rock & metal ISSUE #28 WWW.RAMZINE.CO.UK
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An interview with Kissing Candice Taking a mix of influences such as industrial, nu metal, glam and of course a lot of pop culture!
Jay Brown Assistant Editor assitant.editor@ramzine.co.uk
KEEP THE FAITH 2
We aren’t out of the woods just yet, but it seems there is some light at the end of the tunnel. 2020 is almost in the record books and will remain infamous forever, its impact on music has been devastating but the tenacity and sheer determination shown by so many bands regardless of whether they’re superstars or
struggling DIY outfits, all have pulled together and found ways to keep doing what they do. It’s an inspiring show of grit, I’m sure you will agree. Credit also to the fans, digging deep to support artists everywhere, either by attending online shows or picking up merch, keep the faith, and stay safe.
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RAMzine Classic
We take a look back at Moontan by Golden Earing!
rock & metal WWW.RAMZINE.CO.UK MASS TESTING SAID TO COME INTO PLACE FOR 2021 FESTIVALS Well, wasn’t 2020 a roller coaster! You can’t Editor go out and all venues vicky@ramzine.co.uk are closed. Venues are open, but you can’t sing or dance. Everything is closed again. Venues can now open again but only if serving a substantial meal with any alcohol because apparently the virus does a u-turn in midair when it sees a plate of fish and chips. You just couldn’t have made this stuff up! However, with all that has been said and done there is the distant glimmer of hope that we will be back at gigs and festivals in 2021. Of course, we would like nothing more, but the industry now hangs in the balance as the government decide what measures will keep mass crowds safe from an outbreak of covid at an event. The first rapid testing programme was officially announced in November which sees a person tested within 15-minutes. It is said that this along with temperature checks and track and trace could allow fans entry into a festival/ large scale gig, providing you have no signs of the virus.
Victoria Purcell
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An interview with I Am Pariah
“The pandemic gave us a brilliant example of something we would want to change”.
Do you think mass rapid testing will work for festivals such as Download and Bloodstock? Tweet us! @ram_zine with your thoughts.
Lindsay Teske Assistant Editor assitant.editor@ramzine.co.uk
SUPPORT INDEPENDENT ARTISTS
Obviously, this year’s events have put a massive dent in the creative economy - but, that makes it all the more imperative to fiercely stand in the corner of independent artists in 2021. Should guidelines allow for small venues to open back up soon, head down to your local and check out who’s there. Do some digging & download what catches your
ear. If you’re able/ interested, consider buying merch from a band who could use the support. At large, the music industry tends to only support artists who have a requisite amount of perceived symbolic capital. So, with that being said: you, our dear reader, are an integral component in keeping the vital sector of new &/or independent artists alive.
Neale McGeever Senior Contributor
Ashley Crowson Senior Contributor
neale@ramzine.co.uk
ash@ramzine.co.uk
An entertainment writer from the North East. I’m also big in to movies & video games.
Guitarist, photographer, geek, gamer, full on metalhead and allround barfly. 3
To say that Rammstein frontman, Till Lindemann, has done something unexpected is like saying the grass is green. So we are glad to bring you the news Lindemann has announced the release his second book for National Geographic. Yet again collaborating with musician Joe Kelly, this book is entitled Amazonas: Reise Zum Rio Javari (Amazon: Journey To The Rio Javari). As you may have guessed this is the German language. The cover of the book shows Lindermann and Kelly holding an anaconda. “I couldn’t stop myself from having photos taken with the snake. I love snakes. Joey finds them scary...” Lindermann says in the book. The book is now available to order now.
Own your own versions of Coheed and Cambria Kilgannon as they come to life in action figure form. Vocalist Claudio Sanchez is the mastermind behind The Amory Wars comic books, which are linked with the bands music. The action figures are currently available for pre-order on the bands website. Sanchez commented, “Lights, ra, Action… Figures! I’m very happy to announce the release of our collaboration with NECA [action figure manufacturer] in bringing The Amory Wars line to life. As a child, toys played an integral role in the foundation of who I am now as a storyteller and the excitement never fades when I get to take this step with any of my creations.”
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Status Quo’s John ‘Rhino’ Edwards has released a new single to raise funds for Stagehand – the original live production welfare and benevolent fund. The money raised from Rhino’s single will go towards some of those ignored by the Government in these challenging times . John states in the song that “the policies aren’t working, as the figures indicate. But don’t dwell on things, old boy. It’s super smashing great” as he gives an ‘up-yours’ hand gesture aimed at the government. Buy ‘Super Smashing Great’ here: https:// li.sten.to/9ulSUsI Donate directly to the fund here: www.stagehand.org.uk
If you have listened to even one song by Finnish folk-metal fun guys Korpiklaani – you know they like a drop of drink now and then. Evident in tracks like ‘Vodka’, ‘Tequila’ and ‘Jagermeister’. So it only makes sense they have a go at releasing their own tipple. This is Finnish spruce flavoured craft vodka, distilled by Pyynikin who also made their official lager. The vodka was launched the same day as their live stream from the Pyynkin distillery. Simply known as Korpiklaani Vodka, this is a premium grain vodka distilled using what is known as ‘the purest water in the world’. The spruce gives the authentic Finnish flavour that fits well with Korpiklaani’s music and spirit.
