Showing posts with label Dominic Walsh. Show all posts
Showing posts with label Dominic Walsh. Show all posts

Tuesday, 7 August 2018

ALBUM REVIEW: 1968, "Ballads of the Godless"

By: Dominic Walsh

Album Type: Full Length
Date Released: 07/07/2018
Label: Independent





There is always demand for heritage and that retro rock and roll sound and 1968 are more than capable purveyors.


“Ballads of the Godless” DD//LP track listing:

1). Devilswine
2). Screaming Sun
3). Temple of the Acidwolf
4). S.J.D.
5). Chemtrail Blues
6). McQueen
7). The Hunted
8). Mother of God

The Review:

Formed in 2013 out of a chance meeting between Sam (Orr, guitars) and James (Coppack, vocals) 1968 was created out of their love for many legendary albums created in the year that signalled the beginning of a darker, heavier movement in music and popular culture; a period in time characterized by an evolving socio-political environment, the end of the colourful ‘Summer of Love’ era and the dawn of a more cynical cultural landscape defined by the Manson murders and the Altamont tragedy.

1968’s previous EP’s may have been well received and they’re not shy of throwing their influences in the spotlight. The big difference between “Fortuna Havana” and their debut album is that the band have added a heavy level of grunge to their sound. So whilst Black Sabbath, Thin Lizzy and Jimi Hendrix are all prevalent, there is also more than a heavy smattering of Alice In Chains and Soundgarden.

“Devilswine” opens up the album in scintillating fashion and pulls many styles into its glorious mix. Towering riffs blow you away more than once as you voyage through the track. Dan Amati’s drumming is brilliant throughout and it’s his range of tempos and styles that set off this exciting opener. Its abrupt ending gives way to the chug of “Screaming Sun” which sees strained vocals play off against more melodic backing vocals.

“Temple of the Acidwolf” is pure Alice In Chains worship in the harmonic vocal delivery. The lead guitar work is tripped out as the vocals get gradually more psychedelic. The whole trip, literally and metaphorically, is quite sublime. The same can be said of one of the albums highlights, “McQueen”. Building gradually throughout its near 7 minute duration, the peak of the track is excellent and begs your attention.

As the title suggests, “Chemtrail Blues” is a bluesier affair – this is not tender though. Distorted guitars, rolling bass and more crashing drum work help elevate the track away from the standard blues fair. “The Hunted” plays with a more upbeat tempo and traditional feel akin to the more trad feel of “Fortuna Havana”. “Mother of God” closes out the album as a more jam laden instrumental. It fades out in the same way the album fades in; a swarming maelstrom of feedback.

1968 aren’t reinventing the wheel, but they’re playing with the motion of that wheel. Some of the production on the album dips here and there, maybe due to split responsibility but with that being said, “Ballads of the Godless” is a solid step in the right direction after some excellent EP’s. There is always demand for heritage and that retro rock and roll sound and 1968 are more than capable purveyors.

“Ballads of the Godless” is available here




Band info: bandcamp || facebook

Thursday, 7 June 2018

ALBUM REVIEW: Uniform & The Body, "Mental Wounds Not Healing"

By: Dominic Walsh

Album Type: Full Length
Date Released: 08/06/2018
Label: Sacred Bones Records


Mental Wounds Not Healing” is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats.  This record is well worth your time if you like having your boundaries of music tested.


“Mental Wounds Not Healing” DD//LP track listing:

1). Dead River
2). The Curse of Eternal Life
3). Come and See
4). The Boy With Death in His Eyes
5). In My Skin
6). We Have Always Lived in the Castle
7). Empty Comforts

The Review:

With a title taken from an Ozzy Osbourne lyric (“Crazy Train”), Uniform and The Body have joined forces for a collaboration that pushes both bands far beyond their roots in industrial music and metal - creating an immersive listening experience that truly transcends genre. 

“Mental Wounds Not Healing” is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats. Think NIN, Einstürzende Neubauten, Sunn 0))) and bits of Ministry mixed together with Pharmakon and Blanck Mass. It’s a complete maelstrom of industrial noise throughout.

Most of the song titles are culled from horror literature and cinema. “The Boy With Death In His eyes” is a particular highlight at the midpoint of the album. The beat is more orthodox, and the distorted synthesizers and guitars that accompany the beat create a dark, tension filled backdrop to the despairing vocals.

