Firebrand After Dark Issue 15 - September by Firebrand's Rock&Metal Express

Issue 15 - September 2014

Septycal Gorge

PLUS

Antropomorphia

Cannibal Corpse Bloodsoaked Promise Land Striker Winterfylleth Innsmouth Mortuus Burning Nitrum

02 16 18 24

- Grifter - Antropomorphia - Septycal Gorge - Revocation

31 - In Search Of Sun 32 - Winterfylleth - Northern Crown 33 - STEAK 34 - Innsmouth - Albez Duz 35 - Mind Snare - Sloths 36 - Octanium 38 - Striker 39 - Ascended Dead - Cannibal Corpse 40 - Execration

04 09 11 20 26 50 54

- News - Top 5 Videos - Top 5 Album Covers - Septycal Gorge Track By Track - Games Dungeon - Top 20 Chart - Gig Listing

41 - From The Vastland 42 - Promise Land 43 - Burning Nitrum - Bloodsoaked 44 - Steve Bastardo 45 - ssSHEENSss 46 - Stench - Mortuus 47 - Metal Down Under DVD 48 - Spike

*All content and layout are copyright of Firebrand Magazine. Any attempt to distribute Firebrand Magazine to another site for purposes of download is strictly prohibited. All Firebrand Magazines are property of Firebrand. *

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Meet The Team! Editor In Chief Rick Palin

Welcome to another issue of Firebrand After Dark. Senior Media Consultant Time seems to be flying by at the rate of knots as Rachel Whiston approach the two year anniversary of our sister magazine and the forth anniversary of our founding Editor radio side (Firebrand Rock Radio) in general. Lee Walker Speaking of our radio side I hope that you have had the chance to check out our dedicated show hosted by John Foster. The show is cunningly titled After Dark and covers the type of music that we love to write about in the magazine with a mix thrash, stoner, doom, black, pirate, death, and well, pretty much everything in between. The show goes out on air on Thursdays at 20:00 U.K time so make sure you tune in as takes over the airwaves. If you'd like a request on the show then drop an e-mail to metal6@firebrandrr.co.uk similarly if you are in a band and you want YOUR band on the air, then e-mail the station radio submissions address at submissions@firebrandrr.co.uk

Reviews Team Aaron Price Anthony Clegg Gavin Griffiths Graham Pritchard Joey Lowebins Phil Kane Rob Birtley Stephen Brophy Stoodge McNulty Download Content Team Rick Palin Judith Fisher Content Download sales@firebrandrr.co.uk Advertising Enquiries sales@firebrandrr.co.uk Review Requests afterdark@firebrandrr.co.uk

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NEWS

"The Murderer's Pact" serves as the sixth cut Cavalera Conspiracy Unveil Artwork And Track of sonic punishment from Cannibal CorpsE's forthListing For Pandemonium!

coming A Skeletal Domain full-length, set for official detonation via Metal Blade Records on September 15th, 2014. A Skeletal Domain marks Cannibal Corpse's astounding thirteenth full-length. Produced by Mark Lewis (The Black Dahlia Murder, DevilDriver) at Audio Hammer Studios, the record heaves forth twelve ill-omened tracks in forty-four skin-searing minutes, the result of which is a colossal, confrontational, and meticulously-executed aural attack that finds the band at the peak of their notoriously hyper-kinetic viciousness. . In an 8/10 rating of A Skeletal Domain, Decibel elaborates, "'Vector Of Cruelty' is a masterful combination of coruscating mid-pace burl and quirky thrash, 'The Murderer's Pact' pushes boundaries in the fields of lead work and atonality, while 'Kill Or Become' has a sizzling, infectious quality and the potential to be a set closer should they ever quit it with 'Hammer Smashed Face.'… the point is, there's material on lucky number thirteen that stands up to the classics." Adds Sputnik Music in a near perfect 4/5 score, Cannibal Corpse have For More Info Visit: www.cavaleraconspiracy.com/ pushed the technicality of their songs without forgetting the brutality or speed that fans have come to expect. They have also added a thrash element Nachtblut Unveil Details Of Upcoming Album! that periodically rears its head before being murdered by another blast beat and atonal guitar Songs as black as the night, texts from bitter cold reality. Nachtblut are set to release their upcoming solo. Together all of these elements have created a Cannibal Corpse album that is darker and more album Chimonas on November 3rd in the UK via chaotic than normal, but that is somehow probably Napalm Records. The German Dark Metallers have now unveiled their most accessible. …with A Skeletal Domain there the cover artwork, track listing and tour dates of the is even more of a reason for people to give Cannibal Corpse a listen." upcoming album! In related Cannibal Corpse happenings, the The tracklist reads as follows: band will unleash their first-ever official authorized 1. Gotteskrieger biography. Written by Joel McIver, author of Justice 2. Wien 1683 For All: The Truth About Metallica and biographies on 3. Wie Gott sein Black Sabbath, Slayer, Slipknot, and Queens Of The 4. Kalt wie ein Grab Stone Age, Bible Of Butchery - Cannibal Corpse: 5. Und immer wenn die Nacht anbricht The Official Biography will contain over 150 6. Schwarz pages loaded with photos from the band's collection, 7. Dort wo die Krähen im Kreise fliegen available everywhere later this month. 8. Märchen A Skeletal Domain will be released in North 9. Töte mich America on September 16th, 2014 via Metal 10. Chimonas Bladerecords. Point your browser In the spirit of Nachtblut, every track acts like a guilty conscience of a saturated affluent society and to metalblade.com/cannibalcorpse where you'll witNachtblut levels to denounce abuses and excesses ness the audio menace of second track, "Sadistic Embodiment" as by the indomitable in this world. well as a host of preorder bundles. http://www.metalblade.com/cannibalcorpse http://www.facebook.com/cannibalcorpse Cannibal Corpse: Legendary Death Metal Unit Unleashes "The Murderer's Pact" No one can delude Max and Iggor Cavalera anymore. The two Sepultura founders show with Cavalera Conspiracy what it means to shoot Thrash and Death Metal straight into the world. The new studio album Pandemonium will be released on November 3rd in the UK via Napalm Records and shows that fatigue is a foreign word for them. Front man Max Cavalera rushes with bellow of rage into the fray, lets his brother drum coarsest grooves and puts his finger into the open wound. Today the artwork and track listing for Pandemonium have been revealed. Iggor Cavalera about the cover artwork: “It is exciting to work with one of the most amazing living artists which is also one of my best friends. Stephan Doitschnoff expresses in a beautiful way what is tense and ambiguous, makes people think through images and words, for me it’s the best fit to combine with one of the most exciting pieces of music I have written which is Pandemonium.“

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Monster Magnet To Release Milking The Stars: A Entitled ‘All The Rage’, the album will see the light of day on 1st October 2014 and in their own Re-Imagining Of Last Patrol - Artwork, Track words expect “Fast. Heavy. Catchy.” Listing And First Song Revealed! Since their formation Aghast! have recorded a 2013 saw the release of Monster Magnet’s latest number of EP’s and have gained a reputation for album Last Patrol. Now comes Milking the Stars a delivering the goods every time. Their most recent reimagining of Last Patrol (November, 17th in the record ‘Live Dangerously’ seen media attention soar UK & November, 18th US/CAN, Napalm Records). with Thrash Hits commenting on the EP as, “…three Met with critical acclaim and supported by a world tracks of straight-up speed, for those of you who like tour, Last Patrol has become a staple in the stuff where guitars shred faster than a Betterware Monster Magnet discography. onion slicer and the sound of drummers feet Today the artwork, track listing and first song snapping away from their ankles", while Metal from Milking the Stars have been released. Hammer said, "Blasting fury? Check. Venomous Wyndorf’s pick for the first song he wanted fans to brutality designed to tear flesh from bone? Check. be exposed to is “No Paradise For Me”. The song Sadistically evil in a way that's worrying? Check. according to Wyndorf is ‘interesting, fucked up and Really fucking good? Hell yes." old school sounding’. Listen to “No Paradise For Me” Why the long wait for a debut you say? Well… HERE. “We have spent years experimenting and honing our Wyndorf on Milking the Stars: “Milking the Stars is a “re-imagined” version of sound” commented the band. “But you only get one Last Patrol featuring four new songs and live tracks. opportunity to release your debut album and ‘All The This was a happy experiment for me. It’s not a Rage’ is a statement of intent. It exemplifies every re-mix record by the current definition. It’s more like aspect of the Aghast! sound and our attitude to making heavy music. We wanted it to be brutally Last Patrol in a “what if?” style alternate reality. “What if these songs were recorded in 1968?” heavy with a recognisable groove and packed with “What would happen if I turned a pretty song into an hooks that people can grab on to. Heavy metal should be entertaining and fun to listen to and that’s angry one?” “How would adding creepy organs and what we feel we have achieved with this record. It is Mellotrons affect the emotional vibe of a song?” These are just a few of the questions that roll around a thrill ride from start to finish and we hope that everyone can get on board with us!” in my head when I write and record any album but this time I decided to actually answer them with fully fleshed out, recorded and mixed examples. Kscopeis thrilled to announce the signing of The process actually created new songs. multi-instrumentalist duo Nordic Giants That’s the icing on the cake for me. New sounds, new vocals, different instruments and arrangements Nordic Giants have spent the last couple of years make for a weird 1960’s vibe totally apart from Last bringing their bespoke formula of claustrophobic Patrol which was fun for Phil, Bob, Garrett, mixer Joe post-rock cinematic sound to audiences across the Barresi and myself to explore. UK. They have recently toured with Public Service Finally there’s expanded versions of the songs Broadcasting, God Is An Astronaut & 65daysofstat“Last Patrol” and “Three Kingfishers” as recorded ic, this Summer playing festivals including 2000 live at the AB club in Belgium, 2014. Both those Trees, Kendal Calling & Y-Not as well as their own songs were re-arranged for “maximum rock and headline shows. They have performed in churches, psych” before we hit the road last year and feature disused Victorian music halls and converted seaside the debut performance of new Magnet bassist, Chris bandstands to enhance the audience experience of Kosnik. Personally, I think they beat the original their atmospheric soundscapes. versions. Seeing Nordic Giants has been described as akin to a religious experience. Multi-screen visuals, Rock on!” powerful strobes and exquisitely timed accompaniment create a whole that appears far For More Info Visit: greater than the sum of its parts. Each performance www.zodiaclung.com is accompanied by award-winning short films which www.facebook.com/monstermagnet coupled with haunting piano, bowed guitar, climactic www.napalmrecords.com drums and array of guest vocalists gives the www.facebook.com/napalmrecords audience a mind-blowing and visceral experience that goes beyond the normal descriptors. Kscope was formed in 2008 providing a home Aghast! Reveal Debut Album Details for an evolving and adventurous style of music without boundaries. Formed in 2006 after a drinking competition, UK Nordic Giants join a roster that includes North extreme metallers Aghast! have finally scheduled the Atlantic Oscillation, Engineers, Steven Wilson, Ulver, release of their debut album. *Applause* Anathema & The Pineapple Thief.

