ALBUM REVIEW: Iron Void, "IV"

By: Richard Maw
 
Album Type: Full Length
Date Released: 27/01/2023
Label: Shadow Kingdom Records

 
“IV” CS//CD//DD//LP track listing:
 
1). Call of the Void
2). Grave Dance
3). Living on The Earth
4). Pandora’s Box
5). Blind Dead
6). She
7). Lords of This Wasteland
8). Slave One
9). Last Rites
 
The Review:

The UK’s finest exponents of trad doom return with this- their fourth (!) album. Since the last record, “Excalibur”, there has been a change of personnel- with yours truly bowing out due to family commitments and the eminently capable Scott Naylor joining the band. Sealey and Steve Wilson are still in place, so the dual vocal attack remains along with that rumbling bass and intricate solo guitar work fans of the band are familiar with.
 
This time around, there are no overarching concepts, no knights, no swords- but there are some recurring themes. The atmosphere setting guitar intro of “Call Of The Void” sets things up for a chilling doom experience, rooted often at street level rather than high fantasy.
 
The excellent “Grave Dance” is the first song proper and it is a belter. The lolloping triplet time feel coalesces into a highly critical barb against… well, I’ll let you have a listen and make up your mind about what the conspiracy of silence and lust for power while another wave comes is! Whatever your views on civil liberties, the last couple of years and/or the powers that be, this is a superb track. Wilson’s vocals and riffing are excellent. Iron Void are BACK.
 
From there, the record retains a street level and real-world approach for the most part. Sealey takes the lead vocals for the catchy and groovesome “Pandora’s Box”. The beefy mix courtesy of Chris Fielding allows these straightforward compositions to shine; it’s a great sound and that Skyhammer/Foal Studios sound is hugely weighty. The drums in particular sound massive. Good variety from Naylor on the kit and nice phrasing through the transitional fills. As a track, it wouldn’t be out of place on an Orange Goblin album- something of a throwback to some of the material on “Doomsday” in some ways.
 
Things get heavier with “Blind Dead” as the band sow down to a crawl. It’s the kind of occult/arcane track that the band do so well- souls, rituals, blasphemy… Templars! It’s all here. Fantastic. I can see this one being a live favourite with its slick changes in the middle and strong refrain. Also: bass wah!
The band have gone for a good variety and breadth of material on this album- it’s by no means one paced and features some excellent dynamics on “She”, along with a surprisingly catchy hook. The track is kind of a distant cousin of “The Devil’s Daughter” and is a really welcome change of vibe. Naturally, the cleaner guitars don’t last forever and there is some serious weight in the middle with some enjoyable guitar work before the original approach returns.
 
As the record progresses through “Lords of the Wasteland”, many doom fans may have this as a possible doom album of the year contender. It’s riffy, varied, well put together in all aspects and doesn’t outstay its welcome. In terms of trad doom, the old guard are going or gone- Pentagram? Saint Vitus? Trouble? They are now, for the most part, bands of the past. Cathedral are gone. Count Raven are still around, but Iron Void are possibly successors to all the bands listed. They’ve got a unique and identifiable sound, well written songs and well produced records. The crown is there for them, surely.
 
“Slave One” is another album highlight- again, thematically it’s in keeping with other musings on the album- despite utilising a kind of science fiction motif… or is it science fact?! It is viciously delivered, certainly.  It’ll get heads banging and its cautionary tale of robot death for you and I feels, at the least, prescient and plausible. It’s Sealey’s best vocal performance on the record, I think- with real venom and spite in the delivery.
 
The record concludes with “Last Rites”- a romp through the doom graveyard of quiet and loud dynamics and with that the band is over and out.  Overall, “IV” is the record the band needed to make: straightforward but varied, heavy but with lighter elements here and there. This is excellent doom metal and stands shoulder to shoulder with the band’s other albums. Support the underground, support real bands and support real doom metal. Buy this album!