“In My Skin” contains a particularly unnerving screaming sound throughout the entire track, but the track also contains one of the most notable guitar melodies that spins its web around more twisted and distorted noise. As you disappear down the hole of this track, the ending of the track feels almost serene against many other parts of the song, but don’t be fooled into thinking this is full of lush melodies! “Dead River” also has the same screaming motif that runs throughout the track. It takes you wonderfully out of your comfort zone.

“We Have Always Lived in a Castle” is pure drone. “Empty Comforts” and “The Curse of Eternal Life” are the most NIN style moments on the album as the electronic beats are clear and punchy, but the former really lacks any kind of recognisable rhythm; like a heartbeat with no real idea of what it is doing. The guitars again convene towards the end of “Empty Comforts” to show that this collaboration is not simply about making a glorious racket; there is melody rooted deep within this album – you just have to have the endurance to stick around to find it. “Mental Wounds Not Healing” is well worth your time if you like having your boundaries of music tested.


“Mental Wounds Not Healing” is available here



Band info: facebook || facebook

Monday, 16 January 2017

REVIEW: 1968 - "Fortuna Havana" (EP)


By: Dominic Walsh

Album Type: EP
Date Released: 10/2/2017
Label: Black Bow Records



1968 wear their influences on their sleeve. There are plenty of bands that stalk the planet playing classic/hard rock; the trick is to make it your own and not become a cliché. 1968 walk the line well and come out with originality whilst using their influences to great effect.


“Fortuna Havana” DD track listing:

1). Vorpal
2). War Dogs
3). Duchess
4). Fortuna Havana

The Review:

Cheshire based 1968 have only been together a short three years. Having released a self-titled EP in 2015, they now return with a second EP before the release of their debut album later in the year. Having been added to the impressive roster at Black Bow Recordings, “Fortuna Havana” is a more than solid addition to the bands discography.

Throughout the four tracks on “Fortuna Havana”, any questions about the name of the band are answered. Homage to Led Zeppelin, Deep Purple, Mountain and Black Sabbath is duly paid, but there are plenty of nods to the more stoner alumni such as Sleep, as well as hard rocking blues legend Rory Gallagher.

“Vorpal” opens up the EP in towering fashion. The band fly out of the traps with mountains of stoner groove and swagger before building towards some superb solo work to finish off the track. “War Dogs” immediately starts as the opener end and the band veer down a doomier path before exploding in a fury of Thin Lizzy like dual guitars.

The second half of the EP uses the already utilised formula, but “Duchess” really sees the band step up their game. A rolling bass introduction leads to a torrential storm of fuzzy riffs that are held together with terrific drumming. The vocals sneer throughout the track before it shifts towards a highly psychedelic cacophony.  This is the absolute high point of the release and one where the band take their influences and really make the sound their own. The psychedelia continues in the opening of title track to close out the EP. If “Duchess” is the undoubted highpoint of the EP, then the title track is undoubtedly the heaviest piece here. Fuzz riffs and pounding drums drive the track, to bring the EP home.

1968 wear their influences on their sleeve. There are plenty of bands that stalk the planet playing classic/hard rock; the trick is to make it your own and not become a cliché. 1968 walk the line well and come out with originality whilst using their influences to great effect. There is cause to be excited about their forthcoming album which will be produced by Conan’s Chris Fielding at Sky Hammer Studios. Fielding is also at the controls for this release, and makes the band sound immense.

“Fortuna Havana” will be available here

Band info: Facebook || bandcamp

Monday, 12 September 2016

ALBUM REVIEW: Blues Pills - "Lady In Gold"

By: Dominic Walsh

Album Type: Full Length
Date Released: 29/07/2016
Label: Nuclear Blast




The second album test has been passed by Blues Pills. It’s more polished and not as raw, but ultimately, this is a great record.

‘Lady In Gold” CD//DD//LP track listing:

1. Lady In Gold (4:31)
2. Little Boy Preacher (3:35)
3. Burned Out (4:33)
4. I Felt A Change (3:57)
5. Gone So Long (4:17)
6. Bad Talkers (3:11)
7. You Gotta Try (3:39)
8. Won't Go Back (3:56)
9. Rejection (3:34)
10. Elements And Things (4:52)

The Review:

Ever since the good folks at The Sludgelord sent me “Devil Woman”, the debut EP from Blues Pills, I've been a fan and loved following the band. In tried and tested cliché fashion, could Blues Pills overcome the difficult second album syndrome?

