RAMzine 22 | Within Temptation, Burdened, Uriah Heep

rock & metal ISSUE #22 WWW.RAMZINE.CO.UK

WITHIN TEMPTATION “...Why aren’t more people protesting?...” Read the full Interview on Page 10

Reviews

Featuring fifteen reviews of new releases including Inglorious, DeeVer, The Sunday Sadness.

BURDENED

“We’re

going to be a singles band.”

Uriah Heep

Named this issues Classic as we take a look back at their history.

CONTENTS

Introducing 05 RAMzine’s Hywel Davies speaks to Northern metalcore newcomers Burdened.

Modern Classic

07

RAMzine Classic

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Within Temptation

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Stephen Standford takes a look back at The Chariot’s The Fiancée.

Tom Dixon takes a look back at the work of Uriah Heep.

Neil Mach heads to London to speak with Sharon den Adel prior to the launch on their new album.

Reviews 15 The Sunday Sadness, Deever, The Riven.

Reviews 16 Emerald Sabbath, Mantra, Usurper.

Reviews 17 John Diva & The Rockets of Love, Conny Ochs, Master’s Call, Outright Resistance.

Reviews 18 Inglorious, Mike Tramp, Zero Fire.

At The Sun

London based At The Sun set to release Leave Before The Light.

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Huge thanks to all the RAMzine writers and reviewers in this issue: Neil Mach, Neale Anthony McGeever, Ash Crowson, Tom Dixon, Hywel Davies, Heather Gee, Jens Neppe, Lindsay Teske, Stephen Stanford and Mark McConville.

08 Uriah Heep

Uriah Heep was born in late 1969 from a band looking to make their own mark in the rock arena...

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AT THE SUN

A review of their new release Leave Before the Light.

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WITHIN TEMPTATION

We catch up with vocalist Sharon den Adel.

New Year? New You? New Bands! New Local Gigs!

05 BURDENED

We got chatting with vocalist Liam Leverton and bassist Joe Taylor.

Whether new year’s resolutions are usually your thing or not, why not pledge to support your local scene, new and unsigned bands and festivals? As with any resolution or pledge it’s important to set a realistic goal. Ok so some of us are in more thriving music communities then others in terms of live music, but the world wide web is always showcasing lot’s of new talent. We say let’s all pledge to listen to at least one NEW band per week.

Lot’s of people do already support local and new, but to those of you who say that you support the local scene but haven’t actually been to a show in years, we say this year become a YES person! Do go to that show, do listen to that bands new track, do go to the festival. You know that you will enjoy it once you are there it and you may just discover your new favorite band along the way.

Through the pages of RAMzine you will always find some new faces in our Introducing feature and a range of bands within our reviews pages. Online you will find honest reviews from fans and coverage of bands and events that we believe should be supported. Discovered something new recently? We will be asking you throughout the year via our social media channels, as we pledge to cover even more of those new and local bands! Be sure to let us know what you find.

Victoria Purcell Editor

On The Cover: Within Temptation.

INTRODUCING...

We’re not into albums anymore.

Strictly speaking, we’re going to be a singles band.”

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WORDS: HYWEL DAVIES | PHOTOS: MATT WESSON

T

B U R D E N E D

imes are tougher than ever for anyone in the music industry. We’re all feeling the pinch of a grey reality that offers little chance of success or opportunities to make a decent living from music. For the past two decades, this has become a depressing and infuriating norm. What boils our blood the most is that the majority who’re hit the hardest are the new bloods. Bands who could change the face of rock and metal don’t have a leg to stand on in this climate of pirating and streaming, who suffer at the careless wrath of people’s self-appointed entitlement towards music.

Bands have to adapt to this brave new world not just creatively but financially, keeping one step ahead of the zeitgeist. Northern metalcore newcomers Burdened will not be left in the dirt. Embracing a guerrilla format, the focus here is to deliver their melodic breaks and neck snapping riffs in short sharp hits little and often, rather than spending the good part of a year or two focusing on one body of work. In an age where playlists reign supreme, does this formula work? We got chatting with vocalist Liam Leverton and bassist Joe Taylor to find out.

RAMzine: Hey guys! Thanks for taking the time to chat with us today.

Let’s make this first question easy, how did you guys get started?

Joe: So basically, my old band Illusions kind of decided it wasn’t really a thing anymore for a bunch of reasons. It sucked because we were doing a few decent things and played some biggish shows in Newcastle. It kind of came suddenly, but people got to do what they got to do at the end of the day. But if it wasn’t for that ending, we wouldn’t have Burdened now. It’s been really good so far. We were looking for a singer and I heard of Liam and his band he was in, and we just gave him

Band photo’s by Matt Wesson.

a message. That’s basically how that came about. We hadn’t had met beforehand but we had mutual friends.

ing together is quite easy and we’re all really open minded. There’re no boundaries with this and we’re just going to do what we want to do. It’s what we’re enjoying to play and write record and write about and the lyrics are a huge part of that.