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Interview by Neale McGeever
K
issing Candice have been making a name for themselves for almost a decade now. Taking a mix of influences such as industrial, nu metal, glam and of course a lot of pop culture – the Long Island masked men have gained a passionate fanbase. Following the premiere of their latest horror-inspired video, ‘Tapeworm’, we caught up with bassist Mike ‘Grip’ Grippo, and guitarist / vocalist Tom ‘Dreamer’ Sciro to talk about their upcoming album, juggalos, masks, and if they will ever tour the UK.
How the devil are you? How are you finding this pandemic and lockdown? Grip: Honestly, not as bad as I could be. Just using this time to find new ways to be creative and try to save as much money as possible for the release of our upcoming album! Using the time off from touring to be a normal person and work a standard full-time job (it even has benefits). Dreamer: Hangin in. Just trying to stay sane. Do you feel this will change people’s pattern’s for listening to new music and discovering bands? Dreamer: I would definitely think so, but I’ll leave that to grip ‘cuz he’s the algorithm master lol. Grip: I definitely think it will. It is 6
changing the way bands do their own thing. They have to find different ways to adapt to survive, especially if their sole income was touring. I think this will trickle down to the fans and they will also have to adapt to the new ways bands are releasing music. I think everything will be much more digital than it used to be (it was headed this way already). You have released your storming new track and video ‘Tapeworm’ recently. Is this a taster for the new album? Dreamer: I still believe that grassroots stuff is alive and well, but on a much smaller level. Online stuff is the standard now though. Grip: Yep! This is the first taste of the album. The album doesn’t include the previously released singles Magic Show or Crash and Burn. Those were just released by us to stay active and try to figure out what our next move was while we kept giving our fans something to listen to and watch! Dreamer: It’s 100% a taste of what’s to come. Just the tip of the iceberg and one of many variations of flavors. Is online exposure key in this day and age? Grip: Absolutely. Especially now. If you don’t have an amazing online presence and interaction with your
fans you’re just sitting in a lake doing nothing. I have to ask: how did you get to play Gathering Of The Juggalos (Insane Clown Posse’s annual fan festival featuring rock and rap artists) so many times, do you feel that your music is of that niche? Grip: Well, supposedly Violent J (ICP rapper) saw our videos and was a big fan of both the visuals and music we were releasing. We were invited to play 3 years in a row and it was such a great honor! We will forever be grateful to the Psychopathic Records team and ICP for letting us perform! I feel our music has its own niche, which can kind of fall into other niches. While we aren’t a Juggalo band we do absolutely love Juggalos and the community of family and open-mindedness that the mainstream media often ignores. They’re a great group of accepting people and I have made MANY friends at the past Gatherings we have played. They’re so fun. We’ll stay the whole time and I’ll just run around unmasked and be part of the festival as a fan!
Dreamer: Three times. It was something we never planned on, but absolutely love that happened. They are extremely passionate fans and beyond loyal. Note: a ‘juggalo’ is the affectionate name given to passionate fans of Insane Clown Posse, similar to MCRmy or KISS Army. This leads me to the question: when are you coming to the UK? (or would you like to?)
Of course, your image and stage presence is very important to you, where do you find inspiration for your performances? Grip: In anything that’s weird. I’m personally inspired by the performances of insane bands like Marilyn Manson and Nine Inch Nails that I grew up watching over and over. Dreamer: Mike Patton, Rob Zombie Al Jourgenson. Would you ever ‘retire’ the masks?
Grip: When? No clue whatsoever. Would like to? 5 minutes ago.
Grip: Not until we are good looking enough to perform without them.
Dreamer: ASAP. Dreamer: We have definitely kicked
that idea around a few times, but it’s become synonymous with the band at this point. Who knows? If we did away with it, we might be like KISS without the makeup. We heard something about a Five Year Anniversary release of your first full-length album, BLIND UNTIL WE BURN? Grip: It’s been five years since we released our debut full-length album Blind Until We Burn! What people don’t know is that there were a lot of changes made to the original release. Songs had samples removed, the artwork was changed, and a track was cut. To celebrate the 5 year anniversary we are releasing it as originally 7
intended (to a VERY SELECT few fans). We are doing a run of 100 vinyl pressings and 50 cassettes! This version will never be released digitally or via CD. It can be purchased in our official store at www.kissingcandice.com What advice would you give to anyone wanting to start a band when this craziness is over? Grip: Use the internet, take advantage of technology! This pandemic has spurred so many different forms of communication to emerge. Take advantage of that and collaborate with a random guy from social media on the other side of the world! Bands no longer need to be central to one location. It’s all about the music right now. Dreamer: Be yourself, that will always get people’s attention more than anything.
What is the ultimate goal of Kissing Candice? Grip: A sponsorship by my favorite water brand… Just kidding (not really). We would love to be able to do this for a living and be able to maintain some sort of comfortable life where we can focus solely on the band. Dreamer: I’d love to have the band grow to the arena level. So what’s next on the horizon for Kissing Candice and for you all as individuals? Grip: Expect another taste of the upcoming album! As far as me personally, I will continue to type nonstop behind my laptop screen until everyone has seen and heard us.
Lastly, if you could form a band of all horror movie characters, who would be in it and would play what? (I will also allow comic book characters) Grip: Taking a loophole here with your parentheses. It would be a band of all Ewok’s from the Star Wars universe and they would all play the Stormtrooper helmets played at the end of Return of the Jedi. Dreamer: The entire puppet cast of puppet master, playing big band. You can stream the new track ‘Tapeworm’ via YouTube and Spotify now, plus you can order records and merch on their website.
