RAMzine 17 | Motionless In White, Mike James Rock Show, Giving In To Ghosts!

ROCK & METAL

ISSUE #17 WWW.RAMZINE.CO.UK

S S E L N O MOTI

E T I H W IN

10THYEEMAIKRE JAS MOESF ROCK SHOW!

GIVING IN TO GHOSTS

Eradikator by Ash Crowson

ROCK & METAL 04 | Interview with Chris Motionless

We catch up with Motionless In White Vocalist.

06 | 10 Years of Mike James Rock Show

We find out more about Mike and co-host Dann after 10 years of their radio show.

08 | Beneath The Underground

Giving In To Ghosts have been through some tough times, we get the lowdown.

10 | RAMzine Classic

We take a look back at the classic that is As Daylight Dies by Killswitch Engage.

11 | Reviews

Gut locker - Luke Appleton - Falling Red -Dead City Ruins - Will Wilde - Will Haven - Nervus.

13 | Reviews

Jaded Heart - The Rock Dolls - The Dahmers Turbowolf - Giving In To Ghosts

14 | Reviews VNDTA

15 | Live Review

Arch Enemy - Tribulation - Wintersun

On The Cover - Motionless In White by by Jonathan Weiner.

© RAMzine 2017 | info@ramzine.co.uk

“Songs on Graveyard Shift are just bigger than anything else we’ve ever done” - Chris Motionless

A

fter a storming performance at last year’s Download Festival and a great reception to their latest album, Graveyard Shift, Motionless In White embarked on their biggest European tour to date. With their music getting more frequent airplay and being used by the likes of WWE, Motionless In White are a band whose only way is up. We caught up with vocalist Chris Motionless to talk about the tour, their collaborations, and of course... wrestling!

It’s been fantastic. This is the first time we’ve attempted rooms this big and just headlining in Europe in general, and it’s definitely been a very positive experience. It just feels like a massive breath of fresh air to know that we can now go outside of the U.S. and feel like the shows are huge and fans are really excited to see us.

of the best of what we have done on previous albums. There’s a lot of moments on Graveyard Shift that are reminiscent of the past albums, but all while still sounding new and fresh. It’s funny to me that some of the songs I wasn’t expecting being the more popular songs are the ones that fans like the most. You never know what’s going to happen.

This tour is to promote your latest album, Graveyard Shift - why do you think the album has had such a strong response?

The album sees MIW going down a slightly different path, musically, was this a conscious thing?

How do you feel the tour is going so far for you?

I think it’s because we listened to the fan feedback and included the best

Photos by Jonathan Weiner

I think it’s just the natural progression of where the band has been headed the past few years. We feel like the most dramatic change we have ever made was on 2012’s Infamous album and since then it has been pretty organic in where the changes have gone.

I think the songs on Graveyard Shift are just bigger than anything else we’ve ever done. I know that’s a pretty common thing for a band to say, but it’s very true.

The album features iconic Korn vocalist Jonathan Davis on ‘Necessary Evil’. How did the collaboration come about?

We did a tour with Korn a few months before the song was written lyrically, and when I was working on the vocals I just kept hearing his voice on a few of the sections of the song. Korn was very, very kind to us when we were on the tour with them, so I felt comfortable reaching out and asking if he would do the song, and he said yes. He picked the parts he wants to sing on and the rest is history. It came out so good!

Speaking of which, you have had a lot of cameos in your music videos - do you just have a lot of famous friends?

HAH. I guess you can call some of them friends, yes! We have been very lucky to have met a lot of people we really love as artists and have them feature on our songs and in our music videos. Sadly Jonathan was unable to be in the video for ‘Necessary Evil’, but he’s on the song, so I was more than fine with that. We just think having friends or other artists as a part of our songs/ videos really makes things a little extra special for our band and our fans. I always loved seeing features with bands I love.

Is there anyone you haven’t worked with yet, who you would like to?

I think we all agree that either Slipknot’s Corey Taylor or HIM’s Ville Valo would be the two biggest artists we would love to work with. I think Davey Havok from AFI would be a great one too. Hopefully, we’ll someday have a song that any of those guys would make sense to be on and they will be interested in doing it if we asked.

In past interviews you have noted Morrissey as one of your main influences, what is your take on his controversial comments recently?

I think he’s always been very opinionated and that’s part of what I love about him. He has never held back from ANYTHING he wants to say and I admire that a lot. I try to be very outspoken myself when I feel like I need to be and that’s a result of seeing artists like Morrissey not be afraid to, regardless of controversy or hatred towards him. I must say I don’t always agree with him on everything though.

Going back to your music. A lot of MIW songs are used for WWE events, are you a wrestling fan?

If so, what would your wrestling name be?