Liam: It was kind of the back end of what I was doing. I just left Empires Fade and I had problems on the road with those guys with my voice and I needed to get my health in order. As soon as I sorted my voice out, I started recording music within a short space of time. I was looking to get back into playing live and maybe wanted to join something rather than start something.

I’ve been down that route before and it’s hard to go from touring Europe to going all the way back to the start. I was supposed to be joining Illusions and that’s the route we were going to take but obviously it wasn’t exactly what they wanted to do and you have to respect that at the end of the day.

That’s how we crossed paths and that’s how it got going really.

RAMzine: It seems you’re still in the embryonic stages here. Is there a vision or goal you guys had in mind for the band?

We’ve been messing about with this for a little while and we’ve been sat in and out of the studio and on some material for a little while now. Work-

Liam: Nah, nah! We’re not into albums anymore. Strictly speaking, we’re going to be a singles band. That’s how we’re going to go about this. We’ve

Liam: Well, there isn’t a specific direction. I know that sounds really silly because most bands don’t really do that.

We’ve gone about this quite differently.

We’ve just jammed with each other and I’ll be like, ‘Look, we need to get this out.’ So, there hasn’t been a specific style, there’s nothing like that. It’s more creative doing it this way I think.

There’s no nonsense about trying to find who we’re going to be.

RAMzine: You have the one song in the bag and ready to go, but is there a plan of action for an album?

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but at the same point, it’s nothing to do with relevance, we’re not really bothered if we become relevant or not, it’s more of a case of we have the time to do it and we can hit the market in a way where it’s constantly there and it’s something new. It’s not like, they released an album back in January and I’m a bit bored of it now, but with us we’d release a single and with the hopes of releasing another in a few weeks after. It’s the modern thing. It keeps it exciting

got plenty of material but it’s sifting through what we want to use.

RAMzine: What can you tell us about your first track ‘33’?

Liam: I had suffered with anxiety for years. But I wasn’t a case of, ‘Oh, this is about mental health.’ I wanted to write about something I had suffered. The song was really personal for me and even though I didn’t want to describe what I was feeling in detail, it was more of a release. It’s to do with my own personal demons that felt like the whole weight of the world was on my shoulders. The title comes from the line “I Don’t Think I Can Live Past 33”, so it’s at that kind of personal level that this song is at and where I was at the time.

RAMzine: Would there ever be a point where you’d have to put these songs on an album at all?

Liam: I think, we could do it in the future. I think for a band that’s starting out... to flood out a single into social media would be easier. I think an album would just die quick. The fact is, people go through Spotify and skip the songs on an album.

RAMzine: Sounds like guerrilla tactics there. Short, sharp, hit and run music writing.

Liam: That’s the beauty of it, we can hone in on the songs much better. We started talking about this... spending more time on each single, I mean, 6

it’s more time consuming because you’ll find that some things are never finished. You find yourself being really meticulous about everything that you do. But in my opinion for a band that’s starting out, you kind of have to be meticulous because you don’t want to start off by jumping the gun. We always give the attention to the detail.

Joe: At the end of the day, you’ll record something and you’ll go away like, ah could’ve changed that. That’s the beauty about doing singles, for me personally it’s the first time I’ve ever done anything like this, but it’s working really well because we’ll get people interested in each song rather than just releasing a full length and get bored with it.

There’ll always be something new, and that’ll be far more exciting for us and our fans as well.”

Liam: There’ll always be something new, and that’ll be far more exciting for us and our fans as well. There’s just so much noise at the moment. I’d rather stand out by doing singles. You get out the message you want to say

RAMzine: Do you think rock and metal is headed that way?

Liam: I think albums will always be around but it’s more of a case of if you’re a smaller band, you got to look at loads of different sides of it and to record an album in a studio, it’s thousands out of your pocket right there.

Really, when you’re starting off, do you have that money? You don’t have a label backing you, you don’t have the room, it has to come out of your back pocket. The most cost-effective way to do it and to start getting your songs out there.

RAMzine: Finally, on that note, what would you rather have: a hit album or write a hit single?

Joe: I’d probably write a hit single and do what we’re doing because it will get a more effective reaction from the fanbase. There’s always going to be time to write an album but like right now, us writing singles, it’s going really well. If you write a single, you’ll have a video behind it.

Liam: I’m going to contradict everything your saying now ha ha. I could contradict myself here as well, because the fact is, you have what you believe to be a hit album. You’ve recorded it and say for instance you’ve demoed it, then forward that the right way and funnel it through the right channels to get it recorded then yeah, I would do it, because albums are still relevant. Not going to lie, releasing a hit album is something personally I would love to do.

