ROCK & METAL
ISSUE #16 WWW.RAMZINE.CO.UK
E N R U O B IR A ” M O D E E R F . .. IS L L O “THE SPIRIT OF ROCK N R
I X L L E H K C HARD RO LIFE, LOVE, HATE, PARTY, HAVING FUN!
LANUNISNG! P S SP
REVIEW ACROSS MULTIPLE GENRES!
20/01/18 WWW.RAMZINE.CO.UK/CATEGORY/AWARDS
ROCK & METAL
03 | AIRBOURNE
We caught up with drummer Ryan O’Keeffe at Hard Rock Hell Festival in Wales before the band embarked on eight dates across the UK.
05 | HARD ROCK HELL XI
Sky reaching mountains, valley draining rivers and lush greenery that would give Bilbo Baggins a rager for days.
11 | BEST ALBUMS OF 2017
Team RAMzine tell you what their favourite albums have been this year.
14 | RIP PAGAN HEL
A tribute to an amazing music journalist and member of Team RAMzine.
15 | Q & A - DEUCE
Although it’s been seven years since he left rap-rockers Hollywood Undead, vocalist/producer Deuce is still finding success as an artist. 17 | RAMZINE CLASSIC This time we take a look back at classic Alexisonfire album Watch Out!
18 | RELEASE REVIEWS
On The Cover - Airbourne | Photos by Lisa Billingham & Rob Billingham
“If you want to do something that’s not 9-5, then you should go for it because you only get one life, you may as well live it.” - Ryan O’Keeffe
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irbourne lead the way for modern-day debauchery on their recent Breakin’ Out Of Hell Tour. Perhaps the sex, drugs, rock and roll days have long gone, at least they are no longer glamorised in our modern day society as much as the legendary 80’s, however, Rock n Roll is still very much alive in the form of Airbourne, and you can’t deny indulging in a few pints or five. If you have ever been to an Airbourne show you will already know of the high energy and party spirit the band produce. We caught up with drummer Ryan O’Keeffe at Hard Rock Hell Festival in Wales before the band embarked on eight dates across the UK. Ryan told us “all of our headline dates sold really well, it’s the most successful tour we have ever had, onwards and upwards hopefully!” The band recently published a documentary on their YouTube channel titled It’s All For Rock n Roll, filmed by Joe Brady, produced and directed by Matt Stocks. The documentary gives an insight into the band’s personality, drive for rock n roll and 3 | www.RAMzine.co.uk
life as a band. Ryan told us; “Matt had been on the bus filming a lot of stuff. Part was filmed on the UK tour back at the beginning of the year, but over time, filming on The Black Dog Tour and this one, finishing up at the filming of the video ‘It’s All For Rock n Roll’. Matt and Jo were really passionate about wanting to get it done, so it was them that really made it happen. We really appreciate the hard work that they did.” There is a part of the documentary where Ryan is giving advice to bands who are starting out. We noted to him that the advice could actually be applied to anything you want to achieve in life. When asked to describe the spirit of rock n roll he delves back into part of that advice... “The spirit of Rock n Roll is... Freedom, yeah, your not misled anywhere, it is what it is. It’s a lifestyle that if you can be fortunate enough to be your own boss in, it’s complete absolute freedom and you
get to see the world. With social media and stuff these days, when you are in a band, you are more exposed to seeing some of the restrictions that a normal life can have. A lot of people complain on Facebook ‘oh I got to go to work in the morning’ or ‘I haven’t had a holiday for so long’ and ‘my boss sucks’ and all that sort of stuff. All the things we don’t really have to worry about. So I guess that’s why in the documentary we are passionately saying work hard for it. But if you do want to do something that’s, not 9-5, then you should go for it because you only get one life, you may as well live it. Celebrating the 10-year anniversary of Airbourne’s debut Runnin’ Wild, the band recently released a 15 track collection of B-Sides entitled Diamond Cuts - The B-Sides on 180g heavyweight diamond coloured vinyl, housed in a gatefold jacket. The album introduces 2 new tracks, ‘Money’ and ‘Heavy Weight Lover’ plus 13 B-Sides collected from the bands’
first 3 albums. Ryan gave us the lowdown; “Nettwerk had bought our back catalogue, so basically, everything except Breaking Out of Hell. So, they acquired a bunch of our old tracks, some that were never released and they just said ‘look these are really good songs that the public should have access to’, so we said ‘well if you guys think so’. So we made the Dimond Cuts, which is basically everything you may not have.” Ryan continued “it’s a good little Christmas package that thing...” and we couldn’t agree more! Wrapping things up so he can go get ready for another headline show Ryan told us; “This tour has
been really good, we are going to be a bit sad finishing up, but after this we go home and we make another record! We are gonna go home, have a bit of a Christmas and then we are going to try working straight away in December, writing. But it’s one of those things of ‘how long is a piece of string’, so we will just begin it, get our heads down. We already have quite a lot of riffs from this tour, and there are heaps stored from previous tours, so we are gonna start playing and then start sifting. Then talking about where we are gonna record it, might be Australia, might in Nashville. But we will see.
It’s safe to say that Airbourne have been one of the most exciting bands on the scene this side of the year with one fan saying “The Breakin’ Out Of Hell Tour was the best show I have ever seen in my life”. Perhaps modern-day debauchery is simply being able to let go, an escape for many from the regimented 9-5. Airbourne have no plans of slowing down anytime soon so we look forward to seeing them again in 2018, no doubt at a few festivals for our much-needed freedom fix! | Victoria Purcell
HARD ROCK HELL Sky reaching mountains, valley draining rivers and lush greenery that would give Bilbo Baggins a rager for days. No this isn’t Middle-Earth, but it may as well be; this is North Wales mother fuckers, and things may seem peaceful for now but a distant rumble can be felt as RAMzine descends upon Hard Rock Hell XI.