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Ahead of the debut album coming in early 2015 Kscope will be releasing Nordic Giants’ 2014 self-released EPs “Build Seas” & “Dismantle Suns” together on one LP & CD on November 17th http://www.nordicgiants.co.uk https://www.facebook.com/nordicgiants www.kscopemusic.com/nordicgiants

level and we've achieved exactly what we wanted to on this album.” www.engravedband.co.uk www.facebook.com/EngravedDisillusion

Engraved Disillusion Reveal New Album Details South West UK metal juggernaut Engraved Disillusion have today revealed details for their second album and follow up to 2011’s acclaimed ‘Embers Of Existence’. Entitled ‘The Eternal Rest’, the album was recorded at Thin Ice Studios with Karl Groom (Dragonforce, Threshold…) during the summer of 2014 and features 10 tracks of epic, diverse and at times unrelenting metal. The addition of new vocalist Matthew William Mead and bassist Aaron Preston has allowed the band to diversify and bring new elements to their sound, namely the inclusion of clean vocals. Guitarist Toby Stewart comments, “When we started writing the album we made sure to write exactly what we wanted to do even if it took us in some different directions to our other releases. We felt a bit tired of bands having to make the music people expect them to when they’re capable of a lot more. The initial word that we had in our heads when writing album was 'epic'. We wanted a huge melodic sound. We feel the songwriting has gone up another

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Metal vids to sink your teeth into

1 2 3 4 5

Klogr Failing Crows https://www.youtube.com/watch?v=SICBezfbb8c

Evil Scarecrow Crabulon https://www.youtube.com/watch?v=zrweu0GRJnE

Winger Better Days Cominâ&#x20AC;&#x2122; https://www.youtube.com/watch?v=7iar9r_oS5I#t=72

Subservience Inhuman Savagery https://www.youtube.com/watch?v=c8Oh5ROCS6w

Impurium Again We Freeze https://www.youtube.com/watch?v=MzP71iXykbY

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One of the things that we at Firebrand After Dark have noticed is that we donâ&#x20AC;&#x2122;t always give credit where it is due to the artwork which accompanies the albums. We would like to address by bringin to you, what the team feel are the best 5 covers of the material which we have reviewed this month. If you have any comments about them please feel free to tweet us @fbadmag, comment on Facebook /FirebrandAfterDark or email us at afterdark@firebrandrr.co.uk

Innsmouth

In The Shadow Of Innsmouth

Burning Nitrum Molotov

Striker

City Of Gold

Winterfylleth

The Divination Of Antiquity

Northern Crown

In The Hands Of The Betrayer

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The mighty Grifter have recently released their second album 'The Return of The Bearded Brethren'. So Stoodge thought it would be a great time to catch up with frontman and guitarist Ollie Stygall to discuss the record, the early reactions, and the next few months for the band. So Ollie, your new and second album 'The Return of The Bearded Brethren' has been out for a few weeks now. How has the feedback been since the release? So far it’s been fantastic. There’s always a little trepidation when putting out a record as to whether it’ll go down well, particularly when people have invested so much in putting it out for you and particularly as the first album got such a great reaction. Fortunately the response so far has been, for the most part, overwhelmingly positive. We’ve had a small handful of mostly positive but lukewarm reviews and one slating but the majority have raved about it…which is nice. The general consensus is that we’ve improved on the first…so it’s nice to know we’re not going backwards!!! As your debut album was a collection of your earlier EP & Demo releases, how was it to approach the studio with the aim of rendering a brand spanking new full length record? Actually the first album was a collection of songs written over several years that hadn’t been previously released. We were asked to contribute tracks to the “Heavy Ripples” double 7” on Ripple Music alongside Stone Axe, Sun Gods In Exile and Mighty High so when it came to recording we decided to record everything with a view to putting 2 tracks on the split and the rest onto an album, though we didn’t know at that point how it would be released until Ripple stepped up with an offer. This time we recorded at the same place with the same producer, Rich Robinson (not the guy from the Black Crowes) but I think we approached it as an album right from starting to write the songs. The first time round we just had a selection of songs that we wanted to get out there but this time we knew we were writing an album so made a conscious effort to make sure it had a varied collection of songs and to make sure that each song had its own feel and would be concise, melodic and catchy as possible. Recording was a breeze as we knew how Rich worked, we were familiar with the room and we had the songs rehearsed really tightly so I think in total all the recording was done in around 2 and a half days, then Rich took it away and mixed it over the space of a couple of months sending mixes back and forth to us. It was pretty stress free and we had a lot of confidence in the songs.

Really good. Initially they were a review site so we sent them a copy of our 2nd EP to review which they loved and they came back with an offer to do the split vinyl. At that point they were a brand new label and yet to release anything at all so we’ve been with them virtually since the start. The label is run by a couple of guys, Todd and John, who are music obsessives and totally passionate about getting quality rock and roll out there to people. In the 4 plus years we’ve been associated with them and we’ve seen them learn the ropes and grow into a label that commands a great deal of respect and does things right. They now have worldwide distribution, excellent PR teams working on their behalf and an amazing roster of bands…and they keep on learning and improving all the time. The studio is of course a place where legends are born. Is there any Guinness stained stories we should know about from the recording of 'The Return of The Bearded Brethren'? I wish I had some juicy gossip for you but in truth we were barely in there long enough for anything to happen! We got in there, got our heads down and worked our arses off. We set up on the Friday evening, on Saturday Foz nailed all his drums in about 3 hours and Phil nailed his bass lines in about the same time then Sunday I went in and blasted through all the rhythm, leads and overdubs then I went in a few days later and did all the lead vocals in about 3 hours and Foz came in after that and did his backing vocals in about 2 hours…that was literally it, no messing. The legend that was born is the album (you can punch me for that one!!!)

There's an album launch show in Plymouth on 18th October. Will this be the first time the album is blasting live in its full entirety? So far we’ve played all but one song off the album live but we have discussed doing the album start to finish at the show. We played it in rehearsal and it does actually hang together very well as a set. Then we’d bang through a few older songs and maybe some covers. We’ll have to see though as we now have 2 albums, 2 EPs and a split release to choose from not to mention new songs we’ve been working on and a few covers so I guess we’ll see what we fancy doing as a set nearer the time. The most important thing is to make sure the set is paced right and keeps the audience interested…though we did play up in London a few days ago and out of a 10 It's also your second release on Ripple Music. How song set 8 tracks were from the new album and it has your relationship been with the American worked. label?

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Any big-ass tours line up after that? We’re just starting to discuss touring possibilities for next year. We’ve spoken to an American band, also on Ripple, about them coming over and doing something with us at some point and we’re always getting asked if we’d be interested in doing this, that or the other. I spoke a few months back to Ben from Orange Goblin who we toured with a couple of years ago and he mentioned they’d like us to do it again some time but it depends how big their machine is getting now and how much say they get in choosing supports, plus they have the tour with St Vitus coming up. Europe is definitely on the cards, we’re hoping to jump on some festivals out there but if that doesn’t pan out we have various people keen to help us get some club dates together. We certainly aim to keep busy. So, it's no secret you guys are Apostles of Guinness. Does this suggest that you'll be making a trip over to Ireland on a forthcoming tour? We’ve all agreed we would love to get over to Ireland and we have a couple of promoters out there who have offered to make it happen so we just need to look at dates and feasibility…it’s bloody expensive to get over there on the ferry!!!! We could fly a lot cheaper but that does limit what gear and merch we are able to bring over with us.

and is very busy. His work is amazing so I plan to visit him at some point soon. You've already released a video for new track 'Princess Leia', will we be seeing more from Grifter on our screens in the future? We have discussed it. We’re really chuffed with the way the Princess Leia video came out…not bad at all for a limited budget and 4 hours filming, pity we didn’t get to meet the girl playing Leia as that was done on a different day. It has been mentioned to make a video at some point for Black Gold so maybe if we make a bit of extra cash from the album and gigging we can make that happen. We’ve also discussed the possibility of filming some sort of live-in -the-studio type of session, a bit like those Abbey Road sessions that were around a few years back where we would set up with a few cameras and an audio feed than edit that into a 20 minute piece. We shall see how things work out as it boils down to time, money and people’s availability.

In regards to the impressive artwork on the record, who was behind that? I guess it started with the title, which in itself is a reference back to a lyric in the title track from our first EP, "High Unholy Mighty Rollin’”. It was obvious the artwork would need to have a beard somewhere. We actually found a really cool picture that we originally wanted to use but we were denied permission. I was aware of a guy at my work called Jamie Campbell who I knew worked part time as a tattooist so I asked him if he’d be interested in doing something for us and he was only too happy. It turns out he loves the heavy stuff anyway. We discussed ideas with him and let him get on with it. The finished article totally captures what we wanted and surpasses anything we’d looked at previously. Jamie has now quit working at my place and has gone full time as a tattooist…

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Stoodge recently got speaking to Vocalist and Guitarist Ferry Damon of Dutch Death Metallars Antropomorphia. So, your new album 'Rites ov Perversion' is out here in Europe on 12th September on Metal Blade Records. How destructive is the album? I wouldn’t use the term destructive in this context but the album is charged with a sinister brutal energy that’s for sure. 'Rites ov Perversion’ is the outcome of the inevitable progression you go through as an artist. The blueprint of this album is drawn on the spine of ‘Evangelivm’. The characteristics that defined us on that album are more refined and we’ve used a very diverse palette to draw from while still honoring the Death Metal tradition. So I’d say it harbours more emotion, atmosphere and takes you through diverse sonic depths full of violent and diabolic aggression. Compared to your 2012 release 'Evangelivm Nekromantia', how corrosive are the new tracks? I normally don’t look at albums like that; to me each album has its own energy and identity. Like I said before, we really worked on refining the music. The songs are very groove-based and breath violence and darkness, I would even call them ‘catchy’ to a certain degree, more diverse but still honouring the uncompromising raw heaviness that lies within the Death Metal tradition. Going further back, how does the latest material sit along with your early releases of the mid-nineties? In my opinion they almost seamlessly align with the newer material. Obviously there has been some refinement. We've progressed as artists but our style of playing Death Metal didn’t change drastically. It’s also the same people who are still writing the music with the same intention as back then.

Are you of the opinion that any publicity is good publicity? In my opinion art should provoke a reaction. This is mostly shocking and controversial for people who don’t understand it; I think that’s why metal music in general has always been surrounded by controversy. For me there is never the intent to write or do something to get publicity..be it good or bad. So no; not any publicity is good publicity. In our German ban case the window of publicity was minimal, I mean there are bigger issues in the world. What eventually came out of this whole issue was that our album can’t be bought in many German stores so for us there was no benefit in the whole thing. Back when you guys originally formed, fanzine mail-outs were a big thing. Now though, everyone can go online and check out whatever bands they want. From the vantage of a band that has survived in both climates, do you feel that there has been some magic lost in finding new music? For me personally; I discovered most of my new music through tape trading back then but I also used to buy demos or albums from bands that appealed to me after reading about them in fanzines. After you ordered you had to wait sometimes for fucking weeks (with still no clue how it would sound) until you could play the tape/LP but that didn’t matter it just added to the whole ‘experience’. Discovering bands that way had something magical, yes…that feeling is gone at least that’s how I feel about it.

Is there any extensive tours on the horizon for Antropomorphia? We had a couple of things lined up in that department but I recently broke my wrist so we had to step back on those plans. At the moment we are in the midst of figuring out what the possibilities are for the 'Evangelivm Nekromantia' was almost banned in near future. We are having talks with several bookings agencies and we'll see what comes out of Germany. Why exactly, and is there a chance of 'Rites ov Perversion' receiving the same treatment it. The plan is to cast our Rites ov Perversion all over Europe. in your neighbouring country? ‘Evangelivm’ got banned to some degree. When And finally, which is your favourite Dutch band under the age of 18 you aren’t allowed to buy the album. The Bundesprüfstelle für jugendgefährdende from each of the past four decades? First off I’m not that old to have a favorite Dutch Medien, which is I guess something like a federal band four decades back..hehehe. department that looks over certain media that can be harmful to the youth, banned us due to our cover Besides all my favorite Dutch bands all come from art and lyrics. Their overall opinion was that we we’re the same decade namely: Asphyx (the Theo Loomans era), Sempiternal Deathreign and Pestilence (Martin glorifying; violence, the occult, sexual sadism and van Drunen era). necrophilia. So there could be a chance, since they have their eye on us, that ‘Rites’ will be banned also. Although I still believe there are matters far worse for them to spend their energy on but we’ll see what happens when the album hits the selves.

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Mariano â&#x20AC;&#x153;Mariusâ&#x20AC;? Soma of Italian death metal machine Septycal Gorge recently had a conversion with Stoodge. Mariano opens up about the bands troubled past, self releasing their new album 'Scourge of the Formless Breed', and Italian metal in general.

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Septycal Fucking Gorge, how the bloody hell are you? Sup, man. I’m friggggggin’ ok, dude. 'Scourge of the Formless Breed' is your first album release since 'Erase the Insignificant' in 2009. What have you been up to over the past five years? Even when the band took a long pause, many things happened: we toured the US in Summer 2010 and had gigs all over Europe till 2011. In the next years, our drummer, the almighty Davide ‘Brutal Dave’ Billia, kept on spreading his beats all around the world, composing new stuff for Putridity and helping Antropofagus as a session drummer; the other guys and me were really busy… having problems. Because of a lot of unlucky circumstances (precarious jobs… You know: Italy, crisis, shit like that…), I had to change home three times and cities in three years and every time I was further from the other members of the band, so often the music has sadly been the last of my thoughts; Diego and Los – the guitarists – both had tendonitis for about a couple of years… By the way, that didn’t stop us and we kept on composing new songs, also when the tendonitis of our two axemen seemed to be irreversible… It was a really depressive moment in the history of the band, but now we’re here. No pain = no gain; right?

lot of interpretations about this topic. Sometimes they can be really far, sometimes really close, also when we compare something really far, like (e.g.) Apache and Sumerian mythology: I find that surprising and fascinating. In the end, all of those myths and religions try to answer the same questions (why are we here? What are we going to do?) and often arrive to the same conclusion: if there’s a beginning, the end is inevitable. And the end is always painful and destructive. So, it’s been really interesting writing a three chapters’ concept with inputs coming from ancient Indo-Tibetan myths or para-biblical studies or what else, because they seemed to flow in a unique stream, also when they were far both in space and time. And well, I think it has a great apocalyptic mood that perfectly fits with the death metal collective imagination, even if they’re not the usual gory lyrics.