I used to be a big wrestling fan growing up, during the days of The Undertaker and Shawn Michaels.

I haven’t been as big into it lately, but I do enjoy watching it now and remember the feelings I had when I was younger and watched it religiously. It’s such an honour to have our songs featured on their programs because it’s not something I ever thought would be a thing when I was a kid. I don’t know what my name would be haha! I would love to hear some of the fan suggestions as to what my wrestling name would be though!

Being named after a song by Eighteen Visions, what do you make of their recent comeback?

I think it’s long overdue! They are definitely a band that paved the way

for bands like ours to come through and look and sound the way we do.

I still think they are one of the most underrated metal bands to ever exist. I love their new album being so heavy as compared to the last album they released before breaking up. I love all their works, but it was awesome to hear them so heavy again. I have yet to see the reunion live though.

Finally, what’s next for Motionless In White?

I think we are going to try and get back to working on a new album a lot sooner this time than ever before. We usually take 2+ years in between albums and we really want to try and switch that up for the next one and release it as soon as we feel it’s ready to be released. Who knows when that will be though. For all we know it might be a year and a half, or it might be 3 years. We never want to rush through an album, but we definitely have a plan for this next one to hopefully come out sooner. We’ll see what happens!

What do you think Chris Motionless’ wrestler name should be? Or any other rock star for that matter?

Let us know on Facebook, Twitter, or Instagram.

Check out our live review on RAMzine.co.uk. Graveyard Shift is out now via Roadrunner.

| Neale McGeever www.RAMzine.co.uk | 05

BY VICKY PURCELL

10 YEARS OF I

E

#CommunityNotCompetition

stablished in 2008 the Mike James Rock Show was born, airing on Phonic 106.8FM. Mike tells us “for me it started years ago as a community radio station in Exeter that then became a full time station. I agreed to do the weekly Friday night Rock Show and I haven’t had a Friday off since.” Co-host Dann at that point “drove the car”. Ten years down the line and the show now syndicates on Hard Rock Hell Radio, Sick Word Radio, and Rock Rage Radio. Their YouTube channel ‘Mike James Rock Show’ showcases video interviews watched almost a million times. Some of the highlights include interviews with Killing Joke, Black Veil Brides, Sebastian Bach and Code Orange.

“I first attempted radio when I worked at Exeter University on the campus station back in the late 90’s” a route that has seen many well-established radio hosts start their journey to radio show host fame. “Mike took me to cover Download as press to cheer me up for losing all my hair” says Dann. It was through festivals that Dann also built up a huge portfolio of rock industry interviews alongside Mike and their relationship blossomed into a bromance. When asked to describe each other Mike calls Dann a “Twat” and Dann calls Mike a “Dick”, but getting that out the way they continue to say “we love each other very much, we are brothers”.

Mike and Dann started a hashtag which we at RAMzine first heard at Download Festival a few years ago,

06 | www.RAMzine.co.uk

#CommunityNotCompetition. The hashtag represents Mike and Dann’s philosophy for the rock music industry; the spirit of rock and roll means that we are all one big family. We are a community and we support and shout about each other. And here we are leading by example with Mike James Rock Show’s ‘RAMzine Single of The Week’ on the radio show and RAMzine’s ‘Deliberations From The Shire by Mike James’, a feature published on RAMzine.co.uk featuring new releases.

When asked why they do what they do Mike says “To support the unknown and rising stars of the of the scene whilst still loving the established acts.” Dann says “Free Entry”. But on a more serious note both Mike and Dann stated “We just want to make sure we can reach as many people as possible with everything we do so asking people for a cheeky share instead of a like is a lot more helpful. We try and encourage folks to get out and support music from the grassroots/local scene upwards”.

It’s been 10 years of The Mike James Rock Show and they have no signs of slowing down anytime soon! As we get closer to summer Mike tells us “We are gearing up for festival season 2018 and I’m really focusing on pushing The MJRS Podcast to the next level”. Dann also tells us that he is in the process of “launching and putting together ‘The DannCast’ which is a new and exciting YouTube channel that draws light on mental health in the industry”.

QUICKFIRE! Favourite bands?

Mike: “The Doors, The Prodigy and Manic Street Preachers.”

Dann: “Killswitch Engage, Asking Alexandria, and Bullet For My Trivium.”

What festivals can we usually find you at?

Mike and Dann “Teddy Rock, HRH Festivals, Download, Tech Fest, Bloodstock, Boomtown, Slam Dunk, Reading, Danny Wilmer presents…”

What is your top tip for festival-goers?

Mike: “Put ya loo roll and clean underwear in plastic bags to keep em dry at all times”.

Dann: “Pack socks and earplugs cuz some people like to snore at festivals…”

What question would you never ask in an interview?

Both in unison: “Where’s your band name from?”