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Review by Hywel Davies | Photos by Lisa Billingham & Rob Billingham
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o, it begins; two and a half days of non-stop rock ‘n roll to wade through. From some of our culture’s most celebrated veterans to the new blood of rock spanning three stages with fifty plus bands to rattle your skull to.
| Thursday Having recovered(ish) from the first annual HRH awards the night previous, following BLACK ACES and KILLCODE on the main stage, WAYWARD SONS bring that classic rock aesthetic with a fun and lively set that cements the tone of what this festival is all about. A perfect little warm-up for the name that everyone here came to see, with former Twisted Sister frontman DEE SNIDER turning up with a rekindled fire in his heart that blew us away. Tonight’s performance is sheer unbridled venting from what had been one hell of a shit week for the vocalist. After ‘The Kids Are Back’ squarely kicked all of our collective brains-in, with a heavy breath he addresses that his mother is currently in a vegetated state after a devastating traffic collision. At 85-yearsold, she is one tough gal and we wish her all the best. Putting all those feelings back into the music, this is why Snider is the undeniable legend that he is.
| Friday THOSE DAMN CROWS open up the following day to a rammed second stage. Not even the death grip of a demonic hangover could keep the people away. Bursting onto the stage with huge choruses and riffs for days, they have the crowd firmly in the palms of their hand. Seriously fun, and didn’t outstay their welcome. Taking in all that HRH has to offer, the exclusive VIP acoustic stage is a perfect little getaway from the barrage of beefy riffs flying all over the place. The soft lighting and seating plan has the MTV Unplugged vibe as BLIND RIVER treat us with a translated version of their electric set that really hammers home their dirty blues alter egos. It’s not bad, with some impressive guitar duality that you wouldn’t normally expect from an acoustic, just a tad rusty in parts. Their follow-up KILLIT on the other hand have taken the time to really convert their set to a killer unplugged bonanza. Soulful with a weight that you can feel being carried. Their vocal harmonies are fucking delicious with singer Gaz Twist’s cleaner than an angel’s y-fronts voice soaring 7 | www.RAMzine.co.uk
A rekindled fire in his heart that blew us away. into our ears. Absolutely bloody lovely. Now, back to the loud stuff. There’s been a lot of hype surrounding Girlschool ‘she-redder’ Jackie Chamber’s latest venture SYTERIA. For our first venture into the main arena, it was a performance that flopped on all manner of levels. With all due respect to Chambers and co., it all seemed dated,
head with these guys. Jimmy O. and Mikey Sorbello bounce off each other’s energy as the crowd are eating it up and are drooling for more. We say with total confidence that this duo are one of the most important acts on today’s line-up. Merthyr Tudfil natives FLORENCE BLACK took to stage two and raise the energy levels up to concussive levels of kick ass. In and out in a flash, the trio don’t waste any time in delivering the goods, including one seriously adrenaline pumping rendition of Budgie’s classic belter ‘Breadfan’. A rite of passage for any Welsh rock n’ roll band with whiplashing repercussions and concussions, executed with horn raising satisfaction.
dripping with clichés. The least we say about this four-piece the better. THE GRAVELTONES, however, save the day as the Australian duo are simply breath-taking. No bullshit, no gimmicks, just a shot of contemporary rock n’ roll straight into our systems. Embracing progressive ideals to a genre that desperately needs it, HRH hit the nail on the
TYKETTO have, in their own words, been kicking our ass for 26 years with their brand of radio friendly power rock. A big statement, but we can see where they’re coming from. If by that they mean churning out choruses that would sound great on a Glee soundtrack, then absolutely. Looking over their audience, we can’t deny the hold they have over their loyal fans who’re living for every epic chorus they chuck our way. Definitely one of our guilty pleasures of the weekend. Y&T ultimately fall short as a follow up. Unable to match the charm of their predecessors and are as exciting as a korma with a plain naan, die-hard fans only apply. Though the HRH experience is by no means the heaviest event on the planet it does have its gems. That’s where Leeds fire breathers CHASING DRAGONS come kicking down the gates, waving the flag for melodic metalcore. Having to compete www.RAMzine.co.uk | 8
with Friday night headliners Airbourne next door, the turnout is respectable enough to their credit, which only fuels their drive. Drawing from their earlier EP Checkmate and their more recent 2016 release Faction: Prologue, their presence at HRH is a welcoming sight as we were even treated to a cheeky breakdown. Alas, the hopes for a mosh pit is too much to ask. Slamming nonetheless. Though late showing up to their two-hour set, AIRBOURNE still retain their reputation for being the living incarnation of bat-shit crazy rock n’ roll. They’re everything and more with the crowd reaching maximum capacity as the main arena is bursting at the seams. Covering their catalogue extensively, ‘Too Much, Too Young, Too Fast’, ‘Rivalry’ and ‘Stand Up For Rock ‘N’ Roll’ hit hard with all the subtly of a rhino at Crufts. Despite lacking his usual acrobatics, Joel O’Keefe’s notorious reputation for on-stage anarchisms are out in force tonight. We got it all; skull crushed beer cans, crowd surfing and one very impressive throw from the frontman where a shoulder sitting fan caught a half-full lager without spilling a drop – you can’t learn that shit from your precious books! After ushering on their very own cocktail bar on stage and raising a glass for Lemmy [Ian Kilmister, legendary Motörhead bassist/vocalist who passed away last year], the Aussies return for an encore that stretched out the undeniable headbanging belter ‘Runnin’ Wild’ to an impressive 15 minutes long that closed the first full day of HRH. Christ, we need to sit down and take a breath.