Dreamer: New music, new masks, new, nü.
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CLASSIC GOLDEN EARRING
- M O O N CTL AA SNS I CBy Tom Dixon
F
masterpiece. Kicking off with ‘Radar or a band that scored a number we getNthe E unedited minute one hitG(inOthe L Netherlands) DEN EARG R Love’ IONL G DE A R Rsix IN G pause version and every second in 1967 with the poppy and sounds as good as the chopped for comically named ‘Dong-Dong-Di-Kiradio single. After this auspicious Di-Gi-Dong’ it as a surprise to many - intoMsuch - OaM O O NO TA N start, N T Athings -N just - get -better,M‘Candy’s OON that they evolved powerful, Going Bad’ has a wah’d guitar intro excellent rock band. Perhaps, equally with neat keyboard flourishes that desurprising is that the 1973 lineup of velops into a sad, cinematic tale with George Kooymans (guitar), Barry Hay superb instrumentation and a class (vocals, flute) Rinus Gerritson (bass, guitar solo from Kooymans that keys) and Cesar Zuiderwijk (drums) is bursting with originality. are still together today. It’s in that same Then, in a typical Golden year with the same lineup who remoment, the middle seccorded the anthem that graces every tion changes tempo and rock compilation ever, the superlative brings a touch of drama ‘Radar Love’. The album that birthed via the piano and clever, that single, Moontan, was so much subtle drums with phased more and although successful, it is vocal effects sounding way better one of the often-overlooked classics than that description. The epic and I of the 70s and beyond that deserves do mean epic – ‘Vanilla Queen’ is next the reverence that’s afforded to other with hypnotic synth and bass startclassics of any period. The band is still ing it all off. The lyrics also provide together today and released an album the album title as well building the modestly titled ‘Tits an’ Ass’ that out in tension along with the backing music 2012 and a live album as recently as (not sure what “sterile dignity” is but it 2015. A good starting point to hear a sound good). The acoustic interlude is cross-section of all of their output (inneat and then leads to another sharpcluding the ludicrously catchy ‘Dong’) ly observed electric solo before we is the 4CD/DVD 50 Years Anniversary revisit the main melody. The strange Album from 2015. middle has car sound effects as well as spoken words courtesy of the sultry Back in 1965, Golden Earring was tones of Marilyn Monroe before a reknown as The Golden Earrings (from a song by British instrumental band, The petitive and damnable catch riff takes us to the fade. This is so complex, it Hunters) and had quite a few hits in needs to be heard in all its glory to their homeland in the pop vein but, as appreciate the depth and scope that the personnel changed they dropped words cannot describe… listen to the ‘The’ and the ’s’ and began making the bass alone for example, then the much heavier records. drums etc. Next up is ‘Big Tree, Blue Sea’ that catches immediately with the The album is a delicious mix of rock: nifty riff before the flute adds colour heavy, progressive and psychedelic all (no, not a Tull sound anything alike) feature in the forty minute, five song
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to more remarkable instrumentation… listen to the simple chord play behind the first verse for example. Even the synthesiser solo fits and leads nicely into the tempo change and a classical T yet A entrancing N - flute section but with a cracking bass line. Barry’s flute then has a multi-tracked solo (that could have been Colin Towns if he hadn’t been doing it with Gillan ten years later. The riff returns for the full electric denouement, delicious from start to end. Ending with ‘Are You Receiving Me’ we get another nine minute plus epic, agent start with wah’d guitar chords but then a more urgent drum and bass pattern kick in and we’re off into psychedelia with some serious added weight and invention. The wonderfully named Bertus Borgers adds some suitable saxiness as the song keeps on building beautifully. The tempo change is heralded by just the bass playing a simple riff, soon joined by some neat cymbal work and a subtle chorded section, with added flute. Wind and strings combine for an illuminating middle section before the guitar takes over with some blindingly good playing and the climax of the returning chorus wraps this package up so damn neatly. It is virtually impossible to convey the sweeping majesty of this genuine classic with just words, if you haven’t heard it, you need to listen (and I do mean listen) to it to fully ‘get’ what these guys do. If you have, then listen again to all of its glorious complexity and revel in the pictures the music paints.
By Tom Dixon
In this ongoing series, once again I have chosen some less than obvious artists. The 80s saw the rise of NWOBHM with Iron Maiden leading the way, then Van Halen, Dio-era Sabbath, the rise of ‘hair metal’, seminal albums such as British Steel and Back In Black etc. Those we are all familiar with so let’s explore some of the less familiar highlights from the 80s.
WHITE SPIRIT
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White Spirit may be known as the band where Janick Jers began his career, but when I saw them as support to Gillan at Middlesbrough Town Hall in 1980 they displayed an uncanny ability for fiery rock with a bit of prog, and just happened to have a flamboyant guitar player. Their sole album (before Janick went first to join Gillan and then Iron Maiden) was self-titled and, apart from the slightly overblown ‘Fool For The Gods’ held some great guitar/key led rock - try ‘High Upon High’ for a hint at what could have been for this young Hartlepudlian band.