Who has been your favourite person to interview and what did they say?

Mike: “Ivan Moody was soo funny and the best thing that he said was ‘Is that a clean sock on your recorder’ then sniffs it and say ‘yep that’s clean’ then we can carry on.”

Dann: Jarrett for Bowling For Soup as he told me “You are the first person I spoke to about my anxiety and the reason I do press about it now”. www.RAMzine.co.uk | 07

BY HYWEL DAVIES

B E N E AT H T H E U N D E R G R O U N D I

Y

“If you don’t use your vulnerabilities as a sword rather than a shield then you’re never going to convince people that what you’re saying is true.”

ou may never have heard of Cardiff four-piece Giving In To Ghosts; but that’s ok. Belonging to the majority of bands that live in the underground’s basement, their ambition to break through the confines of their local scene has reached boiling point.

After building momentum back in 2016 having finishing their first touring cycle and on the brink of releasing their sophomore EP - that’s when the ground began to old lead guitarist Julian [Thomas], in tercrumble beneath them. ms of how much he was willing to comPlagued with line-up changes and unes- mit to the band. Though things were in capable personal issues, Mikey Thomas motion after recording this EP, we didn’t [vocals/guitar], James Hardiman [vocals/ see any improvement. It didn’t feel like the bass], Lloyd Webb [drums] and new lead right time to get it out and start that cyguitarist Alex Preddy have had to crawl cle. We couldn’t really do anything off the through the shit pipe that was 2017 only to back of it but we did release a single ‘Desolation Blues’ which we recorded a video come out stronger on the other side. for with just the three of us who were left After frustratingly sitting on their EP Let in the band. Then it was the beginning of The Earth Sleep for over a year, the time has our search for our new lead guitarist, whicome to finally take that next step. Having ch took a little while. Essentially, we digrown so much in so little time, the rele- dn’t want to have to release this EP until vance of this release has only become more we were ready to do it justice and to come potent over time as they not only face their back and make an impression. demons but also shape a brighter future from the remnants of a darker past. With a RAMzine: Would you say it was your release date on the horizon, we reflect with hardest 12 months as a band? the lads on their most difficult 12 months as a band and what 2018 has in store over Mikey: Definitely; without a doubt. It was just frustrating as well, because we were so a few pints. ready to go and we’d built up a bit of moRAMzine: Hey guys! Thanks for taking mentum by that point. To just physically the time to chat with us today. So, you’ve sit there helplessly watching it all disappear been sitting on this record for over a year was unreal. now. What we want to know is why the wait? With respect, what exactly held it James: Mikey and me have been here since the beginning. This band is our baby and it up for so long? means so much to us. Like he was saying, James: We had long going issues with our we were ready to go and from being on

08 | www.RAMzine.co.uk

the cusp to see it all slip through our fingers was really heart breaking. There was some personal stuff that led to Lloyd leaving the band as well. We spent a few months looking for a drummer but eventually Lloyd was able to come back into the fold.

We love him to bits and he’s had a really hard year as well, more than the rest of us.

RAMzine: A lot of these challenges have come post-recording but there’s a lot that this EP deals with already. Were there issues coming into this and do they surface in the record at all?

Mikey: I was going through quite a big break-up and as a result of that it effects your mental health and all this stuff carried through into the EP. It literally goes from start to finish about the process of the acceptance period. At the start, it deals with the shock of these things happening and it transitions through this course of acceptance. That theme follows into the last song Let The Earth Sleep; just leave things lie and letting go of things that are holding you down. Leave them behind you in the ground where they belong and at the end of it you do come out a better person.

I think the weird irony of it was I went through that situation and then following

the completion of the recording James can connect to. went through the exact same thing.

RAMzine: How do you see your first reJames: The EP took on more of a mea- lease Chasing Waves now? ning to me afterwards and it hit home hard. But yeah, it was a strange irony that Mikey: For me, it’s like looking at really I went through that same journey that is old pictures of yourself and you think detailed in this EP. to yourself, ‘Ooph, did I really have that haircut?’ ha, ha.

RAMzine: Given the personal nature of this record, was it uncomfortable to James: I do remember it fondly. It was a make at any point? good groundwork that we lay down there.

It was more of a love letter to those bands Mikey: At times. There’s always a thing to we love like Alexisonfire, Thrice, Funeral that. James and I always say that we like For A Friend, Fightstar and you can kind our lyrics to be vague and open to inter- of see that in there. It was a good entry pretation but there are certain issues that point and this was the basics of what we’re you got to hit right on the nose; there’s no about and then it was all about expanding way to speak around them. Obviously, ex- that. posing myself in that way on format that people are going to be hearing over and Mikey: I’m the opposite. Every time I lisover wasn’t so much an embarrassment; ten back all I hear is everything that we it was more of a vulnerability. That’s ano- did wrong; like the things we could’ve ther thing, I didn’t want this EP to come done better. For me it’s a little bit of a across as whiny but James’ great for bou- learning curve like looking back through ncing things off. If I take things too far he a textbook as revision before you did the always brings me back. exam. I don’t know, I suppose it would be nicer to be able to see it your way.