| Saturday Slap-bang in the slot that all bands dread, Cardiffian hell raisers BETH BLADE AND THE BEAUTIFUL DISASTERS open up as strong as anyone can do to a dizzy looking half-filled second stage. Undeterred, this was their time and they made it their bitch. By no means the most ground-breaking act of the weekend, but their spirit is strong as their efforts are eventually rewarded as the masses come flooding in. By the end of what was too short a set, they owned HRH. Taking full advantage of its therapeutic atmosphere, we return to the VIP stage as LOUDER STILL prepare for their acoustic debut. It’s clear that this is not their comfort zone, as they openly admit their lack of experience in this field. Seeing a band’s vulnerability is an interesting experience, but as they keep 9 | www.RAMzine.co.uk
putting themselves down, we begin to lose confidence in what we’re seeing. Clueless as to why, the only ones putting them down here are themselves. No complaints from us. BUFFALO SUMMER up the positivity factor on the main stage with a melting pot of sexy rhythms. Easing up on the intensity pedal, the 45-minute set doesn’t really do their chilled out soulful rock sound many favours and begins to become stale. Still, an all-round decent effort. Exploring the metallic realms once again, Sweden’s own Syron Vanes are a chipper lot but come off a little bland and predictable. A bit more of that classic Scandinavian punch to this sound and it would’ve been a decent performance; just scraping by. Another dollop of power rock heads out way as TOSELAND take to a bustling main arena with a tongue and cheek attitude that gets a gratifying smirk from us. Chucking himself into the music, leading man James Toseland keeps HRH fully stocked up on crowd chanting bangers that are perfectly suited to this atmosphere. You can’t hate a band with tunes like these that are packing more cheese than a Dairylea Dunker. Less than a week after releasing their seventh album War Is Over, it’s a near flawless display of prog-rock from Finnish superstars THE VON HERTZEN BROTHERS. Armed with songs that far exceed anything you’d typically expect from a HRH lineup; their sound welcomes in anyone who wishes to just let their mind wander. Paced intricately, no other band comes close to what the VHB bring to the table. Opeth’s progressiveness meets Ghost’s pop formula, need we say more? Sublime. Despite some flack that REEF may have received from a few disgruntled fans to see their names on the bill, people seemed to have a blast nodding along to their vibe. Busting out ‘Place Your Hands On’ six songs in does leave the rest of their set falling a bit flat, as we get the feeling that’s all everyone here came to see. A passible show that ultimately didn’t have much to give but didn’t take anything away regardless. Closing this year’s HRH, BLACK STAR RIDERS offer so much on paper. Formed from the more recent members of Irish staples Thin Lizzy, including guitarist Scott Gorham, this year’s festival had a large quota to fill that the band disappointingly couldn’t
fill. Not so much bad as it was bland, the band remained static for the most part and only showed glimmers of potential when delving into Thin Lizzy’s back catalogue. Needless to say, ‘Jailbreak’ and closer ‘Whiskey In The Jar’ go down a storm. With feet stomping on tables as beer consumption increases exponentially during this time. We aren’t denying that the good time feels can be felt, just not from the stage. In hindsight, it would’ve made more sense if they’d switched places with Dee Snider on the Thursday night as a nice little warm-up act. Not a great note to end on, but still, a worthwhile trip up to Pwllheli that did not disappoint. With Saxon already being announced as one of next year’s headliners, HRH XII doesn’t look to be holding back. Battle jackets at the ready folks, as we’ll see you next year at Hafan Y Môr Holiday Park.
2017 Best of The Year
Code Orange Forever
Creeper Eternity in your Arms
No album this year has had a community talking about the potential of a band like Code Orange’s Forever. We’re talking Slipknot debut levels of excitement here that will be realised sooner rather than later. The proof is right there in this blackened pudding that hardcore can have the same artist prevalence as any prog, experimental or even jazz bands. This is beyond hype, this is the real thing that can’t be denied. A living testament to the significance to grassroot scenes and their potential to produce unqualified talent. Totally unpredictable and challenges anything and everything, bands of the future will look back on this record and say, ‘That’s where it all began for us.’ Too important to ignore.
This has been in the car since the day it came out. Scrap that, its been in the car since the day I pried it out of my 3 year old daughters hands after she claimed it as hers. She asks for Suzanne every time we get in the car. That aside, Creeper managed to mix raw punk power with something beautiful (Crickets is haunting) verging on Queen-esque operatic rock.
| Nominated by Hywel Davies.
Converge The Dusk In Us
While some bands struggle with a lack of motivation in their later years, Converge have found a way to adapt and, in some ways, get better. The Dusk In Us is angry and yet beautiful. Veering from songs about holding your newborn child for the first time to screams of anger, ripped out of Jacob Bannon’s throat as he rages at the state of the world. This is the sound of an already fantastic band maturing and entering the second half of their career as a more rounded and intelligent outfit. It’s not always the easiest listen, and it will challenge you, but if you like heavy and interesting music and you aren’t listening to Converge, you’re doing something wrong. | Nominated by Stuart Iversen.
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| Nominated by Benji Walker.
Sumo Cyco Opus Mar
In true Cyco fashion, this was funded by fans and proves how far they have come in the past few years. On Opus Mar they reached over 249% of their PledgeMusic goal. This is a great progression for the Canadians, plus features a guest spot by Benji Webbe...which is nice. | Nominated by Neale McGeever.
PVRIS all we know of heaven, all we need is hell
Since the launch of their first album a few years back I have been hooked and since this new album, i’ve become even more addicted. PVRIS Stand out of the crowd with their unique sound, a mix of rock, experimental pop and powerful yet soothing vocals. Each track has its own story which grows on to you. PVRIS music has also helped me with my mental health and explains many situations making me feel that more mellow. | Nominated by Chris James Ryan.
Steak No God to Save
Ne Obliviscaris Urn
I was looking forward to London outfit Steaks release with being a fan of their earlier stuff, but nothing could quite prepare me for just how powerful No God to Save would be. From the lyrics, the tones, the riffs and the monster rhythm section right through to the production, Steak are firing on all cylinders, just check out album opener ‘Overthrow’ or recently released video ‘Living like a Rat’! The sheer weight of the album is enough to propel them into the stratosphere and take on anyone that comes close to them. A must buy album for any stoner rock fan, No God to Save will stand the tests of time and cement them in the genre as one of the future flag bearers without question. Steak are legends in the making, and it all begins here.
The band keep upping their game in terms of musicality and songwriting, each instrument is given moments to shine. The band have only managed to improve with each album which is amazing considering the previous albums have all been works of art in the progressive death metal scene.
| Nominated by Ash Crowson.