HANDSOME BEASTS
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Handsome Beasts are still going, however back in 1981 when they released their debut Beastiality, they were classed as NWOBHM. This is only partially true as they were more of an extension of 70s hard rock than pure new wave. The album is noted for its execrable cover (a very large man and very large pig in a pen) and some decidedly iffy lyrics by today’s politically correct standards. Take the track ‘Sweeties’ which is a brilliant, raw rock record that. If you listen closely the track is not condoning but warning of the man in the dirty raincoat carrying a bag of sweeties; either way, this is an album of damn good rock.
RED RIDER
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Red Rider were a Canadian band that should have enjoyed way more success than they did. They only appeared on my radar courtesy of the great Tommy Vance whose Rock Show on Radio 1 was the only real place to hear new music in those pre-Internet days. Their 1981 album, As Far As Siam was pure mature rock. Leadoff track ‘Lunatic Fringe’ was Tommy’s choice and remains my favourite to this day, although the country skiffle of ‘Thru The Curtain’ is still irresistible.
PICTURE
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Picture were and indeed still are a Dutch band that promised much with their European heavy rock that, particularly on their third album from ‘82, Diamond Dreamer, hinted at a sort of refined NWOBHM. They toured with AC/DC but never quite hit the big time. That album and its title track along with the rather tasty ‘Nighthunter’ are well worth seeking out.
MAMMOTH
Mammoth are another band that failed to hit the big time even with the inimitable John McCoy on bass and the dulcet tones of vocalist Nicky Moore. Their self-titled album is high-quality melodic rock with a blueish tinge, although the track that played to the band name and girth of all the members, ‘Fatman’, is heavier and has a Bernie Torme guitar solo to boot..
KINGDOM COME
Kingdom Come reached our ears in 1988 with their self-titled debut and they certainly generated a bit of controversy as they were accused of being a Led Zep clone - does that story ring any bells from recent times? This band (nothing to do with Arthur Brown) did indeed have some similarities, mainly the voice and phrasing of vocalist Lenny Wolf. However, a closer listen to the album reveals a band with very much has their own identity and sound that rendered persecution unjustified. Listen to the rousing ‘Get It On’ or the sublime ‘Living Out Of Touch’ to hear the evidence for yourself. As always, there are many more I could have included (1,249 according to my iTunes) and it was difficult to choose just six. I hope these bring new artists to your playlists and you enjoy the little-heard side of an interesting decade. 11
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By Ash Crowson
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By Ash Crowson
Interview by Victoria Purcell
W
e caught up with metal band I Am Pariah of Stoke on Trent, as they release their new EP Charm Before The Storm. The EP was written prior to the current world pandemic and like many other bands I Am Pariah were forced to make alternative arrangements.
for all musicians when we say that it has been a crippling blow to the arts. The breaks went on initially, as like everyone else we were in a kind of ‘adjustment’ to the new way of life. I don’t think even now nearly a year on we’ve
You’ve just released new EP Charm Before The Storm what is meant by the title? It represents the naive feelings you get before shit hits the fan. It can be put into many contexts but ultimately it is something we fail to see until it’s too late, a sort of dark hindsight.
How is the band currently doing? We are doing fine all things considered. We are trying to make the best of a bad situation and drive forward, albeit slower than we’d like. We are currently working with the restrictions to keep the ball rolling by passing demos around digital platforms. Some weeks are tougher than others, as we cannot have that band rehearsal outlet you sometimes need after a stressful week, and definitive planning is out the window for us. We are in the government’s hands; as is everybody else. But what we can say is – we have big, overarching plans. It’s been a strange year for most people, with the music and arts industries hugely impacted. How did things impact you? The first (and biggest) impact was the closure of music venues, which has drastically affected us getting our name around the circuit. Prior to the first lockdown we were very active and had many things to look forward to on the horizon. I think we can speak 16
You recently released your video for ‘Sicko’ from the new EP, talk us through the meaning behind this track?
fully managed to find our feet, due to the constant switching of pandemic rules. What have you learnt from 2020? That despite what obstacles are thrown at us, a motivated band will find a way to progress. We went from perfecting our craft into a routine of over analysing our art, a fine line to say the least – if you’re a perfectionist you will know what we mean. As much as we would have said that pre lockdown we were ‘aware’ or ‘not getting lost in the moment’, 2020 hit and it just showed us that life is a flash in the pan, existence is temporary – make the most of it.
‘Sicko’ is a stigmatic term for a mentally ill person that is defined by society as sadistic. It interested us because people are fascinated with serial killers, but rarely take the time to read up, or discover why they become the way they are – there is a very fine line between mad and bad. Act 1 of the song is a tale of an individual that was met from birth with rare, yet unfortunate circumstances – which conditioned a monster. In act 2 of the song, narcissism turns to delusion, and our sociopath believes he is a god. What do you think should change about the modern world? We think everyone in the world could answer this question to an extent. There’s so much to this question that we could probably sit here and write you an essay, so we’ll pick one thing.
I think the pandemic gave us a brilliant example of something we would want to change. The pandemic showed us that some people take our ‘first world’ for granted. A lot of people put their lives on the line to protect and serve us, while others refused to isolate because they needed their beer with mates on a Friday – you know, the type of people that would try and cannibalise you first on a desert island. We all love a beer lads, please keep it in your pants for just a few months.
Tell us about your favourite local venue? In Stoke on Trent we have The Sugarmill and The Underground, both amazing venues! The promoters at both venues are always very support-
If you’re ever in Stoke on Trent then get yourself down to either venue and you won’t be disappointed! What is the one message that above all you would like to share with people? Live your best life, do what makes you happy, support unsigned bands and keep your friends close (and enemies closer). You only get one shot at this.