Modern Classic Their career lasted ten years, producing five albums” WORDS: STEPHEN STANFORD

If there was one band that will instantly look out of place across the RAMzine Classics archives it would be The Chariot. Even as I write this I am at a lost as to how best justify their inclusion. They certainly did not enjoy the commercial success of a bands like Metallica, or the longevity of a band like Iron Maiden, and yet I still deem them worthy of entering our Classics vaults, maybe because of this, rather than in spite of it.

Their career lasted ten years, producing five albums, the second of which, 2007’s The Fiancée, is the subject of this piece. Despite being the bands second album it was the first, and one of the few they released, that was recorded in the more traditional method of each instrument being recorded individually and being mixed together digitally. Their debut album Everything Is Alive, Everything Is Breathing, Nothing Is Dead, and Nothing Is Bleeding was recorded live in one take, offering it a raw and unconventional quality that the band would carry throughout their career.

And while that rawness is lost on The Fiancée, it is certainly more than made up for in its anarchic and seemingly

disorganised power that runs throughout its ten tracks. Whether it’s the abrasive and slightly jarring nature of opening track ‘Back to Back’, or the punchy, slightly off-centre feel to track six ‘And Shot Each Other’ or the surprise addition of Paramore’s Hayley Williams haunting vocals, competing effortlessly with the brash and aggressive screams of Josh Scogin on track seven ‘Then Came to Kill’. Each offering something away from the conventional. This is music in its purest, most unadulterated form, in which you are led more by emotion than any structure logic. And it is for this reason that this album, and this band as a whole, are deserving of their place here.

At first listen, and even second or third listen, this album may sound as nothing more than a wall of violent noise wrapped around the indiscernable screams of Josh Scogin. And yet, the deeper you listened, the further you allowed yourself to be taken up in the unfamiliar sounds, the unrecognizable time signatures and the seemingly chaotic nature of everything that album contained, the harder it is to go back.

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Classic A cruelly underrated work of brilliant hard rock that should be required listening for all fans of this beloved genre. ”

WORDS: TOM DIXON | PHOTO: RICHARD STOW Back in 1970 the press was lauding the heavy rock triumvirate of Deep Purple, Black Sabbath and Led Zeppelin as the founders and vanguard of a new genre. The fans agreed with that, but a huge number gave or shared their allegiance with another ground breaking band that took heavy rock to a slightly different level. Uriah Heep was born in late 1969 from a band looking to make their own mark in the rock arena. I came to them a little late as Look At Yourself was my first Heep album, but I quickly bought their first two and fell equally in love with both. Spice were practicing in the same venue as Purple and decided a name change would contribute to their developing sound. The story goes that a poster advertising Dickens featuring the curmudgeon known as Uriah Heep was on a poster near the venue. That was their new name and, although the drummer and bass

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players kept changing, the core of the band - Mick Box, David Byron and during the recording sessions, Ken Hensley, began to formulate a new take on heavy rock; although a special mention to Paul Newton who is on three albums and puts in a startlingly good performance here. The first album ...Very ‘Eavy ...Very ‘Umble took its name from the ‘Umble saying of the Dickens character and was released on 13 June 1970 on the Vertigo label, and now worth a fortune, the gatefold sleeve featured Byron covered in cobwebs, although difficult to recognise underneath it all. The cover stayed the same when they moved to Bronze Records later in the year. The mix of songs showed many influences from heavy rock, through blues and prog and even jazz. It was a bit much for some journalists and it was lambasted (not an illegitimate sheep!) by many; one Rolling Stone Magazine journo

even, allegedly, said “If this group makes it I’ll have to commit suicide.

From the first note you know you don’t want to hear any more.” It is not recorded as to whether she carried out her promise! Now however, it is widely regarded, and rightly, as a classic in the heavy rock canon. Unlike many of the follow up releases, there are no Hensley compositions and most are written Byron and Box. It starts off more than impressively with ‘Gypsy’…surely a riff that is up there with any of Sabbath or Purple’s.

The heavy use of Hammond tends to see them compared mainly to Purple; regardless this is pure Heep with the instruments joining one at a time and building nicely to the main riff…and what a riff! OK, parts of the middle section could be construed as unnecessary (as it was in the hideously edited single version) but it is early heavy prog at its best and introduced Hensley as a Hammond basher of some skill. All of it is simply brilliant.

It also introduced us to the amazing harmonies the band would use to such good effect over the years…and long before some of the pretenders to that particular crown. ‘Walking In Your Shadow’ changes tack with a delightful drum shuffle before the heavy blues of the main melody. Simple, but effective harmony guitars give the riff

some weight and the bass is superb.