Trivium The Sin and the Sentence
I know we’re sick of it by now: ‘Trivium are the next Metallica’ and so on. But this album was the tipping point that absolutely confirmed it; Trivium are truly one of those bands that we will look to for headlining our biggest festivals. A band with albums that we will look back on as being the very peaks and lows of metal music over decades. The Sin and the Sentence signals a further step up in maturity for the band who are showing they can be as conceptual as they can just straight up, badass metal composers. It also must be said that Matt Heafy’s screamed vocals are a welcome returning feature to the bands music, not that he clearly hasn’t learned lessons from a softer vocal approach giving the album a range previously unthinkable from the band. | Nominated by Sean Rafferty.
Betraying The Martyrs The Resilient
It was one of the first albums I reviewed for RAMzine and I have to be honest I’ve listened to it every week since then, it’s such a step up and was the soundtrack of spring 2017 for me. | Nominated by Mike James.
| Nominated by Dale Unsworth.
Archspire Relentless Mutation
This album is not just a landmark for tech death - or even metal, for that matter. This is a landmark for music. Guitar solos are nothing new, right? But how often do you hear a bass solo? Or, even better, a VOCAL SOLO? Every minute of Relentless Mutation is as exciting as the last. When you take innovative songwriting, and couple it with curb-stomping aggression, what you get is a spiritual listening experience. Everything from the bass lines to the vocal patterns are immensely intricate, and what’s strange is that it doesn’t even feel like Archspire are showing off. What it feels (and sounds) like is a band at the top of their craft. A band that has conquered an entire genre in the space of 8 years and still chooses to push itself beyond expectations. Exciting. Unpredictable. Memorable. This album is everything music should be. | Nominated by Sam Hayler.
Eighteen Visions XVIII
I couldn’t wait to see what arguably one of the most underrated band’s from the heydey of metalcore or should I say “fashioncore” era could bring to the table after pretty much alienating the vast majority of there audience with the self-titled “final” album, but low and behold they totally smashed it out of the park with XVIII. This record landing somewhere stylistically for me between where the album vanity left off and obsession picked back up with there signature slick but brutal blend of metal. They look and sound as though they haven’t missed a single step, proving that the orange County beat down is still very much relevant in 2017. | Nominated by Mike Thomas.
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Zeal & Ardor Devil Is Fine
This is a fresh approach to making music, something that came out of nowhere and grabbed everybody by the horns. For me it was a very pleasant surprise as I had no idea what to expect - I talk more about this album than any other this year. | Nominated by Rich Broome.
The Darkness Pinewood Smile
Some say rock n roll is dying. If that is the case, then The Darkness are the ones that are keeping it alive. Pinewood Smile is the follow up to 2015’s Last Of Our Kind and brings with it heavier guitars, thundering basslines, more guitar solos you could ever want and then there are the drums… Behind the skins this time is Rufus Taylor (son of Roger Taylor from Queen) and its a match made in heaven. Rufus’s sound improves The Darkness’ sound by 1000% and even lends his vocals to two tracks. His drumming is phenomenal. For those worrying that they have toned down, don’t worry. The Justin Hawkins Shriek makes an appearance. Stand out songs are ‘Southern Trains’ (so very relatable), ‘All The Pretty Girls’, ‘Why Don’t the Beautiful Cry’ and ‘Solid Gold’. The Darkness have never sounded better. Buy it. Listen to it. Love it. | Nominated by Jules Burnan.
Von Hertzen Brothers War is Over
War Is Over is a stunning album. It’s a concept album in the sense that the theme of anti-war runs through it. The songs are amongst the best the VHB have ever recorded. It’s basically a classic rock album but tinged with an infusion of prog, especially the tracks ‘War Is Over’ and ‘Beyond The Storm,’ with meaningful lyrics. This is the sound of a band who’ve upped their game and built on the momentum generated with their earlier albums and who’re now ready to move up towards the big league. | Nominated by Laurence Todd.
Thunder Rip It Up
Thunder are the greatest ‘good time’ rock band and always have been this continues the feeling. The massive box set with an added live show was superb. | Nominated by Tom Dixon.
Wars We Are Islands, After All
Of all the albums I’ve been fortunate enough to review in 2017, only one has stuck with me throughout the entire year. It was an album that, no matter how many times I listened, resonated with me across a range of different levels. Musically, lyrically and conceptually there was always something new that challenged what I thought I knew of the release. Framed as a challenge to the idea that ‘no man is an island’, the poem by John Donne, the album is full of little nods to other works that provoke suggest further research, to those so inclined, which help connect more profoundly. Even on the face of it, it is an album that has something special, and indescribable quality. From the heavier sounds of ‘Hills and Boulders’, the more melodic ‘Hailing Distance’ to ‘Charcoal Days’ (complete with outstanding and thought-provoking spoken word secret track) there is always something to engage with. | Nominated by Stephen Stanford.
Nothing more THE STORIES WE TELL OURSELVES
Nothing More has been on my radar since the release of the highly passionate video for ‘This is The Time’ in 2014. Since then a new album has been highly anticipated and it doesn’t fail to deliver on any level. ‘Don’t Stop’ joins forces with Papa Roach’s Jacoby Shaddix as a treat on this album full of hits. Nothing More manages to capture and maintain the energy of a live show on record, that’s what makes them special. It’s no surprise that Nothing More have been nominated for 3 Grammy’s this year! Outpacing Foo Fighters, Metallica, and Mastodon for the most nominations in the rock categories - that is really saying something! | Nominated by Victoria Purcell.
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RIP
Pagan Hel By Victoria Purcell
“Although my fingers don’t play frets they write with enthusiasm for metal!!!!!!” - Pagan Hel.