“IV” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Haunt, "Mind Freeze"

By: Andrew Davie

Album Type: Full Length
Date Released: 06/01/2020
Label: Shadow Kingdom Records

“Mind Freeze” CS//CD//DD//LP track listing:

1. ‘Light The Beacon’

2. ‘Hearts On Fire’

3. ‘Mind Freeze’

4. ‘Divide And Conquer’

5. ‘Saviors Of Man’

6. ‘Fight Or Flight’

7. ‘Have No Fear’

8. ‘On The Stage’

9. ‘Voyager’

The Review:

Haunt began in 2017 as a solo project of musician Trevor Church. Initially, Church played guitar, drums, bass, recorded, and distributed Haunt’s debut EP “Luminous Eyes”. However, it’s grown into a full-fledged band with a lineup that includes Church on guitar and vocals, John Tucker on guitar, Taylor Hollman on bass, and Daniel “Wolfy” Wilson on drums. Haunt’s latest album, “Mind Freeze”, is distributed by Shadow Kingdom Records. 

Church, a multi-instrumentalist, is no stranger to metal. He played bass for the band Inside the Sun, drums for Worship of Keres, and sang for Wolf Ghost. Aside from fronting Haunt, he currently plays bass for Hysteria and doubles as the guitarist and vocalist for Beastmaker. Similarly, he records and distributes music under his own banner Church Recordings. Prolific in his output, Church put out 4 EP’s with Beastmaker, and 1 LP with Haunt in 2018. Haunt has also put out 2 EP’s and 3 LP’s since its inception.

While many of Church’s other bands have more of a doom vibe, Haunt has more NWOBHM influences, and would fit in nicely on a bill that included early Iron Maiden, and 80s era Judas Priest. 

The musicianship is stellar which results in tremendous guitar harmonies between Church and Tucker. Tracks like “Light the Beacon” and “Have No Fear” are melodic throwbacks which include aspects of prog rock such as great use of synth accompaniments. Other tracks like “Mind Freeze” and “Divide and Conquer” hit you at breakneck speed. The arrangements are complex and result in multiple time signature changes which gives the band plenty of chances to demonstrate their musical chops. Haunt has picked up the torch for thrash and run with it. The album uses all the building blocks to construct an excellent installment in the genre. If you are a fan of early thrash, this album is for you. 

“Mind Freeze” is available HERE

Band info: bandcamp || facebook

REVIEW: Beastmaker, "Eye of the Storm" (EP)

By: Richard Maw

Album Type: EP
Date Released: 22/02/2019
Label: Shadow Kingdom Records

“Eye of The Storm” CD//DD//LP track listing:

1). Eye of the Storm

2). Shadows

3). My Only Wish

4). Celestial Glow

The Review: 

Another four track EP from these Californian denizens of doom. Since flying Rise Above's nest for creative control and a much busier release schedule, Trevor William Church and friends have worked hard to put out a lot of new music. Haunt (Church's other band) may be making a lot of waves these days, deservedly so, but I think Beastmaker are the better of the two bands. 

Truthfully, there is a lot of Pagan Altar/Witchfinder General/Angel Witch et al present here- just as there is in Haunt's output- but that does not dilute the power here at all. The title track comes across like Cauldron slowing down and playing doom, whilst “Shadows” sounds as British as can be- to hear it is to recognise a band seemingly straight out of Birmingham, not sunny California. 

“Eye of the Storm” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Pale Divine, "Pale Divine"

By: Richard Maw


Album Type: Full Length

Date Released: 23/11/2018

Label: Shadow Kingdom Records

 

Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.

 

“Pale Divine” CD//CS//DD//LP track listing:

1. Spinning Wheel
2. Bleeding Soul
3. Chemical Decline
4. So Low
5. Curse the Shadows
6. Shades of Blue
7. Silver tongue
8. Ship of Fools

The Review

Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Trouble and throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.

The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Man conjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbath circa “Vol. 4” would be proud of.

The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.

With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue” extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.

If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.

The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conan and Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.

“Pale Divine” is available HERE

Band info: facebook

REVIEW: Speedclaw, "Beast In The Mist"

By: Richard Maw

Album Type: Full Length

Date Released: 01/06/2018

Label: Shadow Kingdom Records

The sound over the six tracks comes on like a revved up version of early Saxon and Dio crossed with “Fistful of Metal” era Anthrax and “Bonded By Blood” era Exodus. The production is 80's to the max, the performances strong and the band sound hungry and dangerous

“Beast In The Mist” CS//CD//DD//LP track listing:

1). Prelude

2). Beast in the Mist

3). Faster Than Hell

4). Rising of the Claw

5). Aggression Strikes

6). Evil That You See

The Review:

Croatian Speed Metal! Speedclaw are probably Croatia's finest exponent of the genre... and maybe one of the best in the world. The sound over the six tracks comes on like a revved up version of early Saxon and Dio crossed with “Fistful of Metal” era Anthrax and “Bonded By Blood” era Exodus. The production is 80's to the max, the performances strong and the band sound hungry and dangerous. The instrumental “Prelude” opens proceedings before the title track rips out of the speakers with a vengeance. “Faster Than Hell” lives up to the title's promise. Widdly lead work abounds as riffs come thick and fast.