Who were your favourite bands growing up, and are they still your favourites right now? As a band we have numerous influences, many that we have followed for years. The main man for us is the prince of darkness himself, Ozzy Osbourne. Nothing can stop him, with decades of riffs to back him up. He is a true inspiration to the rock/ metal scene. We are also avid fans of Killswitch Engage, Avenged Sevenfold & Marilyn Manson.
ive of local bands and help give us that platform and opportunity to support big international bands when they are in Stoke as part of their tours. Both venues have given us amazing opportunities to open up for the likes of Light The Torch and upcoming UK Band Phoxjaw which we are so thankful for.
Charm Before The Storm is out now! 17
. . ! K C RO AVED P O H W ARTISTS FOR
Y A W E H T
. ! K C RO AVED P O H W ARTISTS FOR
Y A W E H T
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he Rolling Stones did it, Cream did it, and if we accept that Led Zeppelin were major contributors to forging a path for the many and varied sub-genres of rock music, then their first three albums bear witness to the importance of it; Zep I had four tracks, Zep II had three, Zep III had two and Zep IV had one. I am talking about the blues and how it influenced nearly every band we revere today and how their cover versions reveal so much of the history, importance, and development in rock. Of course, music is such a complex medium it could never be that straightforward; a number of bands that also made major contributions were led by classical music as well as traditional music from countries around the world. To really appreciate the vital role blues has played, I would recommend you research as I did, the foundation of the blues and how it developed into electric blues, rock and roll, and then eventually, rock and heavy rock.
I went as far back as the field recordings of Alan Lomax who traveled the US recording the songs and traditional music of the time. The blues had already begun to develop as guitars be more accessible and was performed on the ubiquitous ‘back porch’. With the birth of the electric guitar, things began to take on a personality 18
of their own. Many of these early recordings demand perseverance when listening as the quality and vocal nuances are sometimes hard work. For example, Memphis Minnie’s ‘When The Levee Breaks’ and Lead Belly’s ‘Gallis Pole’, more recognised as ‘Gallows Pole’ nowadays. However, that perseverance will be repaid massively and lead you to a whole world of stunning playing and groundbreaking arrangements that can still be heard in today’s music. But don’t stop there: for every blues pioneer that has been covered by more recent rock bands, there are at least another ten awaiting discovery. Also, the blues isn’t always about hardship, it is packed with humour (single, double and even triple entendres abound) and there are more euphemisms for genitalia that you can shake a stick at! I could list dozens of these seminal artists: the genius of Robert Johnson, the guitar-toting Sister Rosetta Tharpe, the slide genius of Son House who, in my humble opinion recorded one of the finest blues songs ever…’Pearline’, is simply perfection. Or look for Willie Dixon (no relation!) compositions as he wrote a multitude of great songs for other artists…’Little Red Rooster’, ‘Spoonful’, ‘I Can’t Quit You Babe’ to tie in with my introduction are three of over five hundred he wrote. Don’t forget to look for artists who are neglected by writers everywhere:
Lil Johnson and the wonderfully smutty ‘Press My Button’, Weaver and Beasley for guitar brilliance with the added cleverness of humour in instrumentals… ’Bottleneck Blues’ springs to mind. After soaking up the stunning originality of these pioneers you can then move onto how they were adopted by many British bands who then took the music back to America and reintroduced the blues to a willing audience: the “British Blues Boom” as it be known saw the Stones, The Animals (‘House of the Rising Sun’ was first recorded in 1933 by Clarence Ashley and Gwen Foster), the Yardbirds (the version that Jimmy Page did with them of ‘Dazed and Confused’ is even better than the better-known one!) and Fleetwood Mac’s early albums were packed with delicious covers of great blues songs. From the great Rory Gallagher to today’s blues maestro, Joe Bonamassa, they all regularly cover, and pay tribute to, the blues in all its hues and keep its heritage alive. If you aren’t familiar with these legends of yore, do yourself a favour and (literally) sound them out: there are a multitude of blues compilations which are a cheap way of beginning what, for me, be a far-reaching, fascinating and rewarding project that continues to this day. Article by Tom Dixon.