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agan wrote hundreds of reviews for RAMzine over the past five years. She truly loved music and showcasing it through reviewing. Pagan was always on time, in fact always early and always wanted to hear more. She had been known to review up to eight albums a week in her prime and carried on reviewing right up to her final weeks. It’s safe to say that her preferred genre was death metal, however, she did dabble in other genres, telling us that she would be happy reviewing any style. Pagan Hel was her reviewing alias and what she prefered to be called. She lived and grew up in Liverpool, where she attended many gigs and was an honorary member of biker club North West Harley. Her partner Graham Roadhog Lee who is in classic rock band Roadhog was extremely supportive of her. Our thoughts are with him in this difficult time. After five years of reviewing and our first zine without her, it weights heavy. However, we shall remain positive, as that is exactly what Pagan did, right until the end. Strength like that is truly inspiring, and that is a lesson of
courage we will take with us. When I think of all the articles that Pagan wrote over the years, there is one that stands out, her feature on Dio. Here is an excerpt from Pagan’s Article on DIO in Issue 2 of RAMzine: After being fortunate and truly honoured, I met Dio back in 1984 at the Royal Court Theatre in Liverpool during the ‘Holy Diver’ tour. I noted he possessed a caring and nurturing nature and adored his fans. He took time to speak with everyone who turned up to see him and was indeed a genuine and wonderful man blessed with heaps of talent! The name Dio means ‘God’ in Italian and I personally feel this title is suited to a man of so much importance in the rock music industry. Pagan liked to laugh and joke and she kept in good spirits. We will never forget her determination for championing music, and her contribution not just to RAMzine but the music industry as a whole. Donations are being collected for Cat welfare, P.D.S.A and Marie Curie Hospice (Speke Road, Woolton) in Pagans honour.
Pagan with partner Graham
Pagan with editor Vicky
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Life, love, hate, party, having fun.
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lthough it’s been seven years since he left rap-rockers Hollywood Undead, vocalist/ producer Deuce is still finding success as an artist. He has even collaborated with the likes of Ronnie Radke, From Ashes To New, and BrokeNCYDE in his career. His second studio album, Invincible, is set for release on December 1st. We caught up with the man behind the mask, Deuce, for a quick Q & A to talk about the new album, fusing genres and of course the significance of his mask. In a nutshell, what is your new album ‘Invincible’ about? Life, love, hate, party, having fun, stuff like that. It has been reported work on this album has been in the works since 2012, do you feel the 5 years was worth it? Definitely! I’ve got a lot of dope stuff, different styles and different kinds of music.
You straddle both rap and rock genres, which style of music do you feel got you in to the music industry more? Both, I was never full rap or full rock. The blend is what people and labels were into. How does the creative process start with yourself and collaborators like 9 Lives? Sitting in the studio coming up with ideas, having other people doing the same, switching back and forth. Do you have the same fan-base as you did in Hollywood Undead or do you feel you have gained more after leaving the band? Some of the same fans and some new. In today’s climate, is Invincible The album the world needs? Why? Yes! It’s new, it’s different, people need that fresh sound.
Although you left Hollywood Undead many years ago, you still wear a mask similar to their’s, do you feel this is still part of your identity?
You have mentioned that part of the album was recorded in LA and part in Portland, do you feel there is a difference in sound between them?
Of course, I’m still Deuce with his mask!
More of the rock was done in LA, more Rap was done in Portland.
What thought goes in to your mask design? Ideas from songs usually help the masks out. Musical ideas turned into artistic ideas!
After the album release, what’s next for Deuce? Touring, Shows, and more music. | Neale McGeever
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Alexisonfire Watch Out! Equal Vision Records 2004 - Over 100,000 copies sold.
Alexisonfire are an often underappreciated band. Forming in 2001, they are considered by many as being responsible for completely revolutionising the Canadian music scene and bringing their unique brand of post-hardcore to the world’s attention. They paved the way for bands such as Cancer Bats and Silverstein to break out of the local scene and were able to shine a light on the bands they considered influences, such as Billy Talent and Grade. The four albums they released before their initial split in 2011 each achieved platinum status in Canada, and are still held as outstanding examples of what can be achieved by adopting a DIY mindset. The bands second album, 2004’s Watch Out!, was held up, along with Rise Against’s Siren Song of the Counter Culture, Taking Back Sunday’s Where You Want To Be and Funeral for a Friend’s 2003 Casually Dressed & Deep in Conversation as being responsible for the drastic shift in direction for the scene, helping to shake off the generic ‘emo’ tag, and move away into more hardcore based territory. Watch Out! struck a perfect balance musically, never straying too far either side of what was previously familiar in 2001’s Alexisonfire, or so drastically different as to risk breaking their, at the time, tenuous grip on a genre that was just finding its way. Tracks such as ‘Accidents’, ‘Hey, It’s Your Funeral
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Mamma’ and ‘No Transitory’ each took the melodic/hardcore blend and moulded it in subtly different little ways that have an underlying note of it definitely being an Alexisonfire song, but with a hint of difference every time. The constant give and take between George Pettit’s raspy screams, guitarist Dallas Greens soft, yet powerful clean
Exorcist, ‘Hey, It’s Your Funeral...’ is of go-karting and further songs speaking of Kurt Vonnegut and Macbeth, which adds deeper, often comedic, often tragic layers to the album, showing that regardless of what people said of the band, they didn’t always take themselves seriously.
vocals and fellow guitarist Wade MacNeil vocals combining both of the previous ensure that each track was a barrage of non-stop violent noise.
While the band have since released a number of albums and EP’s, they split and reformed and watched the genre they are responsible for grow and evolve, it is the success of Watch Out! that helped launch the band to the forefront. While they may not have reached the heights that the fans feel the band deserve, there is no denying that directly or indirectly, they have been a major influence on so many of the bands currently around.
The other element that makes Watch Out! stand out is the subject matter of many of its tracks. ‘White Devil’ speaks of the bands experience with a friends drug use, ‘That Girl Possessed’ is of the true story behind the 1973 film, The
The album was the last to feature the original line up. While the line up has remained consistent for the duration of the band’s career, even after a split in 2011 and reform in 2015. The only change has been in drummers, with Jesse Ingelevics departing soon after the release of the album, to be replaced with Jordan Hastings in 2005. 2005 also saw the band take part in the first of only two of the Switcharoo Series through Dine Alone Records. Alongside Canadian indie-rockers Moneen, ‘The Switcharoo Series: Alexisonfire vs. Moneen’ saw each band cover two tracks from each other’s previous release with unique little twists.
| Stephen Stanford
REVIEWS
Iron Maiden
Five Finger Death Punch
The Book of Souls: Live Chapter
A Decade Of Destruction
Parlophone
Eleven Seven Music
Review: Jens Nepper
Yet another live offering by heavy metal stalwarts Iron Maiden but a damn fine one at that. This one chronicles The Book of Souls tour and illustrates just how dramatic, powerful, and mesmerizing the band’s latest material sounds in a live setting. Although not essential unless you are a Maiden devotee, this is an impressive release which proves that Harris and his cohorts are still firing on all cylinders.