It's actually already out here in Europe, but it's not released in the US until 14th October. Can you tell us the reasons behind this? As I told you, ‘Scourge of the Formless Breed’ is a self-production and Steve from Comatose Music is helping us in the US (so, if you’re reading these lines: thanks, man: you rule!). We’re an Italian band, so, when we started to promote our stuff, we wanted to be closer to the people in our Country/Continent. Of course we’re not racist with our American fans and friends, eheheh!, but, in music business, it’s pretty Can you tell us a little about the new album? ‘Scourge of the Formless Breed’ is our third album. It normal releasing an album previously in the comes after a long job: our line up changed (we lost Continent of origin of the band, then in the other our bass player: the bass tracks have been recorded parts of the world. by our friend Jacopo Rossi from Antropofagus) and, Cool, and how has the early response to the album as I told you, we had several problems; but, even generally been? when it was harder, we didn’t stop believing in our music… and now everyone can listen to the result! At Pretty good, man! The 99,9% of the reviews we’re having is really positive! That’s great, but I think it’s the moment, we’re working to come back live: the even better being here again, having fun doing my problems haven’t finished, but we’re enjoying this thing, spreading our tunes and talking with you about moment. We’re so proud of the result and hope to spread our sounds all around the world. The album this shit… I mean, just few months ago everything was painfully stuck! So I’m feeling really excited just is self-released (I think it’s something pretty new in because I’m seeing that we’re obtaining several the worldwide death metal scene, but I could be wrong…) and Steve from Comatose Music is helping feedbacks – don’t care if they’re bad or good! us, promoting and selling it in America; musically, that’s the sum of what we love when we think about You guys are pretty technical. So how does the death metal. usual Septycal Gorge track come together? Thank you so much for the nice words, man. Well, at What about the lyrical concept throughout the the very beginning of the band Diego (gtr – the only other former member of the band, with me) used to record, can you tell us about that? Of course! I’ve always written Septycal Gorge’s lyrics compose everything except the lyrics; in the last years we learned to be more ‘choral’, sending each and I’m pretty sure that the ones in ‘Scourge…’ are other via e-mail GuitarPro’s tracks or mp3s with really distant from what I’ve done on the previous some sketches. For ‘Scourge…’, Los, the second albums and EP’s. Our new full length talks about guitarist, became more fundamental for us, because cosmogony, a topic I studied when I was at the he also started composing and not only just giving a college (I attended a lot of philological studies at those times): it’s about the origin of the universe as help. I think our new album sounds more mature mankind imagined it, through the history. All around because beside every guitar riff there are two great the world mythologies, ancient and modern religions, thinking heads. new and old philosophies, oral tales, novels contain a

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How fervent of talent is the current Death Metal scene in Italy? I think every extreme metal head all around now knows acts like Hour of Penance or Fleshgod Apocalypse; by the way there’s a lot of acts with great musical personalities. I’m speaking of Putridity, Logic of Denial, Antropofagus. And Hideous Divinity. Man, I wasn’t a great fan of their first full length, but I recently listened to an anticipation of their new album and sounds fucking HUGE.

Septycal Gorge is a quite brutal band name. Has this ever led to difficulties in booking a venue to play? Ahahahah! No. We played with bands with names like Vulvectomy, Stench of Dismemberment, Infected Disarray, Gore Inhaled, Mucopus, Devourment and so on. So I think our moniker is pretty in the genre’s standards, or maybe a little more ‘innocent’, eheh!

Septycal Gorge Track By Track Of Scourge Of The Formless Breed Chapter One: Protogenesis – a concept about the origin of the world. 1. Living Torment of the Sleeping God – It’s the ‘typical’ opener. Short, fast, furious, catchy melodies and structures. This is more a ‘song’ than the classic brutal death metal mix of millions of guitar riffs and tempos: something different from the usual Septycal Gorge stuff. Maybe that’s why this one is my favourite. It’s about an ancient Indian myth of creation: what for mankind sees to be eternity is just the rapid move of the eyelid of God. So, what’s fundamental for our lives is merely secondary. 2. Urizen – The Burning Sun – California brutal death metal (Deeds of Flesh and Severed Savior above all) meets 90s death metal (Suffocation and Immolation)? Maybe. Great riffing and some infected grooves. It’s about “Urizen”, a poem about the cruelty of the Demiurge by William Blake. 3. Slaughter Conceived – one of the most brutal-oriented songs of the album. Tons of riffs and tempos, but without loosing the idea of mood and atmosphere (the final riff’s one of my favourite in Septycal Gorge’s history). The concept’s about the cyclicality of time: the ancient Mayan believed in that and to ensure it they made human sacrifices. Chapter Two: Rebellion – Man appears on Earth and starts having self-consciousness, so he starts to put his own order, against natural/divine universal rules. 4. No Spawn – No Reign (Sons of Enoch pt. I) – The biblical myth of Enoch: son of the fallen angels (Nephilims), he started a powerful reigning dynasty which raised up against God. Their presence was a scandal and a challenge for the Almighty, so the Flood shoved them away. There’s a great Suffo vibe in this song and some dark melodies in an irregular structure. 5. Breed of the Rejected (Sons of Enoch pt. II) – A fictional short novel by Lovecraft tells that some of the sons of Enoch survived the Flood. A Sumerian myth also talks about some ancient creatures obliged to kill each other (with a strange weapon called ‘bloom’ – that’s the ‘blooming nail’ of the lyrics), because the Gods want just one of them walking on Earth. That was a perfect match for the second part of “Sons of Enoch”: some of them survived the flood and God condemned them to have ‘no spawn – no reign’, so they have to eternally kill each other. Musically, I think it’s one of the best tracks of the album, a great equilibrium between technicality, grooves and blasts. And, for the first time in Septycal Gorge’s history, a guitar solo. Our guitarist Los made a great job.

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6. Anabasis/Paralysis – In the ancient Greek/Roman mythology, the anabasi is the descent into Hell by a living person to obtain knowledge and cryptic prophecies from the dead. Homer wrote about that in the “Odissey” (and that’s what inspired me: the ancient Greeks’ Hell is darker and fuller of despair than the one Virgil described in the “Aeneid”): Ulysses’ anabasis is one of the most tragic moments of the poem. Lyrically, the song’s a huge metaphor of the condition of man: determined to confirm his own ego, he’s confused and unconsciously aims to death, even when he wants to find an alternative solution. One of the fastest and most melodic songs of the whole album. Chapter Three: Obliteration – God/The Highest Order of the Universe punishes mankind’s rebellion. 7. Deeds of Eternity – the first slow song by Septycal Gorge, the second guitar solo. Morbid Angel and Immolation were obviously the greatest influence for this. The lyrics are inspired by Giacomo Leopardi’s considerations in a step of his diary, “Zibaldone di Pensieri”. Leopardi lived in the XIX century and probably was the greatest Italian poet of those times (and not only!): he thought that humanity was doomed to end, destroyed by itself, after the rebellion against Nature, a figure with a double meaning: good, because of its demiurgic actions, bad, because pain and suffering are in the nature of man. Even if Leopardi’s thoughts can look really pessimistic, there’s also a little glimmer of hope: mankind has to fight to leave its own track into eternity. 8. Coil of Nothingness – I really love this song, I think it’s so complete, musically. Fastness, technicality, grooves, tempo’s changes in a catchy structure. The part I like the most is when those Cannibal Corpse riffs start, in the mid of the song. The lyrics are inspired by “Death by Water”, a T.S. Eliot’s poem taken from “The Waste Land”. Eliot describes an ancient Phoenician mariner killed by the maelstrom as a metaphor of the destiny of humanity. 9. Awakening of the Seven Serpents – The typical final track: it contains all Septycal Gorge’s elements, brutality, huge melodies and a really epic touch stolen to Nile (particularly the last seconds of the song). The concept’s about an ancient Arian/Indo-Tibetan myth with the fictional help of one of my favourite comics authors ever, Mike Mignola: when he told the origins of his character, Hellboy, he talked about seven dragons doomed to destroy the existence, for a new beginning. That’s the perfect closing for this concept: the eyelid of God is closing, existence as we know it is finishing and also the apocalypse is a part of the cycle of time.

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Stoodge got speaking to David Davidson from Boston's finest Revocation. And oh yeah, they have a brand new album 'Deathless', out on Metal Blade Records on the 10th of October!

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So Dave, how the hell are ya? I’m doing great man, thanks for asking! Your new album 'Deathless' is out here in Europe on the 13th October. Put up against last year's self titled detonation, how exothermic is the latest record? “Deathless” is our best offering to date on all fronts. I’m very pleased with everyone’s performance on the record, personally speaking I feel that it’s the best playing I’ve done as well as my best vocal performance yet. What I’m most proud of however is the songwriting, I really feel like we crafted 10 great songs on this album. Each one has it’s own personality but the record as a whole has a good flow to it. With every record we want to expand upon our sound but still have it sound cohesive and I think we’ve definitely achieved that on this album. About the album itself, is there any reoccurring themes that are conveyed throughout 'Deathless'? Each song is meant to stand on it’s own but while there’s no one specific lyrical theme that is carried throughout the songs I think this record should definitely be listened to as a whole because each song brings out a different element of our sound. “Scorched Earth Policy” showcases are thrash metal side while a song like “Madness Opus” highlights our death metal underpinnings. If you only listen to one song you’re definitely not getting the full scope of what we’re about. You've been performing new track "Madness Opus" at shows during the summer. How has the general reaction been? That song has been absolutely crushing live. You never really know how a brand new tune is going to go over live because people aren’t familiar with the song structure or any of the riffs but people were really going apeshit over it. There were some shows where that song actually got one of the best reactions out of our whole set!

I spoke mostly with Mike Faley in the beginning rather than Slagel. Mike came out to a couple of shows and really liked what he saw so we ended up chatting back and forth over the phone on our tour with Death Angel. I spoke with Slagel on the phone once we got the actual contract and he seemed really pumped on the future of the band. You'll be hitting up North America soon with Crowbar. Then it's Europe with labelmates Cannibal Corpse and Aeon. You all prepared for the few months of madness that awaits? Yeah we can’t wait! We’ve had a few months off so we’re definitely ready to hit the road and play some new material live for people and spread the word about our upcoming record.

I've always loved the name 'Revocation', but do you think you'd be sitting here now on the cusp of releasing a fifth album if your name had been 'Give Me That Thing Back'? Maybe we would have been way bigger… is it too late So fans can anticipate a lot more of that on the full to change the name you think? record? I would say that this record has more of a death Time for a hypothetical question now, I enjoy metal vibe in general so yeah, expect the record to asking these. If you had to abandon Earth, lets say be dark and heavy for sure. something pretty shitty happens, like, Sarah Palin becoming President. And you're only allowed to 'Deathless' is your fifth album to date but first on bring five items with you to a new Planet, lets say the mighty Metal Blade Records. How is it to be the customs are a little strict. What five items part of the Slagel empire? would you bring with you? I should add that Everything’s going good so far but it’s hard to internet is readily available in this new domain, so comment to the fullest extent on that topic since it’s there's no imperative need to bring any music. our first record with them and it won’t be out for I would bring 2 of my favourite guitars, an amplifier, another month. I will say that everyone seems very the original painting for Deathless, and… a stoked to work with us so I hope the record will do toothbrush well. Did Brian give you the call himself?