In short, yes. There are a few things that set “Lady In Gold” back though. Immediately, the production is far more polished and the album lacks the fire that their debut carried. For me, this is a double edged sword; I understand the band wanting to progress in their craft and to make that step up and I feel that they have sacrificed a little in their quest to step up. 

Whilst that sounds very critical, “Lady In Gold” is still a superb record and definitely one that grows with each listen. Elin Larsson’s vocals are still completely amazing. “Gone So Long” sees her vocal range in full flow. The track builds and builds with the guitars and drums pulsing throughout before a fiery solo from the super talented Dorian Sorriaux to end. “Little Boy Preacher” is a soulful slice of rock with angelic backing vocals adding to the sound of the band. The choirs are used again on “Burned Out”. This does give the album more of a retro feel which Blues Pills do pull off so well.

“You Gotta Try” has that blues swagger that has made Blues Pills so popular. Sultry vocals and a filthy guitar line make for a real hip shaker of a tune. Tony Joe White's “Elements And Things” is an absolutely superb, driving cover to close the album. The track has been a part of the bands live set for a while so it's great to hear it committed to record. 

One of the main highlights of the album is the piano based ballad, “I Felt A Change”. It is every inch a hippie style anthem that many a great singer would love to sing. If Adele had recorded this, the music media would swoon. It is a beautiful song that shows the change that Blues Pills have gone for perfectly.

The second album test has been passed by Blues Pills. It’s more polished and not as raw, but ultimately, this is a great record. Live, Blues Pills are an irresistible proposition. Check them out on their tour in support of this album. 

‘Lady In Gold’ is available now

Band info: facebook

Friday, 29 April 2016

Live Review: NOIZ All Dayer, Rebellion Bar, Manchester, 2/4/2016

By: Dominic Walsh


Boasting one of the best heavy metal bills in Manchester in a long time, NOIZ promotions’ NOIZ All Dayer in Manchester seemed almost untrue with the amount of talent on show.

Drone duo, Khost, opened up the day with a massively heavy amount of tone and drone for the small crowd. It was only 12.30 when they took the stage so people were still filing in through the doors, although there were a couple of people who had made the effort to see Khost based on their attire.

From here on in, the bill changed shape with bands moving up and down the bill continually. Presumably this was due to people arriving/being delayed etc.

One band that did take the stage at their scheduled time was PIST. Now, for those who haven’t heard PIST, the clue is in the name. 1pm was a remarkably early time for the Bury quartet to hit the stage, however their groove laden angsty southern sludge did more than wake the gathered masses, and blow any Friday night cobwebs away.

As the afternoon progressed, Fvnerals and Dystopian Future Movies (both late additions to the bill due to cancelled gigs in the area) serenaded the crowd with dark post rock and doom laden riffs that slowed the pace somewhat during the afternoon. The slower pace did nothing to dampen the enthusiasm of the crowd. Both bands have been touring together; if you’re a fan of Neurosis, Bossk, Long Distance Calling (or bands to that effect), give them a whirl.

Either side of Fvnerals and DFM, there were arguably some of the star turns of the day. Another local band who are making plenty of waves in the metal world, Boss Keloid, were in celebratory mood with a storming set which showed how much the band have evolved. They are much tighter as a band, and the material from their new LP ‘Herb Your Enthusiasm,’ sounded incredibly strong. To bring the pace down again slightly, were Witchsorrow. Although they’re a doom band, their latest LP, ‘No Light, Only Fire,’ has plenty of more up tempo selections. A mix of these tracks and cuts from “God Curse Us” helped them deliver a great set.
Towards the top of the bill was heavy rock trio The Admiral Sir Cloudesley Shovell, who did not disappoint. Complete no frills rock and roll just the way it should be. Steak ably assisted with their fuzzy stoner rock keeping the pace up as the crowd got steadily more lubricated.