Goya Kathmandu Self Release
Review: Nick Harkins
This promising debut EP from Stoke-on-Trent’s instrumental power trio begins at a furious pace with single, ‘Collider’ and continues through four bruising, high energy tracks. Crushing distorted riffs abound, yet still, there are moments of introspection as sparse arpeggiated riffs bring interludes of calm amongst the raging post-rock storm. Clocking in at 35 minutes, this EP is longer than some full-length albums and takes you on a powerful, mesmerising journey.
Interstelar
Dimebag Darrell
COUNTERPOINT
Resin
Dimevision, Vol.2
If Not Now, When ?
Kozmik Artifactz
Metal Blade Records
Review: Sam Hayler
Review: Hywel Davies
Drugs are bad, m’kay? Drug-inspired music, however, does absolute wonders for your health. Sinus-clearing riffs, tension-relieving vocals, and pulse-regulating grooves are just a few of the things you can expect from Resin, the latest studio effort by LA doom quartet Interstelar. Imagine if Electric Wizard, Kyuss and Tool all contributed DNA for a test tube baby. This is that baby. Go out, buy the record, then hire a spaceship. You’ll need it.
Schwarzer Engel
Silenmara
FFDP are finally preparing to unleash their seventh studio album next Spring. In the meantime, A Decade Of Destruction will certainly suffice. A greatest hits package that’s crammed with wall-to-wall mammoth belters that does a decent job of covering fan favourites. A few unexpected twists are added for good measure as well as opening with new track ‘Trouble’, it’s a decent warm-up for what 2018 will bring.
Sinnflut Massacre Records Review: Jens Nepper
Four symphonic goth metal tracks by the German outfit Schwarzer Engel that range from the wonderfully pompous to the rather cheesy and clichéd are what is on offer here. The title track is irresistible, but the rest leave something to be desired. ‘Sinnflut’ is charming and interesting in places, but the song material lacks substance, depth, and texture in the overall perspective. Still, it does have potential.
A Darkened Visionary Self Release Review: Sean Rafferty
A Darkened Visionary is a triumph of an EP from Silenmara. The band make no qualms in defining themselves as melodic death metal and this record shows they are masters of the genre. Opener ‘God Particle’ and ‘Visionary’ showcase Silenmara’s ability to squeeze multiple awesome elements into a single track. Expect moments of melodic bliss contrasted with serious metal. Is a bit busy? Maybe. Is it still pretty badass? Definitely!
Review: Tom Dixon
Is it really 13 years since Darrell Lance Abbott was assassinated? At least we still have his musical legacy to enjoy under the better-known moniker of Dimebag Darrell – just released is the latest 2DVD/CD pack in the Dimevision series, Roll With It Or Get Rolled Over. There are plenty of video clips that reflect his humour and depth of character on the DVDs; More importantly, there are 5 unreleased demos!
Bloodshot Dawn Reanimation Hostile Media Review: Ash Crowson
Bloodshot Dawn return in the new year with their ten-track album, Reanimation. Ten years since their debut album release, this four-piece have made a stir but are anything but done. Reanimation throws you into a storm unlike no other with sheer insanity, sweeping arpeggios, brutal drum assaults, punishing bass lines and deathly vocals, they take it to the next level. Completely unforgiving, and we haven’t even mentioned the guest appearances!
Self Release
Review: Laurence Todd
After listening to this EP, it’s easy to hear why Counterpoint are described as ‘irrepressible riff beasts.’ Manchester’s Counterpoint are a heavy, alt-rock combo who are beginning to turn heads with their colossal, not to say infectious, sound. Formed in 2015, their intent was to create something pitched somewhere between the sound of the noughties but with a modern vibe added, and the results are here for you to judge on this EP. ‘Leave It All Behind’ has been released as a single. It’s a fast driving riff which bulldozes everything in its wake and recalls classic rock bands like Saxon and Motorhead at their eighties peak. Though slightly over two minutes long, there’s a lot going on it and, while its unlikely Chris Evans will ever play it on Radio Two, it’s a candidate for the best track on the EP. And they’re all good tracks, particularly one-sided conversation, possibly the most commercial track. The band use backing harmonies to advantageous effect, especially on ‘Between You and Me’, which adds to the overall sound. This EP announces Counterpoint’s arrival on the scene, and if any future album offers songs of similar quality, they’ll be making their mark soon enough. If Not Now, When? is set for release Febuary 2019. www.RAMzine.co.uk | 18
The Terror continues With my “latest Single”
Look for the re-release of “The Awakening” on
Facebook.com/richdavismusic
youtube.com/c/richdavis
Toothgrinder
Lightblue
VARIOUS ARTISTS
Lovebites
TANKARD
Phantom Amour
Paradise Lost
SPAWN (AGAIN)
Awakening From Abyss
Deadweight
Spinefarm
Review: Hywel Davies
Toothgrinder are one of those bands that are so criminally underrated it hurts. Their first album slipped by the consciousness of the rock community, which begs belief. Nocturnal Masquerade was a progressive stepping stone that ranged from balls-out heaviness to melancholic backwater twangy Americana that deserves more recognition than it received. But now a year later, Phantom Amour reaches our ears and it’s a sudden turn of pace for the New Jersey outfit. Where Nocturnal… flirted with the likes of Meshuggah and Mastodon, Phantom… shows very little trace of such influences. If we had to compare, the fuzzed-out guitar tone and smooth eerie harmonies remind us of CKY, if anything. It’s one hell of a progression, and if we’re honest it’s fucking killer. Dirty, sexy grooves are abundant that are complimented with moments of sheer force and melancholy respectively. You’ll be hard-pressed to find another record that’s this forward thinking and fun! ‘Let It Ride’ will drill into your head, crash on the sofa and chuck it’s boots on your best coffee table without so much as asking for your goddamned permission. The album is littered with these moments that deserve multiple listens. It’s rock n’ roll for 2017 and beyond.