RAMzine: What was the most important thing you took away from this?

RAMzine: You made a bit of a name for yourselves in the ranks of the South Mikey: It taught me not to let your bag- Wales scene after you released it back gage way you down. I suppose that’s been in 2014. For those who aren’t familiar, quite a big thing, especially with the song could you describe the South Wales sceHeading Home. I feel like if you really lis- ne? ten to those lyrics you can feel how isolated I felt like at the time. I think we’ve James: There’re two very different sides to reached a point now where if you don’t that story. When we started out there was use your vulnerabilities as a sword rather a lot of saturation in the scene. There were than a shield then you’re never going to a lot of really, really strong bands and a convince people that what you’re saying lot of shows going on so it was thriving. is true. There’s a pride in being able to There’re still a lot of talented bands out emotionally and musically capture what I there now, but the scene has pulled back felt at the time into something that people a bit. Live venues are under threat at the

moment and because of that a lot of promoters are dipping away from the scene. I think it’s a lot more difficult as a new band now because promoters are much more in the zone of keeping things safe. As a new band, you are inherently at risk. We were one of the few bands that were around in 2014, when Chasing Waves came out, that are actually still around. There’s a pressure on us now that we’re coming back into the fold. We don’t want to come back and be the same band. We need to show people that we haven’t been inactive and we’ve really upped our game, becoming a much better band than we were before.

RAMzine: After sitting on this for a while, what can fans expect and what can we expect post release?

Mikey: It’s a more refined approach to the formula and I think we’ve quite thoroughly explored the heavier side especially.

So, going forward our sound is more dynamic rather than push and pull. We’ve learnt to pull back and be lighter, learning to be heavier in the right places to make the heavy more effective.

James: It’s a much more reformed, refined and evolved approach from the band from Chasing Waves I feel. We do explore contrast because vocally Mikey and I do contrast. There are heavy screams and catchy clean vocals. If you like that then this is going to tick those boxes for you.

RAMzine: Is there anything else you’d like to add before we call it a day?

James: Want another pint?

RAMzine:… Go on then.

Let The Earth Sleep is out April 4th. www.RAMzine.co.uk | 09

Killswitch Engage As Daylight Dies Roadrunner Records 2006

By powering through the ranks American metal band Killswitch Engage have lit up the scene, providing their fans with blistering, volatile, songs of heartbreak and tragedy. They’re a true powerhouse act, formulating strands of hard-hitting poetry and perfectly engineered guitar sequences which would make any obsessed shredder proud. From the get-go Jesse Leach and his unit of talented instrumentalists created a debut of high intensity, that album was a self-titled behemoth, carrying the band through turmoil. It is raw and harsh, but remains a go-to staple. Record number two Alive Or Just Breathing eclipsed what came previously. It is a record which monumentally shook the heavy music scene, prompting many metalheads to immerse themselves into a truly profound piece of dark bliss.

On the horizon was Killswitch Engage’s third studio album The End Of Heartache. This would end Jesse Leach stint as singer/songwriter.

After his departure, Howard Jones arrived as an able replacement.

The powerhouse performer burst onto the scene with a voice of reason, his remarkable range settled in sublimely, and fans reached out and welcomed him. And after the brilliance of The End Of Heartache, the band would shred the rule book and create a monster. That colossus is As Daylight Dies.

As Daylight Dies hit the musical landscape like a hammer to a nail in 2006. It is one of the most revealing and disturbing opuses Killswitch Engage have designed.

It’s cutthroat, it remarkably melodic, and has become a true classic.

Howard Jone’s vocals are supreme, his voice reaches enormous heights, the lyrical content is vivid and the guitar parts are breakneck and more technical than ever.

10 | www.RAMzine.co.uk

Songs such as ‘This Is Absolution’ and ‘My Curse’ showcase unparalleled talent and extraordinary balance and composure. The album is diverse and contains incredible tracks which always create talking points amongst the metal contingent. It is a masterful effort, a book of fables conveying torment

There is love Burning to find you Will you wait for me?

Will you desire?

and shattered nerves. Jones and his bandmates, were shrouded in hurt and disenchantment, but after completing the marathon that is As Daylight Dies, they valued their art.