The latter three tracks deliver more of the same- pleasingly- and the band don't let up. Ranger have got some serious competition here as this is pure metal of the highest quality; nostalgic, referencing what went before and the band makes sure to put their own stamp on things. If anything, “Rising of the Claw” and “Aggression Strikes” go closer towards out and out extreme thrash metal, but that is no bad thing. Better to press the pedal to the metal than ease off down the back stretch!

The impressive EP/mini album closes with “Evil That You See”, which sees the NWOBHM influences come back to the fore. The name of the band tells you almost all you need to know here. Surely a candidate for a Fenriz endorsement (if he hasn't done so already) and high time the band gets offered a slot at Live Evil in London. Raging stuff.

“Beast In The Mist” is available here

Band info: facebook

ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” CS//CD//DD//LP track listing:

1). Dragon’s Breath

2). The Coming of a King

3). Lancelot of the Lake

4). Forbidden Love

5). Enemy Within

6). The Grail Quest

7). A Dream to Some, A Nightmare to Others

8). The Death of Arthur

9). Avalon

The Review:

Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow Kingdom Records will issue the European vinyl of "Excalibur," Iron Void's Arthurian themed nine-song release tracking at just over 45 minutes.

Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath," Iron Void is inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.

Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.

In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagram and the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” is available here

Band info: bandcamp || facebook

REVIEW: Haunt - "Luminous Eyes" [EP]

By: Richard Maw

Album Type: EP

Date Released: 28/01/2018

Label: Shadow Kingdom Records

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” CD//CS//DD//LP

1). Luminous Eyes

2). As Fire Burns

3). No Master

4). Fallen Star

The Review:

Haunt are brought to you by Trevor William Church of Beastmaker fame. This is four tracks of pure NWOBHM (or should that be NWOTHM?!) worship. Expect traditional sounds; solos, raw sounding drums, galloping rhythms and also a fair amount of melancholy. Pitched somewhere between Maiden and Angel Witch, this is straight up heavy metal. The title track is rather slow burning and thoughtful but things heat up appropriately with “As Fire Burns”. The track rocks hard and features a kind of revved up Witchfinder General vibe paired with a victory /vengeance-shall-be-mine theme. Killer.

The quality and energy level is kept right up there with “No Master”, which features the type of riffage which, had this been made by a band in 1981 from, say, Newcastle, would have inspired  Metallica to cover it many years later. The EP closes with the grandiose sounding “Fallen Star”- all widdly leads and riffs, coupled with the loping gallop that the EP exhibits at various times throughout.

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Horrified - "Allure of the Fallen"

By: Richard Maw

Album Type: Full Length

Date Released: 29/09/2017

Label: Shadow Kingdom Records

Over its six tracks, “Allure of The Fallen” proves itself to be a record of originality and darkness- a most unusual record to fall under the death metal genre banner and one that is sure to have listeners converted to the band's sound and style.

“Allure of The Fallen”CD//DD//LP track listing:

1. Allure Of The Fallen
2. Light’s Dissolution
3. The Perceiver
4. Unanswered
5. Shorn
6. The Promise Of Solace

The Review:

Newcastle's Horrified return with another full blooded slice of epic death, mixed with blackened melodies. The band have quite a work rate, being as this full length comes only a year after the last. Now on the stronghold label of all things metal, Shadow Kingdom, the band are able to capitalise on their hard work with proper distribution and promotion. Six tracks, with only one dipping below six minutes means that each song covers a lot of ground. The opening title track sets the tone and I have to say, I liked it immediately. It's dark and deadly with some spiked melodies in the guitar work.