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SOILWORK A WHISP OF THE ATLANTIC
RIVERSIDE LOST’N’FOUND
MY DYING BRIDE
Soilwork is a strange one to pinpoint combining elements of melodic death, groove metal, and in some cases a bit of metalcore. A Whisp of The Atlantic is a good showcase of this, even the slightly goth-y title track is a departure from what we usually expect from the Swedish five-piece. This EP might be a preview of things to come not just for Soilwork but for metal as a lot of different elements are incorporated. Something for other bands to take note of. The release date is 4th December 2020. Review by Neale McGeever
Previously available only as a limited edition fan club release, ‘live’ in Tilburg’ is an album which shows Polish Progmeisters Riverside at their absolute best, featuring outstanding performances of some of their classic tracks up to this time, notably ‘Panic Room,’ ‘The same River,’ ‘The depth of self-delusion’ and the lengthy ‘Escalator Shrine’. There’s also a degree of poignancy attached as this was the last tour with guitar man Piotr Grudzinski, and his playing here is a fitting way to remember him. Review by Laurence Todd
Feels weird that 1990 was 30 years ago. My Dying Bride was merely a ‘new’ band back then. To mark their 30th birthday we get a vinyl remastering of their 2011 magnum opus ‘Evinta’ on red /black vinyl. Clear to see this has aged very well in less than a decade. On one hand, this is a very slow burner for doom/ atmospheric metalheads only, the other hand - this is somewhat of a misunderstood masterpiece. The new version of ‘The Cry Of Mankind’ is certainly worth the wait too. by Neale McGeever
EVINTA MMXX
I AM PARIAH CHARM BEFORE THE STORM Signified rage powers through this deeply cathartic EP. I Am Pariah crave to dislodge the modern world from its perch on opening track ‘Kill The Modern World’ with hooks and rousing vocals enforcing a wonderful, but brooding, edge. Technical guitar trickery and a chorus worthy of widespread praise burns through on ‘Suck It Up’, which is a raucous crescendo on Charm Before The Storm. This EP is unapologetic and timely as the world tries to mend. Review by Mark McConville 20
VANDEN PLAS THE GHOST XPERIMENT Last year we had the first part of The Ghost Xperiment from Vanden Plas, now the second is here with the sub-title, Illumination. There are guests aplenty as they weigh in with the pounding ‘World Is Falling Down’ and the proggy and excellent ‘Under The Horizon’. The thirteen-minute epic, ‘The Ouroboros’ sees hero, Gideon Grace face his ghosts to a slow piano intro and a virtuoso vocal and guitar experience. If you like your metal heavy and progressive then Vanden Plas delivers once again. Review by Tom Dixon
BEYOND EXTINCTION
FATAL FLAWS OF HUMANKIND This skilled British squadron delivers a strong and vigorous slab of raw, gut-piercing death metal with a dark and unsettling vibe to it. There’s a palpable sense of youthful energy and enthusiasm to these four atmospheric compositions and the young musicians who clearly know what it means to craft dynamic tunes containing vicious riffs and delightfully sinister twists. There’s nothing too original or innovative, but the EP provides a thoroughly enjoyable experience nonetheless. This lethal entity possesses both promise and potential.
Review by Jens Nepper
EGO KILL TALENT THE DANCE BETWEEN Ego Kill Talent source energy from their highly charged music. Those pounding instrumentals and vocals all interweave to create an atmospheric surge. On opening track, ‘Deliverance’, soft vocals rise and the guitars come into play and those sombre lyrics. ‘Sin And Saints’ ends the EP, but it doesn’t lack quality, it lets it evolve. Throughout this track, the rhythm ascends and vocals become an abrasive addition. Ego Kill Talent delivers with The Dance Between, and they’re a band to consider wholeheartedly. Review by Mark McConville
HATEBREED
WEIGHT OF THE FALSE SELF Weight Of the False Self sees the Connecticut bruisers return with their eighth studio release. Brimming with aggression and positivity, this year of despair has pushed their abilities to write monstrous beasts further than before. From the leads of ‘Cling to Life’, thrashy vibes of ‘Dig Your Way Out’, the album delivers. Granted for those not fans, it might seem almost Sesame Street-esque in lyrics of the title track, but for Hatebreed fans, Weight Of the False Self has shaped up to be their strongest work yet. Review by Ash Crowson 21
SCULPTOR UNTOLD SECRETS
CROSTPATHS MUTATED
CRO-MAGS
Melodic death metal that oozes class and professionalism is offered here on Untold Secrets. These 11 stately tracks contain plenty of interesting textures and nuances. Boasting numerous wicked hooks, a solid drive, clever arrangements, and gorgeous melodies - a highly potent debut record and a most satisfying listen. Fans of Swedish melodic death metal in particular definitely ought to take note here, as Sculptor have crafted an impressive album that is up there with some of the genre’s most memorable ones. Review by Jens Nepper
Crostpaths have just released their new 4-track EP titled Mutated - for fans of Hollywood Undead and Papa Roach as they blend a mix of metalcore, rap, electro breakdowns. Vocalist Ritchie Murray Jack flawlessly sums it up stating “sonically, it’s all action, but lyrically the songs reflect a rollercoaster of emotions that many will be familiar with (especially now): anger, sorrow and stubborn defiance.” This EP is strong it has the power and oomph behind it to be played on a big stage fingers crossed for 2021! Review by Victoria Purcell
Cro-Mags’ latest EP, 2020, is a blunt and abrasive crossover thrash offering that is exactly 20 minutes and 20 seconds long and acts as a solid continuation of their latest album. 2020 never outstays its welcome but feels like it has some tracks that were only included to get this EP to the very specific run time but these tracks are over fairly quickly and the other tracks accurately encompass the mood of 2020: aggressive and chaotic. For fans of Black Flag, Agnostic Front and Suicidal Tendencies. 2020 will be released 11th December 2020. Review by Dale Unsworth