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World of Warcraft® and Hearthstone® players to clever combinations compete at ESL’s Hammerstein America Finals for • Challenge other players and rob them of their treasure BlizzCon® qualifying spots ESL the world’s largest independent eSports brand, is set to host Hearthstone® and World of Warcraft® qualifiers for BlizzCon® 2014 in partnership with Blizzard Entertainment. With online qualifiers as a precursor, qualifiers will come to their epic conclusion at the esteemed Manhattan Hammerstein Ballroom on October 5th and 6th. In order to qualify for the Hammerstein Finals, Hearthstone players will need to battle their way through an online 128 player Swiss Bracket. The top sixteen from the online tournament will advance to Hammerstein with the top four from the offline event qualifying for the US$250,000 BlizzCon competition. Meanwhile, World of Warcraft teams will have to fight their way through an unlimited online talent pool for a chance to take part at the offline qualifiers in Hammerstein. All would-be players must reach a 3v3 arena rating of 2,500 ahead of the online double elimination bracket, from which only the top eight advance to the offline Hammerstein qualifiers. From there, only the top three will advance to BlizzCon for the Global Finals. “With BlizzCon just around the corner, we are sure to see some fantastic games in both Hearthstone and World of Warcraft, as the best of the best battle for the chance to compete in Anaheim. To get there, players will first have to prove themselves online and at Hammerstein, a location that will do well to prepare them for BlizzCon,” said Craig Levine, Vice President at ESL North America. Flaregames Releases Evoker, a Magic Trading Card Game The German company flaregames, a leading publisher and developer of mobile games, is happy to announce that their successful trading card game Evoker, until now only available on Android, has finally hit other platforms. From today the game is available on iOS and Windows Phone. Evoker is downloadable for free on all three platforms. Players will join thousands of REAL players in this epic trading card game full of magic and fantasy. It's all about choosing creatures and spells carefully as the duels demand deadliness and cleverness. Only he who really commands his deck of creatures can bring his full force to bear. Features: • Train your skills, step by step in solo quests • Level your character, playing through ever new quests • Decide for yourself which skills you want to boost • Collect creatures from the elves, orcs and dwarves, and reinforce them, using dragons, elementals, and demons • Grow your creatures’ combat strength through battle experience • Make your creatures even more powerful through

Lords of The Black Sun to Conquer Space-Faring Gamers’ Hearts 4X over on Steam Tonight Veteran strategy publisher Iceberg Interactive and developer Arkavi Studios revealed their 4X space-strategy game Lords of the Black Sun (PC) on Steam. Coming out of the community-driven Early Access phase, Lords of the Black Sun boasts an impressive set of features gamers expect from their 4X titles. From being able to build and lead a complete empire, handling explosive full-scale civil wars, to confronting rogue pirate ships and engaging in ferocious single-player or multiplayer battles, Lords of the Black Sun is poised to satisfy 4X gamers’ biggest demands. Watch the launch trailer below

“We feel grateful, delighted, and keenly interested in sharing what we believe is a rich and exciting 4X game,” said Mike Domingues, CEO of Arkavi Studios.“Having played dozens of 4X strategy games ourselves over the years, we are excited for community members and new players to dig into all of the fresh takes on espionage, empire management and diplomacy.” Lords of the Black Sun is an epic-sized 4X space-strategy game designed for players to take the command of one race to join the struggle for supremacy in a complex, living breathing galaxy. As the leader of an empire, gamers explore the stars, colonize new worlds, manage their empires and conquer whoever dares to oppose. Lords of the Black Sun offers a unique ship-building component to guide players in the single-player and multiplayer components of the game. Lords of the Black Sun Key Features : Races: eight major races each with their own ship designs, technologies, unique traits and unique abilities, meaning playing with each race is a different challenge and offers new ways to approach the game.

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Ship Customization: Create and customize unique ship designs. Live Universe: Large and living universe – independent races and pirate clans can claim the galaxy as their residence either as an annoyance, or a blessing, depending on how gamers take advantage of them. Politics and Economy: Deep economic and political elements are layered in with the player’s ability to use diplomacy, intelligence and trade as powerful and effective tools to weaken one’s enemy. And, of course, there is always war. Smart AI: Human-like AI that doesn’t cheat and plays by the same rules as human players, while presenting a constant challenge. Generals: Unique and powerful units evolve as they battle and, if used well, can be the difference between victory and defeat. Infinite Universes: Randomly generated universes, tech trees, and units means players will never play the same game twice. Empires come and go: Unrest may lead rebels to start a civil war which in turn might lead to the creation of a new, independent empire that might grow to rival one’s own. Secret Plots: Players can secretly finance a war against their rivals in order to weaken them or prepare a surprise joint war along with their allies in a bid to destroy a growing empire. Strategists should beware of spies and whistle-blowers, as their plots might be uncovered before they are put in action. Multiplayer: Hot seat and online multiplayer with matchmaking. Lords of the Black Sun is available on Steam for $29,99 albeit discounted with 15% off at launch: http://store.steampowered.com/ app/246940 For more information about Lords of the Black Sun, please visit www.lordsoftheblacksun.com.

New weapons; New vehicles; Additional wildlife; Denser traffic; New foliage system; Enhanced damage and weather effects, and much more. Grand Theft Auto V for PlayStation®4, Xbox One and PC will also feature enhanced radio selections, with over 100 additional new songs and new DJ mixes from returning DJs across the game’s 17 radio stations. All players who pre-order the game will receive $1,000,000 in-game cash to spend across Grand Theft Auto V and Grand Theft Auto Online. A host of new, exclusive content also awaits for players returning from the PlayStation®3 and Xbox 360 versions including rare versions of classic vehicles to collect from across the Grand Theft Auto series such as the Dukes, the Dodo Seaplane and a faster, more maneuverable Blimp; activities, including wildlife photography; and new shooting range challenges, new weapons and more. Enhancements to Grand Theft Auto Online include an increased player count, with online play now for up to 30 players on PlayStation®4 and Xbox One. All existing gameplay upgrades and Rockstar-created content released since the launch of Grand Theft Auto Online will also be available for the PlayStation®4, Xbox One and PC with much more to come. Existing players on PlayStation®3 or Xbox 360 will be able to transfer their current Grand Theft Auto Online characters and progression to their choice of PlayStation®4, Xbox One or PC. For more information about Grand Theft Auto V and Grand Theft Auto Online for PlayStation®4, Xbox One and PC, including a gallery of new screenshots, please visit www.rockstargames.com/V. For more information about gaining access to Rockstar Games® Announces Grand Theft Auto exclusive content for returning players, please V® Release Dates and Exclusive Content Details for visit www.rockstargames.com/V/bonuscontent PlayStation®4, Xbox One and PC

Rockstar Games® is proud to announce that Grand Theft Auto V® will arrive on the PlayStation®4 computer entertainment system and Xbox One, the all-in-one games and entertainment system from Microsoft on November 18, 2014, with the PC version to follow on January 27, 2015. Visit www.rockstargames.com/V to see the all-new trailer today from 9:00 a.m. Eastern Time. Grand Theft Auto V for PlayStation®4, Xbox One and PC will feature a range of major visual and technical upgrades to make Los Santos and Blaine County more immersive than ever. In addition to increased draw distances and higher resolution, players can expect a range of additions and improvements including: New activities;

Mythborne Launches First Open Beta Server The Open Alpha test will close on September 12th to give way to the new version. Global games publisher R2Games has announced that its newest free-to-play browser title, Mythborne, will soon be entering its Open Alpha phase. To celebrate the launch, the game will be holding a series of in-game events to help players get acquainted with all the game’s features and systems. The Mythborne Open Alpha test is set to close on Friday, September 12th at 00:00 EDT, after which all character and account data will be wiped. The Open Beta server will go live on the same date, on September 12, 2014 10:00 AM EDT. Mythborne is a 2.5D browser-based RPG, loosely

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based on ancient Greek mythology. The game features turn-based battles determined by attack speed, and the ability to recruit and deploy multiple Heroes to join players in battle. As well as five available classes with unique kills,Mythborne includes core systems such as Character Upgrade, Hero Recruiting, Dungeons, and more. To play Mythborne, go to myth.r2games.com. Learn more about Mythborne here: Official website: myth.r2games.com Facebook: https://www.facebook.com/mythborne Twitter: https://twitter.com/mythborne

GameSamba Announces Upcoming Release of all-new Multiplayer Online Tactical Strategy Game, Star Trek: Alien Domain Explore the dark dimension of Fluidic Space as the Federation or Klingon Empire, and defend your outposts against enemy players, as well as new and old Star Trek species. GameSamba, in conjunction with CBS Interactive and development partner NGames, today announced the upcoming release of Star Trek: Alien Domain™ - a new, officially-licensed multiplayer online strategy game, playable via web browser. "We're excited to make a game based on a franchise we're all such huge fans of," said Scott Wong, president of GameSamba. "The chance to add our own story to the Star Trek universe, and help bring it to a global audience, is one of those opportunities you can only dream of." Set in the mysterious extradimensional realm of Fluidic Space, players will make strategic decisions to maintain control over limited resources, balance defensive spending with research, establish colonies, and prioritize power distribution for optimal efficiency. Players will also have the option to participate in PvP encounters such as one-on-one skirmishes, raids against player-controlled outposts, and large-scale, guild vs. guild Alliance Battles. Taking place after the most chronologically recent Star Trek canon and featuring a new Star Trek story, players will control a variety of starships and technologies native to their chosen faction. Starships include Constitution-class and Defiant-class starships for the Federation, and D7 Battle Cruisers and Bird-of-Prey for the Klingon Empire. Players will even be able to craft and pilot unprecedented super starships created through emerging technologies. Creating a diverse starship fleet is essential for exploring the deep reaches of Fluidic Space and quelling its threats, as well as for defending against rival colonies and players. More information on Star Trek: Alien Domain™ will be revealed in the coming months. Stay up to date with the latest news, videos, and screenshots at www.startrekaliendomain.com, and follow the game

on Twitter and Facebook.

Team17 and Italic Pig open the box on Schrödinger's Cat release date Independent publisher and developer Team17 has announced that together with indie dev Italic Pig they’ll be releasingSchrödinger’s Cat and the Raiders of the Lost Quark, a fast-and-furious, action/ adventure, platformer-puzzler-punch-up of subatomic proportions, on Steam on the 23rd September 2014. Cooked up by the team behind the gritty, grown -up point and click trilogyHector: Badge of Carnage and featuring the voice talent of the brilliant A.J. LoCascio (known for his role as Marty McFly in Telltale Games’ Back to the Future), Schrödinger’s Cat and the Raiders of the Lost Quark is part combat-platformer, part logic-puzzler, part open-world explorer, part character-driven adventure! It’s only appropriate that a game starring Schrödinger’s Cat can be many things at the same time. Set in The Particle Zoo, a catastrophic event has caused all enclosures to open and all the primitive particles to escape! What used to be a cheery theme-park style environment is now utter chaos, and not in the mathematical sense of the word. The Zoo is put on lockdown, and the emergency services are called in to sort everything out. Those emergency services? Schrödinger’s Cat, of course. Thankfully he’s not alone; by collecting and commanding an army of cuddly quarks, Schrödinger’s Cat can combine and create a total of 14 unique abilities to solve any problems he may encounter across the gorgeous 30+ levels of quirky gameplay. Reach new heights with the copter, blast your way through with the bomb and craft a handy net to capture those pesky escapees! Schrödinger’s Cat and the Raiders of the Lost Quark will be released for PC via Steam on the 23rd September 2014. Schrödinger’s Cat will also be playable at EGX London this month (25th – 28thSeptember). Those attending EGX London should head down to the Team17 stand, which can be found in the Rezzed area of the show floor, to get hands onquantum physics’ favourite dead-&-alive feline!

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For any review requests please contact the Firebrand After Dark team at afterdark@firebrandrr.co.uk

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In Search Of Sun - The World Is Yours Label: Raging Demon Entertainment Reviewer: Rob Birtley Website: www.insearchofsun.co.uk/

It seems I listen to so many singles these days instantly forgetting most of them that it takes something special to attract my attention. Ever since I heard The World Is Yours which is the title track and lead single from this album I have been looking forward to looking at it in some depth. In Search of Sun are a five piece outfit consisting of Adam Leader (Vocals) Rory Kay (Guitar) David Mena Ferrer (Guitar) Faz Couri (Bass) and Sean Gorman. (Drums, backing vocals). Based in London they previously went under the name Driven, this quintet have come a long way from their groove laden Metalcore origin. Their sound now well think Panic Cell, Five Finger Death Punch and Avenged Sevenfold Metal well of course and Heavy but with an emphasis on musicality as well showing some Prog influences. The album opens with the title track and single The World Is Yours. This track is a manifesto for what the rest of the album has in store. You’ll find rapid fire guitars along with the huge vocals and rhythm section that is tight a duck’s bottom and acts as a turbo charged engine to power the band along but there is melody and sophistication about their work as well. Do have to say I love the guitar riff intro and as it builds the voice of Adam Leader explodes onto the scene and grips you round the throat in a manner 5FDP would be proud of. Give In opens in a more old school Metal vein the drum and rhythm almost Sabbath like. This song gets heavier as it moves along, screamed vocals later on with some really meaty guitar playing before introducing some more intricate lead guitar work in the bridge section, all stacking up really well before crashing into some more heavy riffage to finish. 51 56 has a memorable bass riff backbone, before the guitars playing enters to produce a fine counterpoint melody. This track has a different feel to the others It’s a bit more on the melodic side this time, but still rocks along with plenty of highlights most noticeably some nice lead guitar throughout too. The track feels a little bit experimental in some places, the

Released: 22 September 2014 Highlight: In Search Of Sun

varying of tempo being an example but also with some of the bands trademarks such as the great chorus. Track 4 In Search of Sun has a theatrically shrouded opening. The curtain lifts on a guitar delay effect is used sounding like a heartbeat monitor from intensive care highlighting the dark drama. There is a melancholic feel about this one in a tense and brooding way. This is backed up by some more great rhythm playing, crunching riffs and the best solo guitar performance yet. This track is one of my favourites on the album, with lots of dynamics and a powerful chorus. Adam Leader runs the whole breath of his vocal range on this one and the total effect is like Operation Mind Crime meets Hail To The King. Idle Crown is a potent mixture it manages to be hard-hitting, mellow, in your face and thought provoking in the same song. With echoes of Avenged Sevenfold yet being almost Proggy at times creating an atmosphere in a Dream Theater like way. It manages to walk the tightrope between Prog and Metal with the skill and grace of the late Great Blondin. The bass comes to the fore in the slower sections and these more laid back phases help give not only this song but the album a nice balance. Burn and To The Axe confirm this band have some serious song writing chops. This is some seriously dynamic sounding stuff, with lots of different moments held together by the unique blend that is In Search of Sun. I could go on and chronical this album track by track as the quality never dips but type space doesn’t allow it. The World Is Yours is a fine a debut and really raises the bar for band. This quintet have come a long way from their groove laden Metalcore roots, and the progression from EP and is an evolution in song writing, production and maturity. Each time I listened to the album during the course of the review it just got better and better. These guys are fantastic live performers and in Adam Leader they have one of the brightest new v oices in Metal. This album will serve to build their reputation and showcase some fantastic musicians and songwriters.