‘Come Away Melinda’ is the only cover version. This achingly beautiful and emotion packed song was written by Fred Hellerman and Fran Minkoff; noted for their co-writes for American folk group, The Weavers. Keys on this track were by session player Colin Woods as it was recorded before Hensley joined. (As was ‘Wake Up’ which closes the album). This seems at first listen a bit lightweight but the story of a little girl finding a photo album in an old bomb shelter is to this day still very moving. ‘Lucy Blues’ changes the tone back to heavy blues but with some wonderful, almost jazzy, piano as Byron shows how adaptable his voice was. A nifty Hammond solo in the middle expands the sound and wraps up with a guitar duet in a nice way. ‘Dreammare’ moves deep into heavy prog with its slow key/guitar chord build up, before the two parts – the dream and the nightmare – are played out behind the great strummed riff. Once again the harmonies…even the la,la,la’s add so much as the band enjoy plugging so many distinct melodies behind the main one. Mick Box delivers a short and sweet wah solo to make this another standout track. Next up is ‘Real Turned On’, a brilliant rocker with a catchy riff and lovely slide guitar over the (slightly) hedonistic lyrics. The guitar playing from both Box

and Hensley is superb throughout and makes the whole thing above many of the other bands around at the time… and now, for that matter. ‘I’ll Keep On Trying’ is plain keyboard/guitar driven rock with those vocal harmonies again working so well, and the changing pace between verse and instrumental breaks – from the rapid intro and outro, then the quiet and sensitive bridge to the grand single note and then rapid fret work solo. Love it! ‘Wake Up (Set Your Sights)’ wraps the album up with an almost operatic scope piece of blues/jazz rock. There is so much going on that even today, after over forty years of listening, there is still more to glean from this complex masterpiece.

So this is where it all started…a cruelly underrated work of brilliant hard rock that should be required listening for all fans of this beloved genre. Complex, and at times seemingly disparate, it all gels and is a true work of genius.

The press got it very wrong back in 1970, don’t let them dissuade you from listening and owning this milestone in the history of rock.

(Apart from one or two missteps along the way, all of their 25 studio albums are worthy of collecting; right up to the 2018 release ‘Living The Dream’).

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WORDS: NEIL MACH

SHARON DEN ADEL OF WITHIN TEMPTATION TALKS NEW ALBUM RESIST

W

e sat down with Sharon Den Adel to discuss the new album Resist.

“It’s an exciting time...”

The Dutch vocalist Sharon den Adel says, as we meet in London.

We ask if she feel energised...

“Oh, yes,” she replies. Sharon has a business-like manner and a lively, smart expression when we sit to chat in the elegant headquarters of Universal Music Group, situated in one of the fastest growing creative corners of the capital, Kings Cross. She has an air of calm readiness in her eyes. The symphonic metal band she founded in 1996 with guitarist Robert Westerholt is about to release their seventh studio album Resist. The disc is being produced after a five-year break during which, reportedly, the musician suffered from writer’s block and dealt with misfortune and personal problems.

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Once settled, we ask why she’s been quoted as saying the new work has a “futuristic” style?

“It has new elements, synths happening, dark synth... and the image of the band has changed quite a lot too, compared to our previous albums...” she offers thoughtfully. “And the band members have provided different layers of sounds.”

We’re keen to know what kind of science fiction has influenced the new sound?

“Star Wars of course, we have a lot of Star Wars fans, big fans...” she smiles.

“Ruud [our lead guitarist] won’t mind me telling you that he has a collection of “suits” for example the storm-trooper suit and he does these things for kids, for charity, he goes to hospitals in his suits, all masked-up so they have no idea it’s him (to cheer them) and he’s even joined a Star Wars “league.”

...new elements, synths happening, dark synth... and the image of the band has changed quite a lot too, compared to our previous albums...”

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Could she explain why there are so may teaser singles already out. It seems a glut after a period of comparative artistic drought?

“It’s a new way of presenting an album... in the past it was all about releasing one-or-two singles, then dropping an album. But when you drop an album nowadays no one is interested any more. So we are trying to stretch-out attention by dropping more singles before the album comes out, and I think that is a new way of presenting an album... I think you’ll see more bands do it this way because it’s a way of attracting the attention of radio and magazines… and it’s the way it works these days. It’s one of the ways where we are trying to adapt.”

Doesn’t she want the audience to listen to the album “as an album” in its entirety though?

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The answer comes as a surprise: “Well, no, not any more. Because – although there’s still an audience that buys physical copies of an album – there are lots of people switching to streaming. And our audience starts at age thirteen (to seventy-five) so we must present our album in different ways. We must face it that people who are buying the physical [product] are getting fewer-and-fewer. And we’ve noticed that the “older” audience is starting to switch from one platform (to another) anyway, so we must present our album in different ways, and we have to keep their attention... otherwise the moment has gone. And, of course, radio doesn’t promise plays any more... other than rock radio that is… but for mainstream radio anything that has a guitar in it is not what they want because it’s too heavy and they fear losing advertising revenue and that kind of thing... And we are heavy,

although we are still melodic too. But it doesn’t matter, [we] have to adapt to how the world is changing.”

But isn’t the new material almost a perfect fit for mainstream radio?

She grins, “Well I don’t know. It depends what radio you listen to... most stations don’t think so...”