This is not a brutal “never-ending-blast-beat” type album; rather it is an exercise in dynamics and atmosphere as much as an exercise in extremity. “Light's Dissolution”, in all honesty, would fit into any Dissection album you can care to name and the band alternate tempos and riffs with superb dexterity. By the time of “The Perceiver”, the album template is set: roaming bass work, surprisingly effective guitar melodies and solid drumming in the old school style. The vocals of Daniel Alderson fit into the “howl from the depths of a cave” variety and work very well- reverb drenched and set not too high in the mix.

Some clean and dark guitar tones start off “Unanswered” as the band experiment with mood (still as black as pitch, mind) and texture. Make no mistake, this is not death metal in the Florida or even Swedish style, but is instead an amalgum of the darker sounds of death and black metal from the previous 30 or so years of the genres. Likewise, “Shorn” switches gears and pace downwards for a sub six minutes slow trawl of unchartered waters.

The poetically titled “The Promise of Solace” closes the record with close to ten minutes of bleakness; grinding riffage, some unusual tempos and anguished vocals are the order of the day here. Over its six tracks, “Allure of The Fallen” proves itself to be a record of originality and darkness- a most unusual record to fall under the death metal genre banner and one that is sure to have listeners converted to the band's sound and style.

“Allure of the Fallen” is available here

Band info: bandcamp || facebook

INTERVIEW: "Descend into the Allure of Despair" - Amped & Doomed with Dan Alderson (Horrified)

As with all genres, the popularity of bands that are influential shifts as time goes on. Amongst the more underground death metal bands, the primary influential bands have been comprised of two main camps in recent years. On one side there is early Incantation and Autopsy and on the other is Dismember and Entombed. On the Incantation/Autopsy side, we have bands like Father Befouled, Ignivomous, and Dead Congregation. On the Dismember/Entombed side we have bands such as Black Breath, Miasmal, and Entrails. Those two camps have dominated the more old school-minded of the last several years.

A few years back, a new camp began to develop with a new set of influences. Specifically, Asphyx and Death, with the Death influence tending to come from the pre-‘Individual Thought Patterns’ era.  Two of the best albums of 2014 and featuring these influences were from Morbus Chron and Horrendous, along with several others. Indeed Horrified were one such band and they emerged with their debut album ‘Descent Into Putridity’ featuring similar influences, whilst also making use of the Sunlight Studios sound of Dismember. The focus of this debut album was on the uglier, simpler side of things as compared to Horrendous’ more melodic approach. It made for an enjoyable album but one that was not without its flaws, but with a nicely varied song writing style already in place, the future looked bright for Horrified. 

On their sophomore album ‘Of Despair’, they retained elements of what worked on their debut, but broadened their horizons considerably. Whilst they were very clearly still a death metal band, with a similar tempo to their previous material, the guitars on “Of Despair” took a more melodic turn and while the straightforward death metal moments on the album were  very good, it was  moments of downtempo grandiosity that separated Horrified from other modern day death metal bands.

Today will see the release of the highly anticipated third album from Horrified, “Allure of the Fallen” a work of towering, melodic death metal majesty.  To celebrate this release we offer this exclusive interview with main man Dan Alderson, who talks us through his influences and everything else in between, as we get AMPED & DOOMED with one of death metal’s rising stars. 

Can you give us an insight into how you started playing music, leading up to the formation of Horrified

I actually started playing music by picking up the Bass guitar when I was still in high school. All of my friends were getting into rock and getting their first instruments so I kind of followed suite. The bass didn't last long and I acquired my first guitar from one of my close friends and started taking it seriously as a teenager. I ended up going on to study music at college after high school, in my second year of college I finally met other capable musicians playing metal and started playing in bands.

Can you remember who are what inspired you to pick up the guitar and are there any bands, guitarists, musicians currently on the scene that continue to inspire you and push you to try new things?

Well back in those formative pre metal days classic choices such as Hendrix and Jimmy Paige really did make me to pick up the guitar and try to get some good lead chops down. The first metal album I ever heard was Megadeth's "Rust In Peace" album, which I discovered by one of my best friends sending me "Holy Wars.." via MSN messenger around 11 years ago now. I think looking back in hindsight the reason why I loved Dave's playing so much was down to him taking those classic pentatonic licks / runs and playing them at pretty insane speeds. I would honestly say that I owe a lot of my lead chops down to Alexi from Children of Bodom, when I was becoming more advanced in college, I really did challenge myself to start learning his leads, which lead me on to search out lessons and advice from other players to actually learn how to sweep pick and such in order to progress.