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Winterfylleth - The Divination Of Antiquity Label: Candlelight Records Reviewer: Stephen Brophy Website: www.winterfylleth.co.uk/

Released: 6 October 2014 Highlight:

The shinning star of the Brittish Black Metal scene brings with it a lot of pressures, but Winterfylleth appear to be able to take them on their shoulders without any signs of strain. This is the follow up to 2012's debut release The Threnody of Triumph and their 5th album in total. As a band they have never really looked like the type of band that would be playing this style of music, but they are in my opinion one of the classier acts out there at the moment. For those that find their particular band of extreme music a little bit stayed or slow, then this release may not change all that much for you, but at the same time there's more than enough here to make this a worthwhile album for anyone to take notice of and give a good run.

they live alongside a maturity lost from so many of the young up and coming bands in the scene. What we get here are, with the exception of one track, are long winding pieces which are often quite epic in construction, such as "A Careworn Heart" which builds on a good introduction with quite a menacing feel to it, in places you are reminded of Pagan Metal bands. Then we go straight into the absolutely crushing "Foundations Of Ash", this is just six and a half minutes of crushing you into submission, it really smashed you in the face. As mentioned earlier there is only one short track on the album, this is a three and a half minute instrumental with some chanting running through it, which provides a nice change of pace and a break, but I'm still not 100% sure it fits on this particular record, either way it's a When I write reviews I rarely talk about the album cover really nice piece, mellow guitars and chants rules the and prefer to concentrate on the music, but I have to day here. say I don't really get this one, it's a bit tame and just seems to be a nice scenic picture. But that is really The rest of the album, three beasts, each around seven neither here nor there, it's the music that counts and and a half minutes or more follow the same non pattern, this album is bloody good. Opening with the title track there are varying pace and depth, all of a high quality, "The Divination of Antiquity" you can see that but "Over Borderlands", "Forsaken In Stone" and the Winterfylleth are not a band that just blasts away for a closing track "Pariah's Path" are all fine piece's of work. couple of minutes at the fastest possible speed, there's This is a seriously good album and well worth checking a lot of work gone into these songs to develop and offer out, I'm looking forward to seeing how some of these the listener something interesting to listen to. There are new songs translate live when Winterfylleth hit the road blast beats here and there and power on the album, but in the UK/Ire supporting Behemoth in December.

Northern Crown - In The Hands Of The Betrayer Label: Self Release Reviewer: Stoodge Mc Nulty Website: www.northerncrownband.com/

Released: 14 October 2014 Highlight: In The Hands Of The Betrayer

Consisting of members Zachary Randall, Frank Serafine and a host of guest musicians, the debut EP from Fort Lauderdale, Florida's, Northern Crown has arrived, and it's a conquering dosage of sizeable doom metal.

audience engrossed. The title track and â&#x20AC;&#x153;A Perfectly Realized Tormentâ&#x20AC;? are the foremost indentations made by the gravel digging enchanters. And, behind the spectral miasma lurks the embryonic substratum of a band possessed. There's no need for an exorcism though, there's enough necromancing Featuring a rendition of the Candlemass classic 'Crystal Ball' on offer through the plangent symphonies to repel an within the bounds of the allotted five tracks, the band take the intercession from even the Pope himself. torch passed down from their genre patriarchs and run with it â&#x20AC;&#x201C; in a sluggish, wobbling from side to side kind of motion. Besides the menacing cover version, Northern Crown have four of their own compositions for admission into in doom asylum. 'In The Hands...', has all the cadaverous riffs, opaque allegory and disheartening versification to keep their arcane

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STEAK - Slab City Label: Napalm Records Reviewer: Rob Birtley Website: www.facebook.com/steakuk

Released: 1 September 2014 Highlight: Rising

What do you get if you mix liberally a dark comic book Superhero tales? Heavy, distorted and fuzzed up to the power of ten guitars and vocals. Music that has the heartbeat of early Sabbath, the vibe of Kyuss and the smell of Monster Magnet? Well in this case you get the debut full length album by Steak Slab City.

bonus of being about ten seconds longer. The fourth track Pisser is an epic 7minute packed with more changes of pace and direction than an army assault course and just as punishing. Maybe this why Steak are so highly thought this track is pulverising. This is also were the Kyuss influence can also be heard to full force as John Garcia lends his trademark soulful grizzly Steak describes themselves as a Stoner Rock, Desert vocals to this blistering track. Machine is another Rock, Fuzz Rock, Rock & Roll band. I’d have to add to reworked track from their previous EP Corned Beef that Psychedelic and Space Rock touches as well on Colossus. It's slightly heavier than the original with more listening to this release. They consist of Kippa-Vocals, attack blasting through and this version may well be how Cam- Bass, Reece-Guitar, and Sammy –Drums. They they original envisaged it sounding. The albums standout are based in London and the band founded in 2010. To track has to be the 8:11 minute gargantuan Rising. describe their sound they have elements of all of the Steak seamlessly forges an alloy of bludgeoning above (Sabbath, Kyuss and Monster Magnet) and explosive Stoner Rock anthemic vocals and finely honed enough weight behind that dirty, groove laden sound to Extra-terrestrial Rock riffs producing a deadly weapon of cause an avalanche. The sheer crushing distortion that a track that will mesmerise you before it hammers you is present on this album is something I haven’t heard on into submission. Don’t be fooled by the quiet start. The this scale for a long time. I don’t know if the band volume rises as Steak start to add different noises and intended to give the whole sound a Retro feel but that’s sounds to the mix including heavy distorted voices. This what I get from it. Parts of it have a vibe of Hawkwind’s mix gives the track a distinct feeling of the cold and Space Ritual Live in Liverpool and London from 1973 endlessness of Space and certain otherworldliness that’s how far back it takes me. whilst the overriding Stoner vibes still shatter the vacuum and power through. In some ways this is a concept album set as a backdrop tales of an evil alien overload Lazarus with the band as Steak has delivered an excellent and powerful debut Bad Ass superheroes. Opening track Coma starts with a album. Using their own narrative as a backdrop and slow pulse beat desert/fuzz rock riff, then other-earthly using an amalgam of influences to tell their story. To try radio broadcast are heard in the background before the and assess just what an effect an album like this will lead vocals of Kippa come screeching in to awaken you have on Stoner scene in the UK and beyond is tricky as rudely from a hypnotic substance induced slumber. The only time will tell but it will surely have other bands riffs are played at a loud and almost mind numbing level. listening and pondering. What I can say if you like your Stoner Rock with a twist of innovation and sounds that If there was a track to be the background music for a bad trip then this is it so strong is the psychedelic feel. addictively power along then you will need at least to listen to this album and see the band live. If that’s your The next track is a re-working of an old Steak track Liquid Gold from their last EP. Suffice it to say it loses taste sooner rather than later you will add Slab City to none of the impact of the original recording and has a your collection.

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Innsmouth - The Shadow Over Innsmouth Label: Crime Records Reviewer: Stoodge Mc Nulty Website: www.facebook.com/frostkoldmetal

Having this abstrusely disparate yet systematic mis-creation as your inaugural release is a fine attainment to have procured. 'The Shadow Over Innsmouth', is the debuting semblance from Danish horde Innsmouth, and it's a pulverising grindstone at that. It's an efficacious carousal that revolves profusely, with help from the empowering, convolute and muscular execution of death metal.

Released: 10 October 2014 Highlight: Vomiting A Hole In The Soul

The record is adjudged to run slightly out of steam in the second half, but that's more down to how good the first four tracks are. “Vomiting A Hole In The Soul”, “Dreams Of Drowning”, “Ritual Of Chud” and “Under The Pyramids”, all act as conflagrant forays into the impressive and imposing Innsmouth formulation.

This isn't doctrinal death metal by any means, and the band's musical rhetoric does have a horizon, and limit to their symmetry. Only, that frontier is about the size of our Solar System. So, yeah, there's a lot of room for careening and intrigue inside the structure of the album.

Albez Duz - The Coming Of Mictlan Label: Iron Bonehead Reviewer: Stephen Brophy Website: www.facebook.com/albezduz

Germany's Albez Duz are are an doom/ambient Metal band consisting of only two members, this is their second album coming 5 years after their debut. The Coming Of Mictlan is a seven track album of downbeat almost gothic music, and I have to say for me this album does absolutely nothing at all. The opening track/into is almost two and a half minutes long with the first minute or so being nothing at all, may as well be silence, and the second half is close enough to a spoken word piece, doesn't really sound like an album opener and to me just doesn't start in a positive way. Moving on through "Fire Wings" and "Mictlan" we have a brooding, stuttering and very one paced first half to the album. I'm sure others would disagree, but even with this style of music I just don't find Albez Duz holding my attention enough to want to go on. Onto the second half of this album and sadly nothing appears to change with "Drowned" the opening line pretty much sums up my experience of The Coming Of Mictlan "I'm Drowning...", it's not that I haven't given it a chance and generally I hate slamming an album, but I'm stuggling to find the positives here, nothing grabbing me or holding my attention, I really wish it was different. "Servants Of The Light" starts with

Released: 12 September 2014 Highlight: Twist In My Sobriety

another forty seconds of static, which is a pointless waste, the song doesn't need to be nine and a half minutes long when you have a nothing start. The album rounds off with "Twist In My Sobriety" a not so bad cover of Tanita Tikaram's hit from the late 80's, the fact that this is my favourite track off the album is obviously not a good sign. This is the first album this year that I just haven't been able to get into at all or find a different angle on, maybe it will hit me if I try again in six months, but right not not for me I'm afraid.

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Mind Snare - Ancient Cults Supremacy Label: The Spew Records Released: 22 September 2014 Reviewer: Stoodge Mc Nulty Highlight: Draining Faith Website: www.facebook.com/pages/Mind-Snare/280665985277153

Consecrating their 25th year in existence is Italy's Mind Snare. This is a band that have been around for a while, and their staunch defiance has ensured that their sound hasn't changed too much at all. It's this refusal to conform that's one of the band's finest qualities. They do their own shit, and, if you don't like it, that's fine, they're happy either way. Hell, the record even sounds like it was recorded in a nuclear fallout shelter.

The hyper cannonade of drum bombardment on“Entrenched Agony”, the astringent gutteral vocals of “Smuggled in the Underground”, and the ventral devouring “Deceived Humanity”, all coalesce in making 'Ancient Cults Supremacy' a very delicious and malignant refreshment.

Veering musical arrangements, with somewhat ambivalent thrusting and riff gnawing make for a curious commodity. In expounding mobocracy from the opening splatter of “Draining Faith”, Mind Snare may very well have rendered this album from a blueprint embedded on flesh and authored in human entrails. Nice!

Sloths - Twenty Years EP Label: Self Release Reviewer: Stephen Brophy Website: www.facebook.com/slothsportland

Sloths are a band from Portland Oregon that play a grim almost doom form of Hardcore which is also mixed at times with Death Metal. It's not exactly the thing you would throw on to cheer yourself up after a bad day, but they are really good at what they do.

Released: 14 October 2014 Highlight: Void

these guys have an interesting sound.