One of the absolute star turns of the day however, took place early in the afternoon. London’s Vodun turned many heads in Rebellion. The trio, who have just released their debut LP “Possession”, took to the stage in their ‘tribal’ attire and delivered a scintillating performance. Chantal Brown’s vocals can easily draw comparisons with Skunk Anansie’s Skin, and the riffs swerve from thrash, to stoner, to doom. Over the course of their short set, Vodun proved why they are getting many great reviews of “Possession”. Another afternoon success came in the form of their tour mates, Limb. Showcasing some prime cuts from 2015’s “Terminal”, the band delivered a stomping set against a hazy white light back drop; foggy and fuzzy on many levels! “Down By The Banks” is a monster of a track; Limb deserve to be edging themselves up bills. They have the songs and presence to be huge.

The day ended with Israeli sludge mob Dukatalon playing host to a fully liquored audience. Their stomping set ended with a huge stage invasion capping off an excellent day of heavy metal. The amount of bands on the bill only scratches the surface of the amount of great bands out there. NOIZ are behind many of Manchester’s all day metal events – if you are even the slightest it curious, go along and check out some of the bands; it’s almost a dead cert you’ll find something you enjoy.


You can check them out here: https://www.facebook.com/noizpromo/

Thursday, 31 March 2016

Birth Of Joy - "Get Well" (Album Review)

By: Dominic Walsh

Album Type: Full Length
Date Released: 26/02/3016
Label: Long Branch Records/SPV



A hightlight of the album is the longer, more epic sounding “Numb”, which has a huge “Meddle” era Pink Floyd feel to it with a chug reminiscent of parts of “Echoes”, and organ work not to dissimilar from the great Rick Wright. Stunnenberg also gets chance to showcase his solo chops on guitar too. “Get Well”, the penultimate track on the album, also has the same feel. The sprawling tones from the band, and otherworldly vocal make for some great psychedelic progressive rock.


“Get Well” CD//DD//LP track listing

01 Blisters (03:28)
02 Meet me at the bottom (04:10)
03 Choose sides (03:33)
04 Numb (06:07)
05 Midnight cruise (04:42)
06 Carabiner (03:01)
07 Those who are awake (04:16)
08 You got me howling (03:31)
09 Get well (08:06)
10 Hands down (04:26)

The Review:

Birth Of Joy are a Dutch trio from Amsterdam who deal in the sounds of psychedelia, firmly rooted in the 60’s. Think of an influential band from that era and you will almost certainly get a hint of that here. Deep Purple, Pink Floyd, The Doors, Led Zeppelin etc could all be namechecked here.

Throughout the album, the organ of Gertjan Gutman propels the band; whether it be plugging away in the back ground or taking centre stage. Opening track, “Blisters”, opens with a simple organ melody before the guitar and drum crash in. “Blisters” is a good name for the opener as it’s pace is urgent and sets the precedent for a fuzzy trip back in time.

“Meet Me at the Bottom” slows the pace after the opening. The rolling bass line moves fluidly with the organ before a quite magnificent coalescence of all quarters of the band blow the record wide open with a brilliant mid song riff. This coming together of the band using all their facets is used expertly on “Choose Sides” too.
Kevin Stunnenberg’s vocals throughout the album showcase a wide variety of styles from harsher, gravelly tones to a near falsetto in parts. Throughout the vocal range, the sight of psychedelia is never lost. This style is also enhanced by the excellent production on the album.

A hightlight of the album is the longer, more epic sounding “Numb”, which has a huge “Meddle” era Pink Floyd feel to it with a chug reminiscent of parts of “Echoes”, and organ work not to dissimilar from the great Rick Wright. Stunnenberg also gets chance to showcase his solo chops on guitar too. “Get Well”, the penultimate track on the album, also has the same feel. The sprawling tones from the band, and otherworldly vocal make for some great psychedelic progressive rock.

Bob Hogenelst makes up the triumvirate on drums. His work on the single, “Hands Down”, is splendid. The changes in tempo from the drumroll that opens the track to the dance infused beat over the chorus are excellent. As the album closer, it is just as urgent as the opener. Between the beginning and the end, the band navigate through the best parts of an era that when played well, is sublime.  Any fans of the aforementioned bands/styles will lap Birth Of Joy’s latest release up with joy.