Shipwreck Records
Review: Sam Hayler
There is a sea of poppunk bands out there. Many of them are awful. Today I’m going to talk about one that isn’t, with a record that really isn’t. Cheltenham-based outfit Lightblue are unleashing Paradise Lost, an EP that has defied all of my expectations. To be fair, I didn’t expect that much. When a band chooses to identify itself as ‘emo’, I immediately jump to the conclusion that there will be whiny vocals, pretentious lyrics, and enough hair to fill a barbershop. With this EP, those expectations quickly disappeared and were replaced by an appreciation for what is simply good music. Whether you call it emo, emu, or elmo, this record’s sound carries a huge energy that is unquestionably punk. The vocals are strained, but in a way that feels deliberate, and much like the punchy power chords and catchy choruses, they are reminiscent of the scene’s earliest days. Way before the fringes and the whining. Back when the ratio of pop to punk was more-or-less 50:50. Forget Meals On Wheels, my friends, and get ready for Feels On Wheels. This record will move you both physically and emotionally. You’ll end up in a place of rock bliss, but it’s the journey there that will stay with you. Out December 8th.
UNFD
Review: Neale McGeever
Here in the UK, Silverchair were part of the nu-grunge mini-movement and stood out among the likes of Canada’s Nickelback and the States’ Puddle Of Mudd. In their native Australia, they are hailed as being their best exports along with Hugh Jackman and Fosters lager. Looking at the track-listing for this ‘tribute’ compilation, they may well have inspired a generation of rockers down under. Let’s be frank here, you really need to be a Silverchair fan to appreciate this. Even so, this is a good way to hear your favourite contemporary bands like Northlane or Tonight Alive go out of their comfort zone. The album opens with The Amity Affliction covering ‘Tomorrow’, pretty much setting the tone for the collection. Great cover by Australia’s biggest name in metal of what is Australia’s answer to Nirvana. Taking on the biggest hit on the album (‘Freak’) are metalcore collective In Hearts Wake, who pretty much butcher the track, turning an outsider ballad into a machismo anthem somehow. On the other side of the coin, Tonight Alive breathe a bit of punkpop air in to ‘Without You’ and in turn making it their own. As made clear earlier: this is tailored for SC fans, yet still a serviceable ‘Best of Australian rock’ compilation.
JPU Records
Review: Neale McGeever
Apart from the fact there already isn’t an 80s glam metal band out there called Lovebites, it should come as no surprise that this is an all-woman Japanese power-metal band. Why is that such a shock? Japanese culture and power metal go hand-in-hand. Think of what bands like DragonForce and GloyHammer remind you of - video games, anime, Japanese wrestling... so yeah Japan. What’s more surprising is they don’t distinctively sound Japanese, unlike bands such as Whispered - who are actually Finnish. I feel any metal fan would love this, the riffs and solos are spot on: lead single ‘Shadowmaker’ is enough to show you this. ‘Scream For Me’ wouldn’t feel out of place in an anime romance about a metal guitarist or one of the 3D Sonic games. Not that we’re complaining. The clear influences here are legends like Iron Maiden, via guitarist Midori, with a sprinkle of Lacuna Coil (Asami’s vocals), or even Megadeth and Metallica (Haruna hits hard, despite being the most innocent looking one). Although there aren’t any ‘bad’ tracks on this album, a lot of the songs sound similar even by track 8 ‘The Apocalypse’. Sometimes verging on mediocre. So if you love the soundtrack of F-Zero X, this might be your new favourite band.
AFM Records
Review: Tom Dixon
With a band name like Tankard, with many of their album titles alluding to drink it’s no wonder that their latest ‘best of ’ release has a beer-drinking monk on the cover and the not so subtle title Hymns For the Drunk! It covers the period from 2002 to 2010. Despite covering eight years and five albums, do not expect light and shade – all the tracks are the high-octane outings expected of Tankard. Favourite track has to be ‘New Liver Please’ closely followed by ‘Metalto Metal’ and ‘Empty Tankard’ - all have a distinct melodic feeling often missing in their music. Indeed, the way ‘Empty Tankard’ develops reminds me of Budgie speeded up and vocals tuned down an octave or three. ‘Rectifier’ even out-Maidens Maiden – listen closely, you’ll hear what I mean. (Fortunately, this compilation leaves out the track ‘Myevilfart’!). ‘Medley’ ‘ is an interesting track… consisting of extracts of ‘Alcohol’, ‘Puke Mon Cheri’ and ‘Wonderful Life’ it is a smorgasbord of dark themes where Gerre Geremia is confident that “life sucks”! Fifteen tracks from five albums is damn good value if you don’t already own them or, if you need an introduction to Tankard, it won’t get better than this. www.RAMzine.co.uk | 20
REVIEWS Jeff Lynne by Carsten Windhorst
Jeff Lynne’s ELO Wembley or Bust Sony Music Review: Laurence Todd
Few classic 70’s bands have made a more remarkable comeback in recent years than the Electric Light Orchestra. Formed by Roy Wood after he quit The Move, the ELO merged pop with rock in a very grandiose, yet commercial style and, for several years throughout the 70’s, they were a major band with album sales running into the millions. They were initially booked to headline the 1979 Knebworth festival, but pulled out as the band was falling apart, and Led Zeppelin took top spot instead for two consecutive Saturdays in August. Not too long after this, as the 80’s progressed, the band didn’t so much split up as enter a state of Atrophy. Jeff Lynne went on to become a successful producer as well as
a Travelling Wilbury and the ELO was put to rest. But, they’re back! After a successful comeback Hyde Park gig in September 2014, when all 50,000plus tickets sold out in 15 minutes, the band, now called Jeff Lynne’s ELO, have resumed where they’d left off, wowing audiences wherever they’ve played, and this album will allow you to hear exactly why their comeback has been so feted. Recorded at the Bands gig at London’s Wembley stadium in June 2017, before an estimated crowd of 60,000, this 23-track double CD is a trawl through Jeff Lynne’s back catalogue, from the band’s first single, ‘10538 Overture’, right up to ‘When I was a Boy’, from the latest studio album, Alone in the
Universe. From the ELO we get ‘Living Thing’, ‘Evil Woman’, ‘Ma-MaMa Belle’ and ‘Mr Blue Sky’, songs which prove Jeff Lynne has the gifted songwriter’s knack of writing captivating melodies inside commercial songs with a three to four-minute time span, a skill few have mastered. This can be seen on tracks like ‘Xanadu’. The band also goes back to Lynne’s time in The Move and play ‘Do Ya’ from their post-Trevor Burton
period, and from the Wilbury’s, they perform George Harrison’s ‘Handle With Care’, though the chorus falls flat when compared to the original. They conclude with Chuck’s ‘Roll Over Beethoven’. If I’ve one criticism, it’s that certain songs are swamped by the multi-instrument backing. A song like ‘Rockaria’ would sound much rockier if played by a stripped-down rock ‘n roll band, rather
than a band with Cellos. Less would certainly be more here. But, nonetheless, all throughout this album, the music of the ELO is fiendishly tricky and complex, and yet deceptively simple to play, to which is added some gorgeous multipart harmonies, and this allows the ELO to appeal to an audience from right the way across the board. Not too many bands with a prog rock influence could fill Wembley this easily.