As Daylight Dies will always be a go-to record for the disenfranchised and walking wounded. And when listening on, there’s a chance of redemption and fight. The lyrics do empower and the music resonates, pushing the listener through their bubble of pain and misfortune. It won’t heal, but it will aid the distressed crusader.

| Mark Mcconville

REVIEWS

Gutlocker

Luke Appleton

Falling Red

Cry Havoc

Nervus

How Does It Feel To Be Alive?

Lost Souls

Everything Dies

Self-Release

Rocksector Records Review: Jens Nepper

Review: Tom Dixon

Review: Hywel Davies

Cargo Records

Cry Havoc! takes pride in its knuckle-dragging aesthetic which we’re happy to side with and crush a couple of cans on our heads while we’re at it. Big and brutish throughout, it offers a limited range that doesn’t exceed outside of the unimaginative lumbering riff formula that leads into decent pockets of groove. You won’t hear any clean vocals here, it’s scathing undiluted sludge metal that pours out of the speakers in a frenzy.

This 4-track acoustic EP by Iced Earth bassist Luke Appleton is a warm, organic, and uplifting affair with plenty of catchy melodies and a charming atmosphere to it. This is a solid and interesting one, but Appleton’s voice does have its limitations and a bit more variation between each track would do wonders for any future musical output of his.

Still, this is quite appealing stuff and worth looking into.

Falling Red have released Lost Souls – an album of Crüe like good time rock. Singa-long choruses, two guitars... what’s not to like? ‘Acoustic led My Town, My City’ is pure Poison. Best track, ‘Hell In My Eyes’ is a bass-led anthem. Country and blues influences with a little punk attitude provide light and shade to make this a very enjoyable album for non-spangled hair metal.

DEAD CITY RUINS

Will Wilde

Will Haven

Never Say Die

Bring It on Home

Muerte

AMF Records

Rock The Earth/ India Media

Australian band Dead City Ruins have with their third album, Never Say Die, crafted nine songs of twin guitar heavy bluesy rock.

Think of a Lizzy/Maiden hybrid that rocks like its 1979. Ozzyish vocals on ‘The River Song’ and the slower, best track, ‘We Are One’ gives a familiar sheen. The songs are all, bar one, around the three-minute mark and the energy is phenomenal. No groundbreaker – just powerful rocking fun. Out 13th April via AMF Records.

Harmonica playing Will Wilde’s latest release is all cover versions. Bring It On Home features covers of Purple, Free, Sabbath amongst others.

The finest example is ‘Parisienne Walkways’.

He replicates Moore brilliantly! ‘Locomotive Breath’ is instantly recognisable. Sabbath’s ‘The Wizard’ and ‘My Brother Jake’ are missteps. The album remains faithful to Zeppelin and has interesting takes on established classics. An enjoyable album of some exquisite interpretations.

Minus HEAD Records Review: Stuart Iversen

Review: Tom Dixon

Review: Tom Dixon

Will Haven understand that there is joy in darkness. Their suffocating and nihilistic take on metal has left them underappreciated as their sludgy tones prove too much for many. Yet, when opener ‘Hewed with the Brand’ moves from its eerie starts into the crushing riff that kicks Muerte off proper, you can only admire it.

If this is what the dark sounds like, then turn off the lights because it’s better there. Out 23rd March via Minus HEAD Records.

Big Scary Monsters

Review: Stuart Iversen

‘Before you’re born they paint the room the colour you will prefer when you exist. Physical form has determined you, your name and who you should grow up to be.’

It doesn’t take long for Nervus’s second album to make its point.

The opening lines of ‘Congratulations’ reflect on people’s insistence on deciding a child’s future in the opening moments of their life.

It’s a poetic and pointed barb from a band whose debut album, Permanent Rainbow, was an introspective immersion into lead singer Em’s gender dysphoria. On Everything Dies, they are looking at the rest of the world, and it has a lot of work to do.

Permanent Rainbow introduced us to Nervus’s merging of gentle indie with big ideas, and album two has more of the same. However, it now has a punk attitude - that wasn’t as prevalent before - thrown into the blender too.

These songs are still ridiculously catchy, and you can sing along and wave your arms in the air, but underneath that sparkle, there is a bite to tracks like ‘Sick Sad World’ and ‘It Follows’. On the

surface, Nervus don’t seem like an angry band but burrow just a little bit below that, and it’s there.

And it is anger fuelled by real-world pain. You can’t listen to tracks like ‘Skin’ or ‘Hold Tight’ without feeling that.

Nervus are putting that pain front and centre and asking people to look at it and understand where it comes from. To look at their actions and see if they stack up. It’s a brave and personal decision, and it takes what started as a deeply personal project and opens it up to the world. The fact it’s blended with music as good as this is almost just a bonus.

Nervus are outstanding.

They are fresh, catchy and have a message that is damn important.