“Get Well” is available here


Band info: facebook

Wednesday, 2 March 2016

New Keepers of The Water Towers - "Infernal Machine" (Album Review)

By: Dominic Walsh
Album Type: Full Length
Date Released: 04/03/2016
Label: Listenable Records



Whilst the tracks are lengthy, the album as a whole does not feel too long. Not once will you find yourself wanting to hit skip. New Keepers of the Water Towers are a hidden gem of a band, mixing the influences of heroes such as Pink Floyd and King Crimson along with modern day prog masters such as Opeth and Steven Wilson is not an easy trick, but New Keepers …pull it off excellently.

“Infernal Machine” CD//DD//LP track listing:
1). The Forever War
2). Tracks Over Carcosa
3). Tachyon Deep
4). Misantropin Kallar
5). Escape Aleph Minor
6). Jorden
7).  This Infernal Machine

The Review:
Sweden’s New Keepers of the Water Towers’ fourth album is another amazingly psychedelic trip through the cosmos. Mixing the influences of heroes such as Pink Floyd and King Crimson along with modern day prog masters such as Opeth and Steven Wilson is not an easy trick, but New Keepers …pull it off excellently.
With seven tracks making up the other worldly opus, “Infernal Machine” has a clutch of epic compositions that twist and turn through an array of landscapes.
Opener, “The Forever War”, is a ten minute plus track that moves from crushing guitars to delicate ambient sections whilst retaining an intensely sinister edge throughout. With the band playing slowing in pace and becoming hypnotic and mesmerising, the layers of orchestration on the track make for a rich song that will play with your emotions. The sparse solos that breaks out towards the end of the track is uneasy and spine tingling and leads to a Steven Wilson-esque instrumental outro.
With such a mammoth opening, you have to strap yourself back in. “Tracks Over Carcosa” sees the band return to a more rigid formation in their delivery. The space rock style baseline that adorns the opening pulsates throughout the instrumental track with more electronic motifs employed, along with a musical aura that could play out over a Ridley Scott sci-fi epic! “Escape Aleph Minor” repeats many of these styles, but the solo work feels a lot warmer and you can hear a David Gilmour influence in the playing before a return to the colder style used in “The Forever War”. The grim sounding piano in “Escape Aleph Minor” also shows the talent amongst the ranks of New Keepers of the Water Towers.
“Tachyon Deep” ramps up the Pink Floyd influence with a nod to their 1969 collection; “A Saucerful of Secrets”. An undulating drum rhythm, that like its predecessors bass line, repeats ad infinitum throughout the track. Again, the extra layers to the music are captivating. Some post-rock guitar work takes the track to its close. The guitar styles change again on the penultimate track, “Jorden”. The guitar work is particularly heavy; the heaviest on the album. The tempo is doom ridden. The slow crashes of drums and guitar are devastating. Masterfully though, the band still pull out their sound to a place of beauty. The title track closes the album. Again, another monumental track that is instrumental. When the music speaks to you so much, you don’t need lyrics to tell the story. The multi-layered approach of the band is a joy to behold.
To get the full sonic experience of the album, you need to afford “Infernal Machine time”. Preferably with headphones on, and no distractions. Whilst the tracks are lengthy, the album as a whole does not feel too long. Not once will you find yourself wanting to hit skip. New Keepers of the Water Towers are a hidden gem of a band. Hopefully they will find time to stop off in England and treat us to their genre mashing collection of psychedelia.

“Infernal Machine” is available here

Band info: facebook

Thursday, 17 September 2015

Live Review: The Sword / Hang The Bastard @ Manchester Academy 3, UK. 16/09/2015

By: Dominic Walsh




The Review:


Just into their second decade as a band, The Sword are currently touring in support of their superb new album; ‘High Country’. Hailing from Austin, Texas, The Sword have a stellar back catalogue behind them.



Prior to The Sword hitting the stage, Hang The Bastard provided support. The London based band ripped through a red hot thirty minute set to a gathering crowd with their collective heads banging in unison. Their sludge driven riffs spliced with largely black metal vocals gradually got more and more heads nodding and banging. The between tracks raft of feedback meant that cried appreciation was largely saved for the end.



The PA tracks that sound tracked the void between the bands ranged from Sly and The Family Stone, to The Band, to Boston. This more chilled out mood that the backing music brought fits in line with The Sword's latest opus. ‘High Country’ feels a little less heavy than some of the bands previous efforts, however this didn't show in the crushing performance The Sword bestowed on Manchester. The Academy 3 is a great venue to see bands. It's small, compact, and the sound is pretty decent in my opinion. All these factors worked in The Sword’s favour.