The final track is "Passing" which again is really good, it ebbs and flows throughout, changing styles as it moves, which is pretty cool, and there's no breaks it just keeps going, straight into a slower section and back again to a This is the bands third EP following Transit in 2011 and more extreme pace. each of the elements is easy to pick Knives last year, this is a three track EP and each of the out even though the overall style is sludge, and you can tracks is easily good enough to hold up by itself but they just feel a tonne of emotion being drummed into your are intrinsically linked here, one following on from each head on each song. This is very well put together and the other, with each inspired by the feelings evoked just makes me eagerly await an album from these guys, when a friend of the band passed away. We start off and really at this stage that has to be the next goal - a with "Elegy" which as with the other two tracks is very full length release might take a lot of energy from the downbeat, but that's not a problem, it ties in with the guys to get completed, but I think it would be well worth theme of this release and works well with the it, at this stage releasing a couple of tracks on and EP music."Elegy" is like an opening, relatively short and the every year or two won't satisfy my hunger, so here's scene is well and truly set for what's coming next. "Void" hoping the are working on the full length now. Keep and is like the title suggests a sonic wall, guitars, drums and eye and ear open for Sloths. bass all melding into one overlayed with appropriately gloomy vocals, blast beats seem almost out of place when they kick in, but outside of that it's an excellent track, somewhere between hardcore and death metal

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Octanium - Suffer The Clock Label: Self Release Reviewer: Rob Birtley Website: www.facebook.com/octainium

Octainium was founded in Wales by vocalist Maritz Booysen in 2006 and was resurrected in South Africa three years later with brother: Gerhard Booysen and three new members. Due to job requirements and travel, the band was never able to move forward in this country and Maritz eventually returned to his South African homeland to begin developing the music with his brother Gerhard (drums) while retaining the Octainium name. Octainium’s musical influences are wide and varied. Their sound is along the lines of Lamb of God, Kill Switch Engage, Upon a Burning Body, Parkway Drive, Avatar or perhaps Trivium; Melodic yet Death Metal all at once with Maritz easily leaping from guttural depths to melodic vocal heights like an over-energised Free Runner. This band is multi -skilled it’s hard to pigeonhole them into one genre. The album opens with ‘Writing on the Wall’ a WW1 artillery barrage of Metal music with dynamic double kick drumming , stunning guitar work with super heavy-end baselines topped off with paint-stripping vocals. ‘Dethroned’ starts with a stripped back guitar melody the pressure soon builds to a bone crushing heaviness like being caught up in the business end of a car-crusher and if this track doesn’t have you pumping your fist in the air check your pulse because I’d bet you don’t have one. ‘Holier than Thou’ is most likely the heaviest track on the album. The lyrics are a front on verbal attack on the excesses of religion and those who pull all the strings in the world. The whole track boils with righteous anger and contempt. ‘Grist To the Mill’, which has Scott Wareham (HOKUM) as a guest musician, is pure Metalcore with a fine balance of guttural and clean vocals which works really well. This is a ‘Hammer or Anvil’ of a song ‘Live for today fortomorrow never comes’ from the bridge tells you just what it’s about. The title track ‘Suffer The Clock’ begins like a mortar round with a high tempo back and forth vocal switch from

Released: 31 July 2014 Highlight: Skeletons/Devil Take The Hindmost

growl to clear, It’s infectious beat and driving rhythm are sure to make it a crowd pleaser. ‘Skeletons’ features Alicia Van Wyk,(North of Winter), sharing with Maritz on vocal duties giving it a lighter tone and delicate fragility compared to the brutal heaviness that marks it apart in stark contrast from the rest of the album. ‘Another Day Another Death’ rocks right back into Metalcore whilst still capturing technical guitar ability and melodies that raise the song to another dimension. It is multi-layered and sound dense and incredibly atmospheric. ‘Ineptocracy’ is another upbeat number the lyrics are about the current situation in South Africa. It is political, social, and economic. Brim full of riffs, catchy hooks and fast tempo changes. In ‘The Devil Take The Hindmost’ the band once again move toward Melodic Death Metal, with guest vocalist Andrew Duggan (Cutting Jade) giving the song an amazing Hard Rock sound. If I was looking for an instant radio hit this song from the album could easily become one. It’s short and sweet and has some very fluid and catchy guitar lines. To conclude ‘Suffer The Clock’ is a fine album. It shows you the length and breadth of a band at the height of its powers and with the confidence of knowing that. They also manage to effortlessly bring in and make full use of a number of guest artists each adding to the album as a whole and not distracting from it. Right from the first note this album grabs your attention and holds it in a vice like grip. It’s not predictable or slavishly following any formula or trendy route. Each song holds a surprise or two and gets all the more enveloping on further listening I do have to highly recommend this one to you and say a Great Slab of Metal has come Out of Africa with this release and in keeping with its South African origin it’s pure gold.

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Striker - City Of Gold Label: Napalm Records Reviewer: Phil Kane Website: www.striker-metal.com/

Released: 29 August 2014 Highlight: Crossroads

Hands up those who have heard of the 'er' band rule? Hmm, not many. Generally put, any band whose name ends in '…er' never achieves enormodome headlining status, Thunder, Exciter, The Answer for example. Of course, there is the occasional exception, well, only one that readily comes to mind actually.

work. Guitarist Chris Segger has recently voiced an admiration of Paul Gilbert’s technicality stating honestly, “I’m not quite there”, true perhaps, yet he knows where one note works better than twenty, which is more than can be said for Gilbert, a skill that offers that extra tension and soul a lot of metal albums lack these days. Precision engineered, heavy, hungry, ‘City Of Gold’ could "It's about heavy metal and a good time," muses singer possibly be the best party hard power metal album you'll Dan Cleary on the philosophy behind third album ‘City Of hear this year, though yer neighbours might disagree, Gold’, “If you’re having a party at your house, then put and if you get the digipak, there are 4 extra bonus our CD into the player and drink some beer. This music tracks with which to irritate them even more. While not is exactly made for such moments.” And he’s right. overtly thrash, their sound should certainly prove solid Steeped in the approach pioneered by Maiden, Accept enough for all but the most evangelistic thrasher; and Priest, the first three tracks slam ‘City Of Gold’s’ though every crowd has to have its idiot, eh? The Striker cards on the table so enthusiastically it nearly ends up in boys have an impending tour of the US supporting the the basement. It doesn't fuck about with the formula, but mighty Artillery and Onslaught; their concern being that the boys do tweak things a bit, subtly hiding touches of they might not fit in, but I don’t think they have any need thrash and melodic rock within the arrangements. to worry. Producer Fredrik Nordström has ‘City Of Gold’ has captured a an attitude that ferociously suggests these classic sound boys are without making destined for the album sound greater things; dated. It is a all they need is straight down that one killer the line heavy track, y’know, album that sits like a ‘Fast As A firmly in the Shark’ or a Teutonic power ‘Steamrock metal groove, Fever’. Oh, don't lifting wholesale get me wrong, from that there isn't a dud particular section of rock's archive, mercifully on the album, there just isn't that knockout punch that ignoring the NWOBHM. Think U.D.O. and Helloween would raise the roof off yer local city hall either. That'll jamming with Testament. ‘Bad Decisions’ takes the pace come, I'm sure, given time, experience, and a bit of faith down a notch, stepping nimbly into the gray area that (remembering, of course, that the first man who said brushes the fringes of hair metal, ‘Crossroads’ mixes in that had a rather nasty run in with a fucking big cross some basic thrash, and everything is peppered with and a bag of nails). Though the Striker boys are Schenkeresque soloing. Tight harmony lead work, an maturing nicely there remains work still to be done even tighter back office, appropriate air raid siren lead before they are ready to go head to head with metal's vox (there is a moment, during the intro to the title track gods, yet ‘City Of Gold’ still knocks recent efforts from where the vocal eerily resembles a rip saw being played most, if not all of today’s Eurometal pretenders into a with a bow; unusual), Sunset Strip gang choruses; it’s all cocked hat, which isn’t bad for a bunch of drunks out of here. So, an album made for shredding guitars and Edmonton, Alberta. rampant double kick drumming then, of which there is a lot, but the boys know when to rein it in and not batter Oh yes. The exception to that rule? Any ideas? No? the whole affair to pieces, the bass simply nailing it all to Foreigner. It will be interesting to see if Striker can the groove, a whiff of the great Gorham/Robertson, become the next. Tipton/Downing duelling subtleties permeating the lead

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Ascended Dead - Arcane Malevolence 7” EP Label: Blood Harvest Reviewer: Stoodge Mc Nulty Website: ascended-dead.bandcamp.com/

Following up from their arousing and beguiling debut demo, San Diego's Ascended Dead are back, and this time, the divisive crew are brimming with pernicious proportions. 'Arcane Malevolence' is a combustible commotion of incessant maltreatment and brute force. So you better brace yourself for the blast trauma that awaits you in procuring this 7” EP. It's frigging vicious!

Released: 8 September 2014 Highlight: Emanation From Below

Although all four tracks are solid inclusions, it's “Emanation From Below” that's the concrete supplement on this release. If the title track only opens the can of worms, then its succeeder illustrates the sombre mushroom cloud extinction.

What is attested here by the four-headed beast is fifteen minutes of sheer abhorrent chaotic death metal. In throwing their antagonistic attributes of frenzied percussion, intricate riff algorithms and viscus ripping vocals to the wind, a violent tornado prevails.

Cannibal Corpse - A Skeletal Domain Label: Metal Blade Records Reviewer: Stephen Brophy Website: www.cannibalcorpse.net/

Cannibal Corpse have been one of the biggest grossing Death Metal bands of all time, have been on the go for 25 years, and A Skeletal Domain is their 13th studio album. Pretty much everything about this band has been written somewhere, good bad or indifferent. They have without question been one of the driving forces of the genre and still have the appetite and ability to create quality output. They have often courted controversy through the art on the album covers, but that was mainly in the early days, this time there's certainly nothing to detract from the album itself.

Released: 16 September 2014 Highlight: Icepick Lobotomy

to the title track may lead you to believe it's going to emerge into something very different, but that's not the case, these guys know exactly how to make a Death Metal album, the intro actually grows into the track as opposed to just being a throwaway segment, which is pretty cool.

The Corpse are certainly pulling no punches here, "Icepick Lobotomy", "Vector Of Cruelty" and "Asphyxiate To Suffocate" are all top quality and have enough variation to keep the listener interested, an accusation that has been thrown at the last two albums, but you So what have CC given us this time out, well there are can't please all of the people all of the time, this is twelve tracks of crushing and well constructed Death exactly what I expect from a Corpse album, there's well Metal, hardly surprising I know, but as a band I think enough here with some nice guitars, at times squealing Cannibal Corpse have always sought to improve their and powerful, variations in drumming and bass and of output on each album, and in reality they have, the band course tying it all together George Corpsegrinder, one of still sounds in some ways like they did when the current the automatically recognisable voices in extreme music, lineup began, but it's a more polished band these days, they know their market and what style their fans want to Do not write this band off yet, get out there and see hear, and A Skeletal Domain fits squarely in that them on the new Tour, if you are a fan get this album, bracket. Twelve tracks of hard hitting, always aggressive it's unlikely to disappoint anyone Death Metal as it should be. Things are kicked off with "High Velocity Impact Splatter" and what a way to kick into high gear. Vocally it's Corpsegrinder as you expect to hear him, and the level of aggression throughout the album is nice to see. "Sadistic Embodiment" and "Kill Or Become" soon follow and we are on a roll now. The into

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Execration - Morbid Dimensions Label: Duplicate Records Released: 29 September 2014 Reviewer: Stephen Brophy Highlight: Cosmic Mausoleum Website: www.facebook.com/execrationnorway

This is a band that lives slightly on the edge, an experimental Death Metal band from Norway, and one that I have not come across before, even on first listen there's mixtures and influences of so much merged together here, interesting at the very least. while retaining their own brand of gloomy and doom filled Death Metal there are all kinds of things on show here on album number three. on my first listen I picked out stuff like Maiden and Voivod without having to even dig into it, and for me that's enough to keep digging.

from minute to minute you can't be quite sure where you are being taken, but just go with it and enjoy something different.