With this album, they deserve legions of fans to be screaming about them from the rooftops and making sure that those who haven’t heard it before do. Listen to Everything Dies, then get your family to listen to it too, and then you can all go on a big family day out to visit your friends and introduce them to it as well. At the very least they will get some fantastic music in their life.

At the most, it might just change the way they view the world.

www.RAMzine.co.uk | 11

Jaded Heart

THE ROCKET DOLLS

The Dahmers

Turbowolf

Giving In To Ghosts

Devil’s Gift

DeadHead

Creepiest Creep

The Free Life

Let The Earth Sleep

Massacre Records

Review: Tom Dixon

Jaded Heart has been on the heavy rock circuit for over 23 years.

Although there have been a few changes, the current line up of Johan Fahlberg [Vocals], Peter Östros [Guitar], Masahiro Eto [Guitar], Michael Müller [Bass] and Bodo Stricker [Drums] have been together since 2014. Now they present their 13th full-length studio album… Devil’s Gift.

Opener ‘Tears of the World’ sets the stage for an album of twin guitar-heavy rock.

Reminiscent of Barden era Schenker, it has multi-tracked vocals, a thudding bass riff and two neat solos.

The Barden references continue on the other tracks, but Fahlberg is a good vocalist and frontman. The guitars veer from Malmsteenesque (without too many widdles!) to Schenker but do not lose an identity of their own.

‘Black Days’ is available as a bonus (plus one other) on the digipack version and is their Mad Axeman moment.

Stand out track is ‘Final Moment’, which gives us varying tempos and a lovely sounding bass from Müller. This is a no ballad territory. All the tracks rock hard but with sufficient variation not to become samey or tedious. So, a very proficient album which, if you like MSG, you will also like this; not groundbreaking, but (in digipack form) 13 melodic, heavy tracks.

Self-Release

Review: Mike Thrash

Formed a decade ago Brighton’s own The Rocket Dolls wear their influences firmly on their sleeves.

Having turned heads with their brilliant debut album Eyes in 2014 the band’s new album Deadhead picks up very much where they left off.

The towering lead single ‘None Of This Is Right’ kicks off the album with full force and a stomping pace. Dripping with swagger the album sees The Rocket Dolls embrace heavy rock, grunge and punk to remould their eclectic musical palate into something vibrant and fresh.

This trend continues on stand-out track ‘The Last Thing On My Mind’. It’s wistful and melancholic at times, and very much in the vein of the goo goo dolls. Despite this they are equally at home at the opposite end of the spectrum with the heavy riffs of ‘Stop The Dead Men Crying’ and massive closing track ‘Trigger’ which would not go amiss on a Crowbar or Corrosion Of Conformity album but with frontman Nikki Smash providing an Alice In Chains/ James Hetfield style of delivery.

When it’s unleashed on Friday 6th April, Deadhead is set to launch the band right up there with their contemporary’s where they rightfully belong. They are definitely ones too watch in 2018 and beyond. DeadHead

by The Rocket Dolls is out 6th April.

Lövely Records

Review: Sam Hayler

The Dahmers’ name might be intriguing, but their sound is even more so. With Creepiest Creep, you can expect a creative juxtaposition of catchy, upbeat instrumentation against dark, horror-themed lyrics.

Imagine a collaboration between The Strokes and Misfits, and you’ll have a pretty decent idea of what to expect.

The title track is catchier than chlamydia and dirtier than, well, chlamydia. Riff-wise, it’s pure rock n’ roll, and I’m quite impressed with how the band has taken something as overused as the twelve bar blues and made it sound refreshing.

‘Reoccurring Dreams’ is a brief but thrilling punk explosion. My only complaint is that it ends so soon, but there is a ripping guitar solo squeezed in near the end, so I wasn’t too heartbroken when the music stopped.

‘Without a Face’ rivals the title track for catchiest chorus, and incorporates everything that I love about rock music: energy, melody, and somewhat morbid lyrical content.

And last of all, we have ‘Kiss of Dario’, the spookiest song of the EP for sure. Bound to be a favourite for you Bauhaus-worshipping David HasselGoth’s out there, it serves as a near-perfect ending to a near-perfect record. If you have a ‘killing spree’ playlist on your phone, this track was made for it.

So Recordings

Review: Mark McConville

Fuzzed up guitar parts play a fundamental role in the music of Bristol rock charms Turbowolf.

Their sound carries old styles too, a formula made to surprise and to provoke responses from rock fanatics.

The new record, The Free Life dazzles with monumental songs of grittiness and energy.

As a rock band, Turbowolf know they’re in grand company, but it doesn’t put them off, as they’re doing their own thing. By shooting for the stars, by using their muse as light and not darkness. And they firmly place those electric riffs as statements of intent, magically certifying themselves a talents above all else.