Taking the stage to a strange mix of Glenn Frey's ‘The Heat Is On’, and ‘Unicorn Farm’ from ‘High Country,’ the band tore through a couple of early crowd pleasers in the form of 'Tres Brujas' and 'Cloak of Feathers.'  Newer tracks, of which there were plenty throughout the set (and rightly so!), sat well with the bands older and frankly harder material. 'The Dreamthieves' bluesy 'Free' feel sums up where The Sword are as a band in 2015. The classic hard rock feel with bags of swagger and groove that hark back to the 70's when Kossoff, Lynott and Bonham inhabited our planet. 'Early Snow' and 'Mist & Shadow' also showcase the kind of blues/hard rock that The Sword are masters of.



If some of the newer material is unfamiliar to the masses, ‘Freya’ is a stonewall classic. All of their trademarks adorn every second of the track and the crowd popped for this quite superb slab of heavy rock. Another classic in the form of 'Maiden, Mother & Crone' also had the crowd lapping up every razor sharp riff and crashing beat.  ‘Dying Earth’, from 2012's ‘Apocryphon’, closed out the main set with some tremendous twin/duelling guitar work. The crash and combustable combination of the riff and drums on ‘Dying Earth’ is immensely powerful on record; the live version just compounds this. Simply stunning.


As the band exited the stage to an exultant crowd, it was clear the band and the crowd were not done. A loud audience during the encore break led to the band returning for a two song encore consisting of new instrumental, ‘Suffer No Fools’, before an almighty rendition of 'Arrows in the Dark' from 2010's ‘Warp Riders’.


As mutual appreciation via the raising of glasses ended the night, The Sword proved once again that they are a stellar band who are going to be around for a long time, especially with how the band have, and continue to evolve their sound.


The Sword Setlist Manchester Academy 3, Manchester, England 2015

Thursday, 27 August 2015

Limb - 'Terminal' (Album Review)

By: Dominic Walsh

Album Type: Full Length
Date Released: 11/09/2015
Label: New Heavy Sounds


All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album

‘Terminal’ CD//DD//LP track listing:

1). Three Snake Leaves
2). Ghost Dance
3). Micromegas
4). Dawn Raiders
5). Spoils of a Portrait King
6). Down By The Banks
7). Sleepwalkers
8). Mortuary Teeth
9). Cocytus

Limb is

Rob Hoey | Vocals
Sam Cooper | Bass
Tom Mowforth | Drums
Pat Pask | Guitar

The Review:

My first exposure to Limb came when they were main support to New Heavy Sound label mates, Black Moth last year. I was instantly enamoured by them and subsequently ensured I was the owner of their superb, self titled, debut opus (on a lovely slab of green and black wax). I included it in my list of picks for 2014 at The Sludgelord, and then sought about waiting for a new record. That new record comes by the name ‘Terminal’.

Immediately, ‘Terminal’ sounds slicker, groovier, more polished...but ultimately,  just as heavy. Whilst the record's track listing suggests an opening trio of songs, the whole 8 minutes of music flows seamlessly and magnificently. ‘Micromegas' lead guitar riff is an air guitar dream and the middle section of the track sounds as expansive as the imagery captured in the cover art for the album. The opening of ‘Dawn Raiders’ has a Beastie Boy's ‘Sabotage’ feel to it before a straight up rock track ensues. ‘Down By The Banks’ rocks hard with some vociferous drumming driving the track. Whilst dealing with primarily sludgy grooves, ‘Mortuary Teeth’ has a much harsher, almost grind feel for its snappy 2 minute duration. The maniacal vocal delivery is a snarling success. ‘Spoils of a Portrait King’ has some utterly despairing doom moments too; the strings on Limb's heavy bow are many!

The band close out the record with the near nine minute ‘Cocytus’. The groove is tight and solid. The haunting, chanted vocals over the monotonous and chugging riff that accompanies the closing strains show that the band is not afraid to expand and be playful with their brand of heaviness. ‘Cocytus’ is a towering and epic ending to a superb album. All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album.

‘Terminal’ is available here




Band info: Facebook | BandCamp