But doesn’t she agree that symphonic rock has always had symbiotic connections with pop music? Take for example the more experimental output from The Byrds, The Beatles and the Beach Boys. Doesn’t she agree that the 2019 Within Temptation material is starting to crossover from heavy rock/heavy metal into a more popular format?

She narrows her eyes: “Well I don’t agree with you. We have talked

to a lot of magazines and radio stations and they all think this is our heaviest album so far. But of course it depends how you define “heavy” and how you define “pop” or — at least — how you define pop influences.

We’ve always been a melodic band and we’ll never change that... it’s one of the things we like doing... we like to be melodic and heavy. We still have the heavy guitars on this album and having those will always make it difficult to get onto radio. And anyway, that’s not our aim. On this album and the album before [Hydra 2014] we recognise who we are, and the kind of stuff we want to produce. And if they don’t want to play [our material] on the radio — that’s fine.”

We thank Sharon for mentioning Hydra and we remind the vocalist that her fans tend to agree that the last major tectonic change hap-

pened to the band with their fifth studio album, The Unforgiving. So what has changed dynamically, in the band, since The Unforgiving?

It’s the same group of guys, isn’t it?

What has changed?

She pauses and grins: “Well, actually I think we became better in a way. The personalities within the band work better; where there used to be people fighting each other inside the band, we now have fun together. And in the past, we had our difficulties within the band (like all bands) but now there a fewer egos to please. And if something happens, we all look out for each other.”

When she’s working on a piece of work in the studio does she try to visualize what the music will end up like on stage?

She shoots a smile, “Not in the beginning. First off, we have to make a great song together. It’s only later that we try to work out how we’re going to do it live. We already have songs that we play live now that sounded very different in the studio... In fact, thinking about it, it’s probably a better idea to play a song live before we attempt to record it in a studio...”

We ask about the decision to bringin guest vocalists Jacoby Shaddix, Anders Fridén [In Flames] Jasper Steverlinck [Arid].

Sharon makes strong eye contact and moves closer, she seems defensive: “We get a lot of criticism, especially from interviewers who seem angry: “Why are you not comfortable in your own music?” they tend to ask. But we like to meet people... that’s all there is to it. And we are past the point of wor13

rying about such criticism, we grew up a long time ago... and we think it’s nice to mix music with each other — there are some great bands out there — there are bands out there that have a certain sound that we don’t have — and we’d like to have those sounds because it brings something new... It’s exciting to make music with different people. And, of course, different vocalists bring something that I cannot — because I’m female.”

“And also I have sung in a certain way for a long time. And I have already explored a lot with my voice and it’s nice to have somebody there with me, in the studio, who might add a certain rawness that I can’t bring. And who will bring that extra colour to a song?

Of course we can’t do it live because everyone is off touring but we’re putting them [the guest vocalists] onto screen. Our guitar player is trying to sing along with what we have... although it’s not always easy, it’s trying to find a way to achieve colour and all about enjoying music and having fun while we make it.”

Is it true that Within Temptation almost ended before Resist started?

Sharon shifts in her chair: “Yes. I wasn’t happy with the balance in my life. I wanted to know if it was the right balance for me. My whole adult life I’d spent being in a band and not doing anything else... for example I have a degree in fashion management... but I felt like I never did that. I never did what I wanted to do, right from the start. Music was my hobby, but my biggest passion was fashion...

So I was like, “What do I want to do with my life? I’ve been doing this for such a long time...” And it’s been a roller-coaster with so many highs and also some pretty big lows. So I was dealing with those thoughts while I wanted to figure out some other things, that’s why I did my own project [My 14

vocabulary I have. It’s limited. So we go over things together and we swap lyrics and that helps. He helped me out on ‘Mercy Mirror’ for example. For me it’s a very visual concept, although it’s not something you’d say in English, but he suggested I should hold onto the idea.”

‘Raise Your Banner’ is raw politics mixed with magic. How does she feel about world politics right now?

Resist is out via Spinefarm Records on February 1st, 2019.

Indigo] — something that I could use to get everything out that I had inside me and I was feeling at the time. And the music I was feeling was very different from the sounds of Within Temptation.

I was asking myself: How do I want to be remembered?”

How does she want to be remembered?

“Life in balance... not just me but everything in balance. And I want to leave everything behind in balance... so the people I love don’t get left with certain baggage because of choices I made.”

We thank Sharon for using poetic style and metaphor in her lyrics and asked her to describe her lyric writing process.

“Well it just comes out...” she says, with a shaky laugh. “Being inspired by life itself. Normally I write all the lyrics out myself but, for this — for the first time — I worked with an English guy who helped me out with some lyrics for songs... and I learned a lot by working in that way. As a non-native [English] speaker I have found that I keep repeating myself with the kind of

“For me, I’m fired-up over a whole lot of things that are happening in the world. I’m finding that I’m really agitated and for the first time in a long time I really think I’ve got something to say... I’m not just a silent voice. The lyrics in that song are suggesting: “Why aren’t more people protesting?