Rushing instrumentals are engineered flawlessly here too, the wholesome drumbeats and powerful vocals intertwine to create a diverse rock record. The Free Life is something to behold, giving Turbowolf a slate to build upon. They’ll plan their next move as a band of creatives who know how to play hard.

The Free Life contains many empowering tracks. ‘Halfsecret’ shows off the band’s sharp attitude and musical prowess. The quirky guitar sequence melds well with soft vocals.

The whole set up is immense. ‘Last Three Cues’ showcases a wide range, and those immediate, intense riffs are highly pleasing. The Free Life is a commendable effort, saluting the rock gods of the past.

Self-Release

Review: Hywel Davies

The underground can be an unforgiving place, on and off the stage. Cardiff four-piece Giving In To Ghosts have had more than their helping of this harsh reality, which has been encompassed and captured quite poignantly on their sophomore EP Let The Earth Sleep.

Having sat on this record for more than a year, yet it still feels like a natural progression and is a vast improvement from where they left off with 2014’s Chasing Waves.

The maturity of the writing here is evident when you put both EPs side by side. Considering that they’ve let this release marinade for a while, this might not be the best representation of the band as they currently stand but does give us a window of where they might be heading. The Alexisonfire dynamic maybe a tad too familiar for a few fans, but after scratching the surface there’s so much more this record offers and rewards your ears with.

Tapping into contemporary metalcore on tracks such as ‘Shallow Lungs’, the chest punching impact is used sparingly and is tastefully balanced out by the softer and utterly infectious melodic vocal hooks of guitarist Mikey Thomas.

Though a tad polished overall, it’s challenging enough to keep your heart racing but is digestible enough for multiple listens at one time. www.RAMzine.co.uk | 13

REVIEWS VNDTA Pale Glow Self-Release Review: Mark Mcconville

Brutality prevails here.

Hertfordshire band VNDTA are flying the flag for abrasive sounds.

Powerful vocals and volatile guitars nestle well too, orchestrated with finely tuned belief.

It’s a stark listen, and it may not appeal to everyone. It’s dark, it grim, but there’s talent fused with those growls and screams. The lyrics are bathed in darkness, conveying lost love and heartbreak. VNDTA certainly know how to connect together words of pain and despair. Their hopes and dreams have been bundled inside the music they wholeheartedly play.

On the evidence of new record Pale Glow, they have outdone themselves, exceeded expectations. There are 7 songs to listen to,

to immerse yourself in a darkness so thick. ‘Martyr’ showcases this well.

It’s been programmed to steer us to the point of oblivion, to feel a heat so potent. The riffs are big and bold, the vocals are loud, and the lyrics are venomous. ‘Leeches’ commits to the same for-

As Sirens Fall Where Lost Things Go Toxic Arrow Records Review: Neale McGeever

In 2016, Yorkshire rockers As Sirens Fall were set to be the next big thing on the ‘New Grave’ scene having supported bands like Ashestoangels, As Lions, and Silverstein. Sadly because of personal reasons - ASF had to take a year out of the limelight.

Back again with EP Where We Lost Things, ASF are ready to jump back into action and into the spotlight they deserve.

As mentioned, ASF have been part of the ‘New Grave’ circuit despite maybe not seeming so.

Ashestoangels fans will see the connection on this EP from the start. Opening track, ‘Lily’, is a mixing pot of Ashes, Panic!

14 | www.RAMzine.co.uk

mula, it doesn’t bombard but it does shock the system. The chorus is like a smack to the face, but there is melody attached to its crying core. Melody does appear substantially throughout the record, it’s not all aimed screams and bellows. There is intent and foundation,

At The Disco, and even a bit of Guns N Roses. A strong track to set the tone of the record. Lead single ‘In My Mind’ follows, featuring an unlikely collaboration

by Benji Webbe of Skindred (he gets about a lot these days). An unlikely pairing for sure but this really works as a modern protest rock song. Even if the guitar solo sounds a little bit like the Power Rangers theme song. I can’t help think of Sumo Cyco on this track due to the mix of punk-pop and Benji’s vocal delivery.

Having gone through a lot recently, ASF are due a few sombre moments. ‘Getaway’ is somewhat an overdue moment to reflect on the EP. Usually, when punk-pop influenced bands attempt ballads, it feels forced and insincere, yet ‘Getaway’ has some true heartfelt passion and emotion to it from Mikey Lords vocal. This is followed by ‘My Only Ghost’,

a beginning, a middle and an end. That makes VNDTA different from their peers, as there are far too many bands who don’t think about melody and harmony, they just throw together a record, that may work or it may fail miserably. It seems VNDTA have worked

which is more up to speed with ASF’s usual output. pop-punk with an 80s sheen, a lot like Kids In Glass Houses. ‘She Runs With The Wolves’ follows closing epically. A fitting crescendo to finish this stellar collection of songs.

tirelessly in assembling these songs which will not break ground but will assist in making progressive metal better. Their hearts are in it. Their beliefs rooted. And the metal scene isn’t a forgiving place, but VNDTA have enough content and hope to excel.