2020
MAJESTICA A CHRISTMAS CAROL Oh dear, another bleedin’ Christmas album? Well, not exactly; symphonic metallers Majestica have set the Dickens story to a powerful and very heavy soundtrack. A multitude of guests add voice to the characters while the orchestral, metal compositions avoid too many cloying yuletide cliches. ‘Ghost Of Marley’ is one highlight, it’s recognisable but seriously metallic. ‘Joy Of Christmas’ is a bit Lloyd-Webber but still strong. ‘A Majestic Christmas Theme’ orchestrally plays with carol melodies. Some should be heard all year round; some reserved for December. Review by Tom Dixon 22
HUNTED BY ELEPHANTS CARRY ON Since their lauded 2019 debut, the band have built upon their 70’s hard rock base and now deliver ten powerful tracks that show that influences whilst simultaneously remaining original. The brilliant track ‘The Weapon’ may start like acoustic Whitesnake but heavies up nicely, like riffy Tygers of Pan Tang. ‘Wiseman’, ‘Electric,’ and best of all, ‘Believe in Something’ showcases a bluesy influence nicely. Hunted by Elephants are a talented band that share the balance of clear production to bring together a fine album that deserves being heard - and not just for 70’s lovers. Review by Tom Dixon
NIGHTBLADE IGNORANCE IS BLISS
DAN REED LIFTOFF
MOLLO RILLA VIVA EL CAMINO
Nightblade’s Ignorance Is Bliss arrives right in time for Christmas. A skeleton cover with a Mad Max-style car gives a clue to 70’s/80’s based heavy rock treat in store. The single ‘Steering Wheel’ is a great listen for riff-based melodies, and ‘Never Take For Granted’ makes for a seriously heartfelt ballad. This is rounded off with ‘Stop’ which compares favourably to many heavy rock single successes from the 80’s. Ten tracks, an hour of enjoyable rock…what’s not to like? Review by Tom Dixon
On his fifth solo album Dan Reed is in tune with the world again stating that the album “addresses frustration with the human race’s adversity to embracing truth and wisdom during these divide times…” The music is as diverse as the messages therein, with highlights from the hour and a half being ‘Back To Earth’ with its acoustic/electric lilt, the tasty instrumental ‘Docking Sequence,’ and the laid back and lyrical ‘Deeper Than Our Fear’. This is Dan at his enigmatic best: mixed styles, but all class. Review by Tom Dixon
Upon reading that Mollo Rilla combines elements of Latin, rockabilly, surf, hip hop, and disco curiosity had struck you can hear all of these elements on Viva El Camino but, ultimately this is a rock n roll album. Marco Ciofani spills out heaps of his personality from his vocals alone which are quirky in some places. If you want to hear something a bit different, then I highly recommend Mollo Rilla. A good starter song is the new single ‘Night Fang’, which you can watch the video for now. Review by Victoria Purcell 23
CLUTCH
THE WEATHERMAKER VAULT SERIES VOL. I As Clutch once sang, ‘What You See is What You Get’, and you know full well it is a treat every time. Throughout the year we have been given the pleasure of cover tracks and re-worked classics from the catalogue of these fine Earth Rockers, and just as what would be Clutchmas to gearheads comes up, they’re setting those works loose on the world! A must for any collector, the Weathermaker Vault Series won’t leave your playlist anytime soon. Review by Ash Crowson
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SONIC TABOO SONIC TABOO
BLACKMORE’S NIGHT HERE WE COME A-CAROLING
ELLES BAILEY AIN’T NOTHING BUT
New York instrumental trio Sonic Taboo’s self-titled debut album is a fascinating mix of cleverly composed, short pieces that travel across the genres: ‘Valley Of Dolls’ is catchy rock, ‘Emotional Haze’ is heavy psych, ‘Black Chopper’ has a 70’s feel but the Metallica ballad like ‘When The Silence’ has more layers than flaky pastry! This is one instrument album that you will never tire of: the variation is immense and the band doesn’t try to be too clever…they’re just good songs without words. Review by Tom Dixon
Legendary rock guitarist Ritchie Blackmore and his minstrel’s give us their unique take on a few well-loved Xmas carols. All four of the songs chosen here are performed free from electric backing, featuring mainly acoustic guitar, recorder and, on ‘Little town of Bethlehem,’ a low key church organ. ‘Silent Night’ is given a small choir backing with the orchestration kept to a minimum, and Candice, Ritchie’s wife, sings all four carols in a delightful celebration of Xmas. Out December 4th, 2020. Review by Laurence Todd
Recorded during live streams while covid prevents her performing live, the delectable Elles Bailey graces us with sixteen covers that showcase her superb vocals. They can sooth, arouse or sting as necessary, but always captivate. Half are from the ‘Lyrics’ show, and the rest are from the ‘Blues’ show. Most of the tracks are from true originals (not the more ‘famous’) - listen to ‘Ain’t No Love…’, ‘When The Levee Breaks’, ‘Spoonful,’ or even the Paul Simon’s ‘Fifty Ways…’ and wonder at her voice and the skilful duo backing. Review by Tom Dixon
BABYTEETH KNOCK YOURSELF OUT
DAWNWALKER AGES
DANIEL TOMPKINS
A far cry from the typical Plaid’N’ Seattle grunge bands, Babyteeth have a unique sound that beautifully binds together hard-hitting tracks with a powerful Britpop/rock vocal tones lead by frontwoman Camilla Roholm. Songs such as ‘Cut it’ and ‘Look Like Death’ are punchy and rebellious, with less of an angry riot grrrl vibe, and more of a modern androgynous influence from 90s alternative rock. Babyteeth prove they can chew up and spit out anything, with an incredibly sultry cover of Ariana Grande- ‘God Is A Woman’. Review by Sophie Wegner