Why aren’t more people fired-up about what is happening? Where’s the youth? Why aren’t they demonstrating? Why aren’t the kids screaming and beating down walls? Why aren’t people getting angry? Can’t they see what is happening? ‘Raise Your Banner’ is asking, why aren’t you out there? You should be out there...”

Isn’t resistance futile, though?

“We are able to change things if we are all together. And at the same time we must deal with the influence that big companies [exert] these days... and how the internet is changing our thoughts. It’s a big problem... Where are the wise people to help us? How will we get unified under one “banner”? It’s why we need to Resist.

We congratulate Sharon and the band on a great album which, we think, is going to be enormously popular.

“We hope to be back in the UK soon, either at festivals or doing our own shows. Because we love playing here...”

Reviews THE SUNDAY SADNESS - SELF TITLED

DEEVER - YOU NEED THIS

THE RIVEN - SELF TITLED

If you’ve listened to the new BMTH album (Amo), whether you like it or not, it sounds like it’s a result of evolution. Mixing electronic influences with emo, metal and punk-pop are lessons of the past - yet Bordeaux band The Sunday Sadness have done this from their inception. Forming from a love of retro-y synthwave and growing up with American imports in the 00s, The Sunday Sadness is 2019 in a nutshell. This self-titled, self-released EP showcases what they really can do. From opening track ‘Lost In The Crowd’, there is an odd mix of influences, the aforementioned synth and emo stylings, with a bit of rap thrown in there for good measure. If this was a lesser publication the title of this review would be “Around the world in 1980 days” Why? each track is an international smoothie with an underlying 80s vibe. Welcoming the sunshine into the new year. Not sure if this is too pop for the emo kids, or too ‘heavy’ for the pop listeners like I say it works for BMTH and The 1975, so I don’t see why this can’t be the start of something wonderful. Flashbacks of the ‘Drive’ soundtrack with ‘High Beams’ it shows these guys know what they are doing. Listen to this wearing sunglasses... at night. Released 15th February 2019. | Review by Neale McGeever.

If you want some new, fresh hard rock in your life, look no further than DeeVer. Their debut album completely lives up to the title, You Need This. opener ‘Fire at Will’ is just glorious and sets the mood for the ecstasy of good times that follow, produced mostly by themselves in their own studio, their heart in soul is thrown in healthy measures and this stands as a high watermark for anything that they will follow with. Mixed by the legendary Nick Watson, there is no holding back on the quality of talent involved in DeeVer. Pop-like choruses and vocals full of clarity that stick with you like lifelong scars, rich sounding instrumental tones, You Need This oozes with fantastic British style and attitude.

Chocked completely full of stand out tracks, ‘Alright’ is far more than the name suggests, ‘Back Down’ has anthemic swagger, ‘Only Enemy’ brings out their metal elements, each song has something about it that adds another type of arrow to their quiver.

DeeVer seem to build something constantly throughout without overdoing a thing. The future of British rock is in safe hands, and that future starts here.

They will waste no time filling venues far and wide. You really do need this!

Released 1st February 2019. | Review by Ash Crowson.

Frantic riffs intertwine with infectious vocals on The Riven’s self-titled record.

The group from Stockholm, play out their deepest fears and ride the storm.

From the onset, the act demonstrate a tight musicianship, one which is admirable. Fuzzy guitars and powerful drumbeats knit together to create a discerning sound, and the whole opus will take the listener by surprise.

There’s also beauty and hopelessness battling for supremacy. The protagonist seems downbeat, walking aimlessly until he/she finds the shining light. The story is an intriguing one. Not many records have a tightly scripted plot like this album. It may not appeal to the masses, but as fable’s go, it delivers magic and darkness in equal measure. Every song is a piece of art. Every drumbeat and guitar part is pivotal. Calming vibes meet louder frequencies, and not every song is the same. This showcases a sense of diversity and care. ‘Edge Of Time’ is a fuzzed up, monster of a track, competing to win hearts and minds.

‘Fortune Teller’ plays out, adhering to an intelligent plot line. The vocals are powerful and nestle perfectly alongside the instrumentals. ‘Leap Of Faith’ is a rock and roll track, proudly sitting on the line between infectiousness and drama. It is that good. | Review by Mark McConville.

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Reviews EMERALD SABBATH – NINTH STAR

MANTRA – DREAMLAND

USURPER - LORDS OF THE PERMAFROST

Michael Suilleabhain is an Irishman with a deep passion for all things Sabbath and classical music. He’s combined these in a tribute… Emerald Sabbath –Ninth Star. He recruited numerous former members (Adam Wakeman, Vinnie Appice, Neil Murray, for example) and with orchestral players in tow produced 11 tracks such as ‘Changes’, ‘Trashed’ and ‘Die Young’. The instrumentals fare best and, if you like string laced rock, this is not at all bad. Out 12th February 2019 via PHD. | Review by Tom Dixon.