"Tribulation Shackles" has a real feel of Voivod throughout, mainly through the vocals, but it's still a mammoth track, and changes here and there and don't get me wrong this is not just copying other bands or songs, there is the feel of real experimentation here, odd at times and not one for the mainstream (not even the mainstream of extreme music) it might take people This is a nine track effort where each song has distinct some work to get into this at all. Both "Vestiges" and differences from the previous one and at times you may "Ancient Tongues" continue the format, which I think is think you are on a shuffle play and have been moved greatly helped by the general length of the tracks, only onto a different band/album. "Cosmic Mausoleum" one song on this album is under 5 minutes with five kicks things off, with crossing the line at a nearly over seven minutes, Sabbathesque intro, so the band has the until you hit the three scope to work minute forty mark different things in and all thoughts of there, of all the Sabbath disappear, songs though these when the vocals kick two don't really do in we have a definite much for me Death approaching unfortunately. Black Metal band, this is a monster of "Miasmal Sabbath" is an opener weighing just so dark for half in at just seven the song, grim and minutes and twenty gloom filled it seconds in length changes slightly and we change when the pace picks styles again at the up mid way through five and a half minute but still, not in a mark as a definite cheery way, so stays Celtic Frost inspired sprint begins, but it's not like the in keeping with the rest, a lot of this work sits firmly on a track ever breaks up, they move effortlessly from one fence between Black and Death Metal, but I like it. The style to another, and build up towards the end of one to album is rounded out with "Funeral Procession" which is move onto the next, very nicely put together, I'm a little bit more plodding, still interesting changes along definitely liking the way this is assembled. Track two it, but more of a Metal song with vocals pulled from the "Ritual Hypnosis" is a much more straightforward pit of a black heart. This release has definitely peeked animal, this is Death Metal, making no bones about it my interest in checking out the bands first two albums, and no apologies for it, again a decent track and I'm interesting stuff without blowing me away, lets hope beginning to believe that these guys know what they are these guys keep evolving and continue to try to stretch doing even if it's not obviously apparent from the the boundaries with creativity. start. Next up is the pacy "Dopplegangers", a solid track again and another that mixes styles a bit with some interesting guitar work through the middle section and quickly followed by the title track "Morbid Dimensions" which takes us along an almost Maiden like segment that just runs into some gut wrenching vocals, that again drops back into some Death Metal mayhem, I'm pretty sure that this type of music won't be for everyone,

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From The Vastland - Temple Of Daevas Label: Non Serviam Records Reviewer: Stephen Brophy Website: www.facebook.com/fromthevastland

Released: 6 October 2014 Highlight: Nightly Praise Of Seven Guardian

Hailing from Iran and forming from the demise of the band Sorg Innkallelse, "Temple Of Daevas" is the third full length release of From The Vastland, following 2013's Kamarikan and 2011's debut Darkness Vs Light - The Perpetual Battle. The cover although a simple picture illicts a slightly ominous and dark introduction, which is spot on and sets the scene perfectly.

excellent throughout as are the drums and guitars, with some nice breaks here and there through the excellent "Nightly Praise Of The Seventh Guardian", "Kamak" is a little on the dull side, with nothing to elevate it it's the track that lets things down a little bit. Back to form almost immediately with "Davalpa", as the the atmosphere builds once again. Next up it's the full on title track "Temple Of Daevas" containing guest vocals This is proper old school Black Metal, and done to an from Terje Olsen of Chton, which definitely add on this extremely high standard. The band continue to follow the one, not overly done and makes it interesting. "Alborz same influences as before using ancient Persian history Rising" and "Djaji, The Vicious Wizard" round things of and mythology, perpetual battles of good versus evil. nicely here, this is another album you need to give a few This is an eight track album and one thing that From spins to before it starts to really sink in, but well worth The Vastland do extremely well here is to generate an the effort. atmosphere, which is again something sadly lost on a lot of albums from the modern scene, and what of course Overall considering this is really one mans work, it's makes this album more impressive again is the fact that hugely impressive, easily one of my favourite Black Metal it's pretty much the work of one man, Sina is the driving albums of the year, this has a touch of class to it, and force behind that band and up to know he has brought based on themes and mythology that gives the project in additional musicians from time to time, such as the plenty of longevity I look forward to the next release of live debut of the band at 2013's Inferno Festival in From The Vastland, judging on previous work it won't be Norway where he played alongside members of 1349, long, with this and Sorg that's 3 releases in under 10 Gorgoroth and Morbid Angel to fill out a live band. For years. the new album Sina has continued to work with Vegar "Vyl" Larsen and AndrĂ&#x2C6; "Tjalve" Kvebek, who contributed with the drums and bass respectively. The first track "Ancient Glory" is a pretty cool intro, featuring additional instruments and this then leads into "Wrath Of Aeshma" and really from here to the end there's no let up, each song building from the last and although we are in blast beat city nothing here is mashed together or sounds a mess, as a contradiction this is clean but at the same time dirty, the vocals are

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Promise Land - Harmony In Ruins Label: XNilo Records Reviewer: Rob Birtley Website: www.promiselandx.com/

Released: 5 August 2014 Highlight: Hiding Place

Hailing from Pittsburgh, PA Promise Land is Christian Symphonic Metal band. Originally formed in 1997 as an acoustic duo, these guys have evolved through the years into the Symphonic/Progressive Metal band they are known for today. Harmony in The Ruins is their debut full scale studio release. The album was released in follow up to the group’s four-song debut EP from 2005, appropriately entitled ‘Demo’.

thoughtful and powerful. Again the experience of Promise Land is creating a cinematic experience in sound. If any song illustrates the big screen feel of this album Hiding Place does it is a movie in a song all in itself. The song is based on the true story of Corrie tenBoom, a modern day hero of faith, based on her and her family’s actions during WWII, specifically in hiding Jewish refugees and facing imprisonment as a result in a political concentration camps. I do have to say seeing Promise Land is a 3 piece consisting of David Michael: my Dad was part of the Allied Forces who liberated the Founder, Composer, Lead Guitar, Keyboard and 2nd Death Camps this song really struck home with me and I Lead Vocals. Rod Kozikowski: 1st Lead Vocals and found it extremely powerful. Holy is a great song it’s Rhythm Guitar and Eric Bowser: Drums. There sound opening reminds me of Dream Theater with the same well it sits somewhere between Evergrey, Queensryche sort of epic scale and again you can hear the skill, and and Seventh Wonder with lyrics that convey a strong you can feel the passion of belief in the vocals, narrative these guys are storytellers in the grand something that runs constant through the album. For manner. What sets them apart is the unique blend of the most parts their music spirals around movements the twin lead vocals and their Christian Ethos. and orchestral set pieces of sound almost like acts in an opera that could The album opens be easily with an morphed into orchestral intro movie scores. as an invitation Eclipse starts the or welcoming finale to the much in the album in fine same way a style and is Wagnerian almost Opera would Wagnerian in open with a texture being prologue and pure every bit as instrumental dramatic and whilst sets the musical recapitulating scene. The band the themes from themselves describe their music as Orchestral earlier tracks. The curtain begins to descend with the Cinematic Metal and this track does have the Feel of a first of two instrumental tracks Harmony In Ruins Movie curtain raiser. The next the title track Harmony In (orchestral) and the start and theme this track is a Ruins is also instrumental apart from the opening bars repeat the opening bars of a choir. Both this track and of a choir and choral break. The pace builds as the the last one have a distinct Prog element going on at drumming and guitar inter-play entwines contrasting the the same time they draw the album to a fine close and Harmonies of the voices with the Symphonic power of demonstrate the awesome playing of the band. band. Track 3 C.I.U, (stands for Christ In Us), opens like a Queensryche song circa Operation Mind Crime and You could say that this album in some sense is a carries on in that vein. It also illustrates the range that concept album revolving around the central song Hiding these guys possess as musicians, the instrumentation is place and in some ways it is. You could say this album is always above par throughout the album and the apocryphal and in recounts the fall and hopefully the rise arrangements are fluid and move together effortless in again of mankind. You could say in a way this is a new a complete whole. It also showcases the twin lead vocal twist on Symphonic Metal with a strong whilst telling a powerful tale is familiar to some serving cinematographic sound stage and strident Christian members of the Police in this violent world we live in. identity all of which would be true. But in the end Before Dawn is a great song, it is the deliberate change Promise Land have produced a fine piece of work that of pace. I love the piano and the background can be listened to on many levels what you take from it vocalizations and is almost a ballad. The main vocals are depends on you but do give it a hearing.

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Burning Nitrum - Molotov Label: Punishment 18 Records Reviewer: Stoodge Mc Nulty Website: www.facebook.com/BurningNitrum

If tranquility for you is third-degree burns, then you better step right up. These pyro-maniacs deliver us a candescent flaming cocktail of excessive thrash metal shenanigans. On a staple diet of gasohol and effluvium, and, in piggybacking tales of incendiarism and arson, Italy's finest ignited export has reached an early maturation and triumph with this debuting detonation.

Released: 22 September 2014 Highlight: High Speed Bangers

well be amassed together to create this impelling beast of an album. The ten-legged dynamo sure know how to make a ravaging and sonorous enfilade of thrash power and exuberance.

With an incessant technical provision, brattish screams, and a staunch adherence to their thrash progenitors, the burgeoning Burning Nitrum have cemented together a robust yet exothermic formula of headbanging lunacy. And, there's of course nothing at all wrong with that! Just think of Exodus set alight and then extinguished by Satan's piss. Well, the remnants of that scenario could very

Bloodsoaked - Religious Apocalypse Label: Comatose Records Reviewer: Stephen Brophy Website: www.facebook.com/bloodsoaked666

Bloodsoaked are an old school Death Metal project from North Carolina in the US that sound great on the new songs on this Religious Apocalypse release, but I'm just not really getting the idea of releasing an album that isn't really an album. Ok I know that all sounds a bit vague but what we get here is a only 3 new studio tracks, a couple of unusual covers, not saying they are bad, but you wouldn't have seen them coming from a Death Metal band, and it fills out with four live tracks. To me an album wasn't the way to go if they just wanted to get some new material this should have just been an EP, but that's just my opinion. On to the new material, the first track "Devouring" rips along at a furious pace, with a very much old school sound, sounds great, and this continues with the other two new tracks "Abomination" and the title track "Religious Apocalypse". Nothing earth shattering or new, but that wasn't the purpose here, this is designed to be brutal and in your face, very much like Death Metal from the early 90's was, and it works very well for that. "Religious Apocalypse" in particular is a pretty cool track, powerful and nicely grinding. But it is after these new tracks that we go off the scales, next up are two covers, and certainly not the type of covers you'd expect after hearing the first 3 tracks. We start with a cover of

Released: 2 September 2014 Highlight: Religious Apocolypse

Cinderella's "Shake Me" and that's followed by a cover of Ratt's "You're In Love", now these aren't just direct copies, especially with "Shake Me" which has been significantly beefed up with heavy drums and growls giving it an original spin, but whether or not it has a place on this record is open to debate, I can definitely understand creative members of a band having wide ranging tastes and wanting to pay some homage to some of the bands you grew up listening to, but in the middle of and album may not be the best place to do that, these would have fitted in better on a covers album, or maybe as bonus tracks on a release of new material, here I just think it breaks up any flow the band had created, and though there's nothing wrong with the covers themselves, they bring the whole thing down for me. After the two cover tracks we are brought four Live tracks, which just again appear to be filling up the space left, of these tracks "No God" is the standout, with "Grinding Your Guts" finishing things off pretty well. To me though I just can't help feeling that Bloodsoaked could have produced much more here, hopefully on the next full length the promise they definitely have here will get a chance to fester and pummel. Not for me this time around.

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Steve Bastardo & The Albert Hoffman Experience - Centurion 29110 Label: Flicknighfe Released: 11 August 2014 Reviewer: Phil Kane Highlight: 21st Century Spaceman Website: www.facebook.com/pages/Flicknife-Records-a-music-label/396123693749180

That the Albert Hoffmann Experience bit relates, I think, to Albert Hoffmann, the pioneer of LSD and the first person to isolate, synthesize, and name the principal psychedelic mushroom compounds speaks volumes (though I have absolutely no idea of the significance of ‘Centurion 29110’; a character from a rather ferocious flash back d'yer think?). That should give you a clue to what yer in for.

Steps To Nowhere' sidesteps into jangling alt Americana whilst moaning about being clean. The vocal delivery is the Lahndahn cheeky chappie variety reminiscent of Ian Dury, but without his wit. ‘Petrol And Bombs’, despite the existential bollocks, crams everything into one 12 minute semi psychedelic space punk fuckabout that actually works. A marmite album then, the problem being it is weighed down with a very dated new age impotent revolutionary attitude, when Old Steve has been around the block more than a few shouting "fuck" at everything (including a fly called Adolf times. A survivor of the psychedelic bar wars during the Cunty Bollocks, a recurring theme here) was considered seventies and eighties, paying his dues with the likes of dangerous. Is Steve an acid casualty that has managed the Magic Mushroom Band and Nik Turner’s Inner City to retain some semblance of creative genius, or just a Unit, before striking out on his own, releasing his first tripped out whacko trying to convince us he's still dahn solo album in '97. He would love to be mad, bad and wiv da kids on da street, man? Dunno, take yer pick, I dangerous to know, and maybe he was in his youth, but suppose it'll depend on your mood but whichever it is, it’s questionable he has ever really got over his first trip, you'll soon weary of the joke, either loving or fucking stuck in the drug addled alternative culture of ‘71, man. hating ‘Centurion 29110’. So what of second album ‘Centurion 29110’? On initial listen the 50’s B movie sound bites and the childish crudities will have you thinking Derek and Clive doing The Bonzo Dog Doo Dah Band doing Hawkwind doing Monty Python riffing on Shakespeare; a very British reefer headed car crash. But no, surprisingly, there are some interesting moments here, mostly weighted in da blues, admittedly, 'Cocaine' for instance, or 'Wolfman'. 'Never Over Till It's Over' is a classic old fashioned snappy punk work out as are ‘21st Century Spaceman’ and ‘Kaboom’, done a la Hawkwind or very early Motorhead. '12

So the album isn't the complete disaster you'd think, it just needs copious amounts of pharmaceuticals to appreciate; best heard whilst tripping off yer tits. Depressingly, underneath the drug addled wackiness lurks a talented instrumentalist and tune smith, he's just too shot out to make any cohesive use of it. If you want something that's really head bendingly immersive then you need to lift the lid off the hardcore madness of Spirit (and Kapt Kopter), Zappa and Beefheart, and bloody good luck to ya.