London based six-piece, Dawnwalker emerge from the sea mists with their second album, Ages. Imagine a 70’s concept album as a five-part suite with neat interludes - ‘The Wheel’ starts Crimson-ish then suddenly shifts into Doom. ‘Ancient Sands’ is intermittently Doom with melodic woven around. ‘Burning World’ is Doomy Prog with a bit of Sabbath riffiness and is irresistible for it. A difficult one to sum up, but it has a depth and sense of experimentation that should appeal to Opeth and Tool fans alike. Ages will be Self-Released on 4th December 2020. Review by Tom Dixon
Here’s a curiosity Daniel Tompkins’ solo debut has undergone a reworking as Castles becomes Ruins. The TesseracT man has darkened it, renamed the tracks (the lyrics are the same) and increased its weight. A few guests add additional colour… Trivium’s Matt Heafy for example, so treat this as a brand new release. Opener ‘Wounded Wings’ shows that he makes his own way without bias. ‘Tyrant’ is my pick… catchy! Trivium fans will look to the rapid-fire ‘The Gift’. A melodic, thoughtful and worthwhile album. Review by Tom Dixon
RUINS
HOLLYWOOD UNDEAD NEW EMPIRE, VOL. 2 Back in the day these guys were ahead of the game with metal/rock inspired rap over homemade beats. Now they blend in much like the current ‘emo-rap’ movement that the youngsters are in to so much nowadays. New Empire, Vol.2 starts this way with ‘Medicate’, a great way to tie-in your legacy and applying it to new styles. Yet it becomes clear that this doesn’t seem to be Undead’s motive on this album, there are some surprises with some interesting collaborations: ‘IDOL’ features Tech N9ne and ‘Heart Of A Champion’ features Jacoby of Papa Roach. Review by Neale McGeever 25
THE PINEAPPLE THIEF THE SOORD SESSIONS VOL 4 Bruce Soord, for the uninitiated, is the guitarist, singer, and main creative driving force behind the Pineapple Thief, one of the more interesting and innovative prog rock bands around. This isn’t the first time he’s stepped outside of the band to make an album. In 2015 he released All This Will Be Yours, to critical acclaim. The songs here were from a solo acoustic live performance, the fourth he’d performed, which was streamed during the summer, released now on vinyl, and while solo albums from band members don’t always have the desired effect (many screaming ‘ego trip’) these ones work well. On this mini-album, Soord performs a number of songs by the Thief, several of which the band haven’t performed live for a number of years. Using only an acoustic guitar, with the occasional assistance of an electric guitar, played also by Soord using a looper pedal to allow him to jam with himself. There are two tracks from the band’s last studio album, Versions of the Truth (2020). ‘Demons’ is a ‘warts and all’ inclusion, with Soord forgetting the intro and starting again… twice, and then forgetting the second line, before
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finally telling us “I’ve got Demons, you should know, you put them in me” – with the electric guitar break giving added impetus to the arrangement. Title track ‘Versions of the Truth,’ is a song about two people who remember the same thing very differently, an interesting take on the album release. The slightly melancholic ‘All This Will Be Yours,’ inspired by the birth of his third child, has the feel of a Riverside tune and begins with Soord attempting to create a groove with a Shaker, with a delightful electric guitar interlude further into the song. From the album, All The Wars, he performs admirable acoustic versions of ‘Someone Get Me Out Of Here’ and ‘Last Man Standing,’ with the latter seeing Soord rock things up on electric towards the end. The Thief are often compared to Porcupine Tree, and this comes to mind on ‘Bond,’ from the Magnolia album, as it has the imprint of Steven Wilson.
Bruce Soord deserves credit for attempting to keep his band’s name in the frame during lockdown. Like many other bands, a major tour was deferred to 2021 and his stripped-down versions of some of the lesser-known Pineapple Thief songs work well. If this venture is successful, maybe an acoustic section is something he’ll incorporate into a gig at some point. Review by Laurence Todd
MORGAN ROSE CONTROLLED CHAOS Sevendust drummer, Morgan Rose, is about to join the select few drummers that have released a decent solo album: Roger Taylor and Cozy Powell spring immediately to mind and Cozy couldn’t sing! (His first solo, Over The Top, stated on the original vinyl cover “lyric sheet enclosed”, I remember opening it to find just a blank sheet of card which made sense when all of the tracks were instrumentals!) Anyway, Morgan joins those ranks with a very strong and worthy EP called Controlled Chaos. Along with fellow Sevendust member, Clint Lowery on guitar and Jason Christopher (Corey Taylor and Prong) on bass he has delivered six tracks of surprising diversity that showcase his strong vocal range and compositions. Even the 26-second ‘Intro’ with atmosphere building keys is worthwhile before the assault of a great riff brings in ‘The Answer’; which is the heaviest here but the rest don’t disappoint. ‘Faster Man’ is, ironically, slower and the keyboard work over a brilliant drum pattern is rather good with the multi tracked vocal showing how good Morgan is behind the microphone too. ‘Clarity’ has to have the
PHOTO: TRAVIS SHINN
word “anthem” attached as the chorus as it’s just that. After a neat drum/ guitar build up the vocals, rightly, take centre stage and are nigh on choral in their intensity. I am right with Morgan on the message behind ‘Come Alive’… ”internet toxicity” he calls it and the moral is delivered with aggression and ethereal vocals, love it! Final track, ‘Exhale’ addresses his time in hospital last year and, with high register vocals, piano, orchestration and (shock,
horror) no drums you can sense his initial fears and the eventual redemption – it may be a surprise but it is a work of immense scope and emotion that deserves a listen. This may not be Sevendust, but it’s a powerful and effective set of songs that will entertain fans of most genres. Review by Tom Dixon
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