Reuben Archer’s Personal Sin Petrolhead Toxic Arrow Records Review: Tom Dixon
Stampede vocalist Reuben Archer released a guest-filled solo album entitled Personal Sin in 2013. Fast forward to 2017 and a band now called Reuben Archer’s Personal Sin have just released a new album called Petrolhead. Unsurprisingly, all of the tracks have a common theme of driving and or cars. A line up of Reuben Archer: vocals; Rob Wolverson: guitars (& Stampede bandmate); Chris Clowsley: guitars; Linda Kelsey-Foster: 21 | www.RAMzine.co.uk
keyboards; Jim Cooper: bass; Neil Ablard: drums have put together 11 tracks covering their rock/ country/blues influences. Together they make an enjoyable whole – from the harmonica-infused blues of ‘Last Chance’ to the straight-ahead rock of ‘Stone Cold Turkey’, it is a considered well-crafted series of songs with Archer on top form. The only jarring note for me was the sax on ‘Caught in the Rain’ – it came across a bit Baker Street for my ears.
Typhoon Offerings Roll Call Records Review: Mitchell Emery
Those looking for some good old fashioned rock music to lose their mind to and switch off with, skip ahead now, because this one really isn’t for you. If, however, you are looking for an album that is challenging, audacious, thoughtful and complex, then Typhoon’s latest offering, the aptly named Offerings, could well be the sonic challenge you’re looking for. Concept albums are about as far from current
Stray Train Blues From Hell SAOL Review: Ash Crowson
When you get a comment from your Editor saying she would be interested in your opinion on a bluesy band, you can’t really refuse. I love some dirty blues rock and she knows it, so I knew it would be
news as is possible, being more commonly created by bands who use time signatures that resemble complex mathematics. Yet when the concept is set around the idea of what a human being is without memory or a sense of origin, you’re going to turn some heads. Once those heads are turned, then begins the dangerous game of creating something that is deep and intellectually stimulating, without falling into a pit of pretence and self-indulgence. Which is where Typhoon do occasionally fall short. Overall, the album managed to paint a sonic landscape of fear and a sense of a complete absence of self-identity within its
protagonist, with chilling vocal performances and sparse, surprisingly basic instrumentation, often heavily focused around a single acoustic guitar, with everything else being no more than an artistic addition (akin to a ‘Happy Little Tree’ added to a Bob Ross painting). Tracks like opening numbers, ‘Weak’ and ‘Rorschach’ come straight out of the gates with a wonderful Indie quality, which sets the tone for the rest of the album, but often lack the urgency common to the genre. This is by no means a negative, but it does feel like some songs could have laid out the same message in a slightly shorter time frame, with
particular reference hear being to closing track. The track titled ‘Sleep’ closes the album’s narrative beautiful, but certainly could have been trimmed down from it’s gargantuan and slightly unnecessary twelve-minute running time! To summarise, if you like your rock music with a truly wonderful concept, with more than just three chords being thrashed away at and want to hear
something that is, for the most part, fantastically executed, give this a go. It may just bring out the philosopher in you.
worth my time if she has suggested it. That band would turn out to be Stray Train, a Slovenian band I knew nothing of and after just the opening track, I almost resent myself for not knowing more! Kicking off with ‘Electrified’, they bring some power! It carries strong and just keeps going. There is little dirty about it, this is just straight up rocking blues, it’s bright, crisp and delivered to you like a fresh shot
of adrenaline. Hooked in an instant with riffs galore and their good time feel rhythm section, it’s all brought home and polished off by an impressive vocal approach that flies high over the top I can only seem to liken to Myles Kennedy. The Stray Train never stops as it carries through what could be hit after hit, not one track outperforms any other, and there is absolutely no underperforming track throughout. Title track
‘Blues From Hell’ brings that swaggering touch that’ll leave you with at least a sly grin, shining a light to an even thicker blues end of the album with ‘House of Cards’, and the mighty traditional blues touched ‘Love is Just a Breath Away’. Blues From Hell is an album that gives in spades,
you’d be hard done by to find yourself a bluesrock album released this year that could top it. It turns out Stray Train have only been about for two years, you’d think they’ve been around much longer. Get yourself this album, welcome to Slovenia’s best-kept secret. www.RAMzine.co.uk | 22
Class of 2017 “Awesomely dark. This is music that keeps you guessing.”
As seen on
“Headbang your way into oblivion.”
As featured by
“Get lost in Goya... it’s a good trip!”
“A potent concoction of metallic precision.”
‘“A listening joy.”
As seen on
As featured by
As heard on
“The quality is undeniable... a formidable first album.”
“Beatdowns and dexterity bubbling through.”
As featured by
As featured by
“Ultra-catchy... no nonsense.”
“Klogr’s finest album to date.”
“Tracks of the Week winner.” “It’s time this fine band were on your radar.”
As featured by
“Full of potential and talent.”
“A fine collection of music by a superior band.”
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