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ssSHEENSss - Strapping Stallion Label: Soulseller Records Reviewer: Phil Kane Website: www.sssheensss.com

Released: 3 October 2014 Highlight: Saigon

Ha ha, the promo bumph states "…fans of Turbonegro, The Hellacopters and ZZ Top will want to attack!" Oh dear, a rather unfortunate choice of words there, eh? Using their stated influences of 'DC, ZZ Top, Turbonegro, The Beach Boys, Mastadon and Motorhead, ssSHEENSss’ sound is a bit like an old diesel after the exhaust has fallen off; ballsy, muscular, vaguely shambolic, with a bottom heavy rumble that makes you want to wipe oil off yer hands, despite the fact you've never been near an engine, let alone taken one apart.

and 'Voice Distortion Call' for instance; touches of sleaze and the savvy of Foo Fighters too. An alt darkness lurks here and there, especially in the vocal, illustrated best by 'Shadow Animals' and the rather unfortunate, barely recognisable but brave attempt at Joy Division's 'Love Will Tear Us Apart', which nudge the album a bit too far left of centre of its groove, the boys doing well to rein things in again. The album has some serious grunt that with anything less than three six stringers may well have fallen flat on its arse, especially live, though letting them off the leash to meander a bit more would’ve added There's something about a three guitar attack, it doesn’t more depth without sacrificing drive. half give stuff oomph, especially when all three sit in the groove and just shunt. Can't beat it, and here, on this ssSHEENSss (nope, dunno either, you’ll have to ask rocked up lump of heavy duty grebo garage blues metal, them) seem to be in a spot of good trouble. 'Strapping we have it by the ton. Oh yes, check out 'Saigon' (with Stallions' is quite eclectic, metallically speaking, to the some nice atmospheric lonesome highway guitar work), point of being attention deficient, which is no bad thing. the opening assault of 'Adios, Fucker!', ‘Wolf Street The album’s sound betrays a young rock ‘n’ roll outfit still Blues’ and 'You And Your Daughters' (which, by the way, unsure of where it fits in, still suffering growing pains, has a Hammond chugging away under the bonnet that youthful impatience rendering some of the songs a bit lifts the song immensely) to see what I mean. ZZ top's too busy perhaps. So, there are still decisions to take 'Concrete And Steel' also gets a bloody good seeing to, a and mistakes to make, yet there's more than enough la Monster Magnet (which isn't as bad as it sounds), the promise here to suggest their decisions will be the right band beefing it up without erasing the sunburnt Texan ones, any mistakes their own. The boys have obviously thang. Nicely appropriate lead work too. It’s to the got their shit together, the basics nailed, the album band’s credit that it doesn’t steal the show, though it is offering a handful of directions the band could go in, a close run thing. Oh, their own songs stand up well they've just got to learn to tighten up their focus a bit enough, they're just not of the same quality, with a bit of and grasp the opportunities this melting pot hopefully work still to be done, but such are the pitfalls of covering gives them. the work of the righteous; it’s a youth thing that a few bust noses, acquiring the habit of keeping a snub On balance, this is an excellent second run out, which nose .38 handy, a lot of tequila and plenty of experience isn’t bad for a bunch of good looking clean livin’ boys of rock ‘n’ roll’s payoffs, rip offs and things nobody saw outa the Finnish badlands, not bad at all. But The Beach won’t put right. Nonetheless, the substantial backbone Boys? Ahahahahahaha… of ‘Strapping Stallions’ is solid, grubby metal dosed right up on dirty desert session garage blues, 'Let’s Explode'

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Stench - Venture Label: Agonia Records Released: 26 September 2014 Reviewer: Stephen Brophy Highlight: Celebration Website: www.facebook.com/pages/Stench-official/213520935347849

Stench are yet another Death Metal band from Sweden, just what is it in the water in that country, not a complaint you understand, but the sheer quantity of music being produced there from all genres is quite staggering. So what about Venture, well this is the follow up to the In Putresence debut album in 2010. As with many project these days Stench are a three piece band with two of the members also forming half of one of Sweden's other Death Metal bands Tribulation.

Another trend I've noticed recently is the reintroduction of grunts and "ugh"'s starting songs, seems a little weird maybe, but certainly old school back to thrash bands like Sodom and Celtic Frost in the 80's. Again here "Small Death" continues that revival, and there is a nice variety on this album, the basics may be similar right through, but there's nice subtlety's in pace, or guitar sound, drums are solid as a rock all over this. Next up "Celebration" has a more Black Metal feel and sound to it, but it's one of the stand out tracks on the album and So has anything changed with Stench from the debut to is a bit of an epic. "Way" on the other hand is a bit Venture ? Well "Archways" kicks this album into life lightweight and doesn't really go anywhere, an right from the opening riff, it's nothing groundbreaking instrumental with some chants to back it up, to me it's but more old school Death Metal, and it does what it the weakest track on show. We finish up with the title says on the tin, this is certainly nothing like the more track "Venture" which is bringing us back to normal, it modern kid friendly style, they certainly aren't the only builds up to a peak and drops off completely before band going back to the old school, and personally I like almost starting from scratch again, something a little this trend, as long as the quality is high. "The Vast" and different for music like this. Stench are a little out of the "Road" are both really good, and quite different at the norm even in the old school revival, and I for one look same time the the opening high pitched riff of "Road" forward to this and the next release from them to see actually working really well as an intro for the song, but where they take this. the basic riff running all the way through the track.

Mortuus - Grape Of The Vine Label: The AJNA Offensive Reviewer: Stephen Brophy Website: www.facebook.com/mortuusswe

Mortuus are one of the Swedish Black Metal bands that slipped through my net until now, possibly because they have only had one previous album, their De Contemplada Morte: De Reverencie Laboribus ac Adorationis debut in 2007. It is evident almost immediately that these guys don't make music about fluffy bunnies and all things happy and nice, and nothing wrong with that but sometimes I think you really have to be in the correct frame of mind to listen to something just as bleak as this. So today is the right day for it. The album starts with essentially a three minute instrumental intro, which sets the scene of darkness we are about to step into, "Layil" just brings you down the first rung of the ladder to emptiness.

Released: 16 September 2014 Highlight:

one paced, but I guess that's part of the mood and atmosphere that's being created here, "Disobedience" being a prime example of this. It has to be said there is something about how Mortuus have gone about this that just makes you think this is how the style should be, you can feel yourself being dragged down into the abyss with them and that in itself deserves a lot of credit. "Torches" is a haunting track from start to finish and the piano outro is just excellent and this is followed on by "Sulphur" which again doesn't lift the gloom at all, perfect.

The final tracks are "Nemesis" and "Tzel Maveth" don't stray from the path Mortuus have created, and that's fine, had there been either a fast paced or more upbeat There are six tracks to follow, each more than six and a track on this album it would have just ruined the project half minutes in length and all setting the same scene of as a whole. Of course this style isn't for everyone, but it a darkened world. The title track "Grape Of The Vine" is should be applauded when it's done this well, the music first up, this isn't the heaviest, or sludgiest album I've is all played well, the vocal style and delivery are spot on ever heard, but there certainly is a darkness there, sadly and they have hit the mark all around. for me a couple of the tracks are just that little bit too

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Metal Down Under DVD Label: Animus Industries Reviewer: Lee Walker Website: www.metaldownunder.com/shop/

One of the many advantages of residing at the Firebrand After Dark dungeon is that you often get an excuse to check out material that you wouldn’t normally come across and documentaries about the history of Australian heavy metal certainly fall into that category. When people say Australian music thanks to main stream sites/magazines you automatically think of the likes of AC/DC, INXS, Rose Tattoo, Airbourne, Parkway Drive etc. If you tend to check out a wider variety of music you would have came across a few more Aussie gems such as Truth Corroded, Voyager, The Amenta, Dave Evans, Jac Dalton, the Creptter Children etc but on the whole unless you grew up over there you would be pretty limited on how the current scene has reached the stage that it is now or the bands that formed the stepping stones that helped the current crop of bands get to where they are now.

Released: 22 August 2014 Highlight: N/A

and photographs from Metal for the Brain, Metal for Melbourne, The Big Day Out, SBS, music videos, live concerts. Does it succeed? That’s a tricky question personally I would say it gives it a damn good go. The documentary itself is split into three parts (each being 55 minutes long) and covers everything from the pre internet impact of media such as community radio and tape trading to the scene to the rise and fall of Hot Metal magazine. If I had to pick a fault I would say that perhaps it could have done with an interview or two with some of the more ‘known’ bands to broaden its appeal but that said and has definitely opened up my eyes to quite a few ‘new’ bands to check out be it musically or just to read the history of them (when I heard the story of Nothing Sacred and PBS I had tears of laughter streaming down my face).

With this documentary Metal Down Under attempts to fully document the history of heavy metal music in Overall Metal Down Under is definitely recommended Australia with a mix of interviews with the likes of band watching material for both fans of Aussie metal and members, promoters, radio hosts and magazine editors metal in general. and even avid fans of the scene, rare archive footage

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Spike - 100% Frank MIller Label: Cargo Records Released: 8 September 2014 Reviewer: Phil Kane Highlight: Website: www.facebook.com/pages/Frankie-Miller/163350180344489

Frankie Miller; the only white boy soul singer who put the fear of God into Rod Stewart, and if Rod Stewart was cagey, you can bet your bottom dollar the rest of rock's great blues n soul belters were keeping a beady eye on him too (you laugh? Yer in the wrong class; fuck off back to yer Kerrang's teeny mag forums and leave this one to the big boys). He had brief brushes with superstardom, but like fellow Celt and good friend Rory Gallagher, he spurned lucrative offers and determinedly ploughed his own furrow, and damn the torpedoes. The torpedoes won, of course, Gallagher is sadly long dead and Miller was laid low by a brain haemorrhage (in '94 I think), though he still managed to put out 'Long Way Home' in 2006. He’s a legend, the greatest gravel voiced soul singer these British Isles ever produced.

and 'Amsterdam Woman' possess a rolling country swing, the album also peppered with the customary Miller heartbreakers. It's not that heavy, and it sure as hell ain't party time, but when you've just put your last dog in the ground and all you want is to be left alone for an evening, ‘100% Frankie Miller’ is perfect.

What lets the album down, if its let down at all, is Spike because though he's a cracking singer, he's a rock ‘n’ blooze belter, all Marlboro smoke and whiskey husk, which is fine if a little forced, but he lacks Miller's heartbroken Glaswegian rainy night inflection. Yet, as an introduction to Frankie Miller, a now sadly fading light in rock's roster, ‘100% Frankie Miller’ works a treat. It won't be to everybody’s taste, too bluesy here too country there, but as a master class in how to capture Quireboys singer Spike, a long time pal of Miller’s, has the spirit of someone’s soul, its first class; as close to a managed to persuade the Scotsman to let him dust off Frankie Miller album us vets are sadly ever likely to get some unreleased songs and put them out as ‘100% nowadays. On the surface, then, this is Spike doing an Frankie Miller’ and to help him do the stuff justice, Spike album of covers, and more power to his elbow for having has gathered around him a veritable who's who of good the bollocks to give it a go and release these gems, he old time rock 'n' roll. Ronnie Wood, Free's legendary and the band do a brilliant job but the real star of the rhythm section (a feat in itself and a reflection of Millers show is Frankie; Frankie who? Frankie Miller, that's who standing), Ian Hunter, Bonnie Tyler, the rest of The and don't you ever, ever fucking forget it. Quireboys, Luke Morley... the list goes on. In doing so, he's managed to capture the essence of Frankie's best work i.e. his 'The Rock' and 'Full House' era (yer can argue about that amongst yerselves though). Predominantly blues, the album does what Miller used to do; take a solid dose of Celt soul, rock it up with a bucket full of blues and country, and spike it all with some great honky tonk piano. 'Cheap Hotel' has a good ol' rock ‘n’ roll knees up a la Jerry Lee, 'The Brooklyn Bridge', 'Cocaine' and 'Intensive Care' capture Miller's big syrupy thumping blues groove, 'Cold, Cold Nights'

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