McGeever A King Colobus is a species of Old world monkey -as well as an alt-rock band from the South West. Mixing influences from various genres and decades, KC are recommended mainly for those who follow the work of Josh Homme. Stewart Macpherson’s voice has an air of the QOTSA frontman mixed with Nick Cave and Eddie Vedder, which is most notable on ‘King Colobus’ ...from the EP King Colobus...by King Colobus. A short but sweet introduction to a new band who have much potential.

Sharptone Records Review By Pagan Hel If like me you tend to have the volume up to 11 then it will come as no surprise when you hear this - It will knock you into next week if you forget to lower your volume slightly! ‘Let’s Get Abducted’ is a nice spacedout, it means business with low toned death growls and a magnitude of pulsating rhythms. ‘Legend’ – is what Attila are. ‘All Hail Rock and Roll’ - believe me the party is only just beginning! ‘King’ to finish is a track that brutalises with skull crushing precision. Full review online. Check it and see!

Smash Into Pieces Rise and Shine GAIN Review by Pagan Hel ’Turn it down’ offers brilliant keyboards and a vibrant beat that is rhythmically charged. They remind me (no pun intended) of Nickelback vocally, that is until a low growl manifests itself briefly, but the addictive melodies are swift and inviting – one hell of a great track. I have heard this track before ‘Let Me Be Your Super Hero’ on YouTube and raved about it then, playing it more than several times over, it’s great to sing along to. ‘Merry Go Round’ is another amazing track with plentiful rhythms and harmonious melodies that simply stroll with a gliding quality. ‘Higher’ is the single taken from the album and begins with a harsh swagger that carries a taunting lure of rhythms and an ear-pleasing vocal edge. ‘Animal’ builds with a dark ambience and a rambling vocal that exudes a varying quality showing colossal diversity. ‘Stay’ is a very profound track that possesses exceptional lyrics and a deep rhythm that is refreshing.

“Pummelling beats that spark a serious fire!”

‘Yolo’ is a riveting melodic romp of compelling harmonies and pummelling beats that spark a serious fire in the belly. ‘Save It For The Living’ begins softly with ingenious rhythms that play on your mind incorporating a melodious keyboard and strong riffs with profound lyrics. ‘In Love with Love’ is a track about breaking up, and has that melancholy acoustic guitar strumming feel. ‘Rise and Shine’ again moves in a different direction and blatantly parades its diversity with a fuel charged rhythm that seduces with powerful intervention and beguiling genius.

Bowling For Soup Acoustic In A Freakin’ English Church

At Wembley Arena, London By Jay Russell

Although the special set from Opeth tonight is worth the price of admission alone, unlike most other “evening with...” Shows, Wembley arena and those that fill it out been spoiled with the special guests. Who are those special guests? Well none other than Anathema. Their progressive and at times doomy metal fills the arena air even if the fans don’t at this moment in time. Of course those that are there to witness such a majestic display of musical beauty are in awe as our special guests play trough a special set that includes tracks such as ‘Thin Air’, ‘A Natural Disaster’ & ‘Springfield’ (which they ultimately close the set with. We couldn’t think of anyone better right now to open such a show. This was perfect in many ways from the choice of special guest, to the setlist and its performance. A whopping two sets of Opeth where we see all kinds of antics from head bangers during the sets heavier moments to ballroom dancers! From a set list perspective, whilst the show was marketed as a night of Sorcery, Damnation & Deliverance, there’s a decent amount of material represented from the bands other works making it a a pretty spectacular ‘greatest hits’ show that should appease the fans nicely especially seeing as 9 of their albums were represented in one night with ‘Damnation’ taking the lead. Because of this, the performance goes from musical beauty with electricity filling the air to the absolutely devastation of their crushingly heavy moments. It’s a great mix that caters for everyone even if the die hard metal fan in the crowd expected a couple of hours of moshing.

Bowling For Soup Drunk Dynasty Self-Release Review by Milly Youngman If there’s one band you can rely on to deliver the fun time tunes, it’s Bowling For Soup. For over 20 years (yep, we feel old now too), Jaret and co have been delivering some of the most memorable pop punk tracks and hilarious live performances. And they’re back in business with Drunk Dynasty, the follow up to 2014’s greatest hits album Songs People Actually Liked Volume 1: The First 10 Years. This one’s title is definitely a lot easier on the word count, that’s for sure… From opening track ‘She Used To Be Mine’, it’s classic BFS to the core, with bouncy guitars and tongue-in-cheek lyrics the order of the day. ‘Shit To Do’ pulls out some Andrew WK vibes, with a ridiculously catchy singalong refrain and infectious keys. There’s definitely a lot of love going on with this one – Catalyst is an endearing, soaring pop punk love song, and ‘Go To Bed Mad’…let’s just say, there’s a very easy way to make a BFS member not be mad at you any more.

“There’s a very easy way to make a BFS member not be mad at you any more!”

Self-Release Review by Neil Mach Those Texas-born crazies Bowling For Soup are about to release their songs acoustically on the album In A Freakin’ English Church. Songs like the sweet and exciting tenderhearted ballad ‘Me With No You’ have been crowd-pleasers for some years. And they have been played in acoustic sets all over — for at least the last five years. This album consolidates the collection. Now’s the time to stash ‘em all up and enjoy the feast in one sitting. We are not sure that ‘A-Hole’ is suitable ‘church material’ but then, why not? It’s about a protagonist who turns into some other guy. Isn’t that what religion is all about? Transubstantiation? Anyhoo, long words aside, this little song has been experimentally performed with guitar and edgy vocals. And it works so well. ‘Since We Broke Up’ from the album Lunch Drunk Love may have been a rocker once — but here its performed as a truly-human response to rejection. This is one of the best moments on the

“We are reminded that the best way to deal with sadness is to inject some humor!” album, but there are many, many more. Another singalong swayer is ‘The Bitch Song’. You cannot help but feel that Jaret Reddick has been treated like shit. By girls. Most of his life. So we arrive after lots of this sort of heartache [but lots of fun too] towards ‘If You Come Back To Me’ and we are reminded that the best way to deal with sadness is to inject some humor. For guitarists this number will be a great one to follow-along. So get strumming with your E’s your C sharps and your A’s. This excellent album reminds us that the BFS songs are absolutely amazing. And you can especially hear the songcraft and pertinent lyrics on these acoustic versions. Plus the recording quality on this is great. It’s a sure bet you’ll be singing along. This will be your favorite album for the winter fireplace. No doubt.

Yes. It involves showing ‘em your boobs. Come on, what else would you expect? A band that have hit us with some brilliant covers over the years (…Baby One More Time, anyone?), Drunk Dynasty includes an energetic cover of Gin Blossoms’ ‘Hey Jealousy’ – staying pretty close to the original, but with a little more speed and quite a few more riffs. The laidback, country-infused banjo twangs of ‘Drinkin’ Beer on a Sunday’ create a more chilled out ending to the record. When it comes to Bowling For Soup, you certainly know what you’re going to get. Quite honestly, it’s refreshing to see a band constantly delivering their recognisable brand, time after time, and still feeling like something new. Drunk Dynasty is a solid release, with plenty of standout tracks that are guaranteed to stick in your brain quicker than you can say ‘how about another round?’.

Opeth

PHOTO by JAY RUSSELL

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