Formed in 2016, Mantra are trio with power… they deliver a twist on modern rock with nods to the past.

‘Stroke’ has a retro feel but is alt.rock at its best. Single, ‘Russian Roulette’, is a hefty Nirvana like plodding intro, but is a damn good song with its structure and melody. Nothing startlingly new here, but it’s a really proficient slice of quality alternative rock with plenty of rock for so-called purists. “We wanted these songs to be as dynamically diverse as possible.” Out 15th February 2019 via Dine Alone. | Review by Tom Dixon.

The Celtic Frost/Venom-inspired scumbags from Chicago have returned following a 14-year hiatus and this rumbling, paint-peeling new album of theirs is an utterly solid slab of memorable metal with a loud and nasty vibe to it. It is neither the most inspired nor exhilarating Usurper record in existence, but still, this is mandatory listening for all you lovely black/thrash metal maniacs out there.

Make sure this one does not pass you by. Out 22nd March 2019 via Soulseller Records. | Review by Jens Nepper.

MINORS - ABJECT BODIES The golden age of Holy Roar seems to be nigh on unstoppable as Canadian hardcore four-piece Minors cement this ongoing legacy in the filthiest way possible. The sludge hammer that is Abject Bodies slams with such disgustingly cataclysmic repercussions that it’s like flossing your ears with barbed wire. This album decks you, drinks your pint and fucks off. In that order.

Good luck trying survive past ‘Flesh Prison’. Only for the brave. Out 22nd February via Holy Roar Records. | Review by Hywel Davies.

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JOHN DIVA & THE ROCKETS OF LOVE - MAMA SAID ROCK IS DEAD John Diva And The Rockets Of Love has a renowned songwriter as frontman and, on Mama Said Rock Is Dead they deliver ten tracks of 80s stadium rock to prove Mama very wrong. Opener ‘Whiplash’ sounds like BJ but heavier and better! ‘Rock ‘n’ Roll Heaven’ with clever acoustic is just that. ‘Dance Dirty’ is Poison for today.

So re-live the 80s with a modern, heavy edge with this solid rocking album. Out 8th February via Steamhammer / SPV. | Review by Tom Dixon.

CONNY OCHS - DOOM FOLK

MASTER’S CALL - MORBID BLACK

OUTRIGHT RESISTANCE - CARGO CULT

Conny Ochs’ latest album Doom Folk finds the Blues/Folk soloist adding bass, drums and keys. Opener ‘Dark Tower’, a Chris Cornell tribute, fits and shows all of Conny’s considerable abilities. ‘Crawling’ is superb guitar and voice over simple drums.

‘Gun In The Cradle’ is countrified, acoustic Americana. All in all, this is an enthralling album for when a different listen is needed. It’s an enjoyable mix of blues, folk, and rock.

Out 15th February via Exile On Mainstream Records. | Review by Tom Dixon.

At only three tracks this feels more like a free sample than an EP. Like a yummy sample at Costco, it has me coming back for more. It’s really refreshing to hear this unique brand of metal, that is synonymous with the likes of Dani Filth and the Sophie stage at Bloodstock, done so well. The spot-on production, guitar work and demonic vocals make this a Master’s Call I’m keen to answer.

For fans of: Cradle Of Filth, King Leviathan, Dimmu Borgir, Conjurer Out 25th January 2019. | Review by Neale McGeever.

Cargo Cult is the fourth outing from Hertfordshire metal group, Outright Resistance, but the first that features the bands new frontman James Jest,.

Never ones to shy away from what’s real, the album’s lead single, ‘Fang and Bone’, takes a look at the role that social media has played in shaping the internet into what it is today. The self-produced album’s ten tracks have all the lyrical themes expected from the group, such as anger, unity and acceptance. Produced by Justin Hill (ex Sikth) Cargo Cult is out 1st March. | Review by Heather Gee. 17

Reviews INGLORIOUS - RIDE TO NOWHERE

MIKE TRAMP - STRAY FROM THE FLOCK

ZERO FIRE - SECOND SUN

On Ride to Nowhere Inglorious prove they’ve mastered the formula for creating the ultimate rock ‘n’ roll cocktail that keep listeners coming back: raw lyrics, scorching guitar riffs, pronounced rhythms, and, of course, a winning vocal performance are stirred together to create a work that is as delectable as it is expansive in scope.

Ride to Nowhere is united by the fact that the same degree of gusto is pumped into each track. With that being said, this naturally manifests differently in each individual track, but impact is unquestionably made regardless of the form it takes on.

‘Glory Days’, the album’s acoustic closer, beguiles with a piercing lyrical vulnerability, whereas the guitar work in ‘While She Sleeps’ sizzles to life like hot coals enveloped in a blazing flame.

In ‘Where Are You Now?’, a sharp bass line permeates the track with an electrical undercurrent, and ‘Time To Go’ offers up an addictively anthemic chorus. Ride to Nowhere is an exemplary display of how richness can be seamlessly infused into rock ‘n’ roll.