Arch Enemy Live at Manchester 02 Ritz Review: Dale Unsworth

Swedish melodic death metal supergroup Arch Enemy take to the stage in Manchester in support of their latest record, Will to Power. Joining them was legendary power/ prog outfit Wintersun and up-and-coming goth metal act, Tribulation.

Tribulation are a sight to behold and with any luck, this tour will help make them the next big thing in metal.

They are the closest this generation will get to seeing Type O Negative.

They seem to take a lot of influence from 80s darkwave acts but with a more metal edge. The longer songs on the set work to create a tense and cold atmosphere that so many struggle to replicate and keep interesting, luckily the band had the strangely hypnotic dancing of its androgynous guitarists to help keep those who weren’t fully invested in the atmosphere.

Next was controversial Finnish power metal outfit, Wintersun, who in some respects were the opposite of Tribulation as they create expansive images of faraway lands

and grand events punctuated by awe-inspiring guitar solos and lengthy instrumental passages.

At one point in the band’s career, vocalist, Jari Maenpaa, also acted as a guitarist as well as a vocalist which seems ridiculous considering how complex the arrangements are, never mind also remembering the vocals and keeping the crowd hyped. Jari was a fantastic frontman and Wintersun are worth seeking out live.

‘Ace of Spades’ blared throughout the room signalling that Arch Enemy would soon be taking to the stage which as a song that would make even the smallest of club acts seem like Iron Maiden.

Arch Enemy open with ‘The World is Yours’, a power metal anthem complete with duelling guitar solos and a consistently amazing and energised vocal performance from Alissa White-Gluz; who dominates the stage from the second she sets foot on it.

‘Ravenous’ made of a tense ascending guitar riff and bombastic drumming that developed into a classic death metal style riff complete with outstanding drumming and a neo-classical sounding harmonised guitar break.

The song showcases everything that was great about Arch Enemy when

Angela Gossow first joined in the early 2000s and it’s inclusion in the set acts as a demonstration of how the band has changed their sound over the years, while still staying true to their roots.

One of the best things about Arch Enemy is their ability to combine complex riffs and catchy choruses while exclusively utilising harsh vocals and ‘War Eternal’ showcases this to great effect.

The riff may be simplistic but it is still an incredibly powerful song that is carried by an outstanding vocal performance and the eventual payoff of a blistering dual guitar solo from Michael Amott and Jeff Loomis.

The band continued with ‘My Apocalypse’, a slower song that relies on fantastic double bass drumming technique and a slow and groove driven guitar riff that

develops into a clean passage with a harmonised guitar solo. This song is one of Arch Enemy’s more progressive songs and is a staple in their set for good reason.

‘As the Pages Burn’ was destined to become a mainstay in the band’s set from the second it was released as a song back in 2012. It’s tremolo picked riff, vicious buildup and hostile drumming make for an amazing midpoint in the set and is a highlight of the songs released with Alissa.

Alissa White-Gluz has long since established herself as a worthy successor to the previous vocalist Angela Gossow. While fans will endlessly debate who is the better vocalist, it can’t be disputed that Alissa performs all of the Gossow tracks with ease, songs like ‘Dead Bury Their Dead’ still maintain

the same grandeur and aggression they have always had.

Having heard members of the audience scream its name during almost every quiet moment of the show, it was obvious what the last song of the night would be…

‘Nemesis’. A landmark of Melodic Death Metal that shows off brilliant riffing and dual guitar harmonies that have become legendary and is a testament to how well Arch Enemy can balance harmony and aggression at breakneck speeds.

Arch Enemy may be a divisive band as of late but the energy and technical proficiency they display on stage is almost unrivalled and with a lineup as strong as they have. It is easy to see why they are regarded as one of the best melodeath acts of all time.

Photos by Reay Photography

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Live

Catch them live at

6 April

SOUTHAMPTON, The Firehouse

15 April NORTHAMPTON, The King Billy Rock Bar

7 April

WORTHING, Bar 42

19 April SWANSEA, Creature Sound

10 April SHEFFIELD, West Street Live

20 April WEYMOUTH, Finns

11 April NEWCASTLE, Trillians Rock Bar

21 April LONDON, Dublin Castle

12 April EDINBURGH, Bannermans 13 April GLOSSOP, The Globe 14 April BIRMINGHAM, The Hammer & The Anvil

New album out

6 April 2018

26 May BRIGHTON, Sticky Mike’s Frog Bar 4 Aug

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