Between the attention to nuance and clear creative craftsmanship, Inglorious has released one hell of a record. | Review by Lindsay Teske.

Mike Tramp, he of White Lion and Freak of Nature fame, has come up with a new album entitled Stray From The Flock to add to his six previous and distinguished solo releases. This latest is ten tracks of Tramp at his vocal and compositional best. The vocals are a bit REM but this is a set of quality songs that makes it forgivable. Opening with ‘No End To War’, delicate picked acoustic leads to a twin guitar melody that is slow and mesmerising.

‘Homesick’ is a ballad that many an AOR band would kill for, with fitting words and vocal; the judicious use of keys paint the background while the guitar speaks only when necessary.

‘You Ain’t Free No More’ is Stones like with the intro and then verse and chorus hit the sing-a-long button. ‘Messiah’ is heavy country rock and a bit Jovi because of that. ‘Best Days Of My Life’ is a heavy REM song. ‘Die With A Smile On Your Face’ is a piano led duet with an unidentified female vocalist making it even better.

This is a high quality if slightly pedestrian slice of Melodic Rock. Tramp hasn’t taken any risks, but his legion of fans will be glad about that. Well worth a listen.

Out 1st March 2019 via Target Records. | Review by Tom Dixon.

It’s apparent from the first track ‘Slides’ that Zero Fire grew up in the nu-metal/ post-grunge era but may prefer to call themselves ‘prog’ or ‘alternative’.

I can’t take any of these associations from them as there seems to be a lot of comparisons to their sound: Coheed and Cambria, Incubus, and Tool being the most obvious.

As the album progresses, some harder influences come in to play - the riff for ‘Gout Mouth’ wouldn’t be out of place on a SlipKnot or even Sepultura album. The ‘metal’ vocals bring another dimension to the Canadian four-piece, but not in a Foo Fighters way. Zero Fire clearly love to be heavy when they want to be but aren’t afraid of melody, in a more Deftones or early Nirvana sense, of course.

Although their formula works to an extent, this is also their downfall.

Despite being six tracks long Second Sun feels very brief, almost unfinished.

The amalgamation of nostalgic styles is a breath of fresh air - but also leaves us wanting more. Going forward Zero Fire should learn from the positives of the record and continue to mature as a band. Strangely enough, Zero Fire also do sets of all Deftones covers. I hope some of that magic rubs off on them. Out 22nd March 2019. | Review by Neale McGeever.

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AT THE SUN - LEAVE BEFORE THE LIGHT Five young London based musicians, Harry Dale (Vocals), Alex Matthews (Bass), Chet Jogia (Lead Guitar), Craig Steen (Drums) and Kieron Heavens (Rhythm Guitar), known collectively as At The Sun, have at last released a full length album as a follow up to their acclaimed 2017 EP. Entitled Leave Before The Light, the guys have pulled together a mix of influences: imagine if the Black Crows had conceived a child with Slash and Angus as joint inseminators and you will start to appreciate where they are heading. A busy year of touring and festival awaits and this new album is the perfect opportunity to see and hear their style of rock.

Opening with ‘Only A Fool’ you get the Sabbath riffs backed by sensible drums and tasty bass. The vocal cuts in over a very heavy blues backing and feel. This is a quality track in its complex construction and the guitar solo is restrained but effective… if too short. ‘Breathe’ rocks like an updated Breadfan. ‘Lay It On Me’ sounds like it should have been on The Answer’s Rise; it is that good. ‘Devil In Your Eyes’ veers from Sabbath to Alter Bridge to Budgie and has variety and cohesion at the same time… brilliant.

‘Indestructible’ shows the AC/DC influence more overtly but is still very original and, after the bridge, a classy wah’d solo. Closer, ‘Raise Your Glass’ channels Sabbath but the melodies are errr... more melodic and we get another class solo with no histrionics, just the right amount of notes in the right places.

This is a band with a huge potential… already they sound better and more accomplished than some bands that have been lauded by the media recently. As they gel even more, the next album will be even better… so raise your glass and give them a try. Leave Before the Light will be released on Friday 8th March, 2019 | Review by Tom Dixon.

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Class of 2018 “Juggernaut skyscraper melodies!”

“Towering... impassioned!”

“Post-metal epics!”

“Ones To Watch!”

“Melody, Power, Grace... leaves a lasting impression”

“They have the world at their feet!”

“They mean serious business!”

“Kick ass Rock!”

MANES “Anthemic - a celebration of metal!”

“Intriguing and inventive!”

As featured

“Buy this record”

“Ones To Watch!”

“Distinctive, dramatic!”

“Blistering!”

“No.1 - Tracks Of The Week”

“No.1 - Tracks Of The Week”

“It's creating serious volume on my stereo!”

“A gagantuan statement of intent!”

“Band of the year!”

“A masterclass!”

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“A wholly intriguing beast!”

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