Ultimately my favourite lead players of all time are Andres Rain and Olaf Thörsen from Labyrinth, the lead playing on "Return To Heaven Denied" for me is simply unmatched and I often still jam lead sections from tracks such as "Moonlight" and "Night of Dreams" in order to keep my lead playing up to scratch and inspiring me to still focus on lead playing, which really does have to come second to songwriting now.

Whilst we’re on the subject of inspiration or heroes, do you have 5 records that stand out as favourites, what influence did they have upon you and what is it about those record that particular resonates amongst others?

This is going to be a long answer, as I love talking about albums close to me, here goes:

Edge of Sanity – “Crimson II”

This for me is my ultimate album, my greatest inspiration. Not only does this album inspire me to write music the most out of any album I've heard, but it also helps me push on through life during hard times. The entire album is incredible from start to finish but those highly layered, intense melodic parts stand out the most and has really made me push my song writing to layer up a lot of sections and build on themes in order to strive for really epic and tight arrangements for Horrified. This album really does captivate my imagination and create an emotive response unlike anything else.

Caladan Brood – “Echoes of Battle”

The album which made me read "The Malazan Book Of The Fallen" I wasn't prepared for the impact that series would have on my life in general and the inspiration it gives me. But back to the album itself, again, it's all about those dense, heavily layered sections which really do define the term "epic". This album manages to encapsulate the feeling of a 11k word plus series in a 70 minute run time and that is definitely a huge achievement and an inspiring feat in my opinion. Countless times this album has moved me and still does on every listen; I can assure you this has racked up a pretty insane play count since it was released in 2013.

Horrendous – “Ecydsis”

Oh boy, this album really did follow me through the most difficult and demanding 2 years of my entire life. I have followed this band closely ever since “The Chill”s and started communicating with Damain online via discovering his studio work in the run up for the release of “Ecydsis”. This album was a huge step up from the debut in my opinion and added incredibly sombre, melodic sections to an already melodic, intense death metal style and at the time that was everything I wanted to achieve in music and given to me on a silver plate with this record. This album really did inspire me to improve my own song writing and push on through times of severe adversity in my personal life. For all those reasons stated, this album will always remain close to me.  

Sacramentum – “Far Away From The Sun”

This should be pretty obvious if you have heard "Allure Of The Fallen”. This is the ultimate black metal album for me. The overall intensity from start to finish and melodic atmosphere is unmatched by anything else. The Swedish, melodic black metal movement of the mid 90's is easily my favourite scene overall. But the icy, sombre and nihilistic atmosphere of the riffs, vocals and lyrics hits me the hardest out of the countless gems from that time period.

While Heaven Wept – “Of Empires Forlorn”

Probably one of the saddest albums ever made, it’s hard for me to go into detail what makes this such an important record for me without going into very personal details. Musically an inspiration and a very relatable record in every way for me.   

Can remember your first electric guitar?

Yeah, it was an entry level Washburn guitar included in one of those beginner packs to get you started. I mentioned it in an earlier question, but by that time it was a pretty beat up guitar with a very high action. I ended up getting my first decent guitar the Xmas of that year.

What guitar(s) are you using today and how did you gravitate towards the guitar you currently use?

I'm currently using an Ibanez ICT 700 or "The Iceman". I played one of these on a music trip to a gear convention in college, pretty expensive guitar at the time though. So my first guitar close to the high end spectrum was a Jackson DK2M, which I used for countless shows and tracked guitar parts for quite a few releases with. Both guitars are actually discontinued, around 9 months ago now I really, really wanted another guitar with a fixed bridge and also a little more high end than the Jackson. I ended up scoring my Iceman for around retail price used and it now serves as my main axe. I would always remember playing that iceman at the sounds live in college and knew I had to get one, one day.

What do you like about the guitars you currently use and has there been any specific modifications to it?

“The Iceman” has a neck thru neck and a string thru bridge, the sustain is insane and the Dimarzio pick ups are incredibly high end. The action is very, very low and it’s an overall joy to play. The guitar has not been modded at all. 

What amps and pedals do you currently use? Do you use a combination of amps, or a full half stack? Talk us through your set up both in the studio and in the live environment?

I use an ENGL Powerball II - 100watt tube amp for live's, this will go into a 4x12 at any venue we play.. The tone is incredible and I just play it direct in with no pedals. Obviously Horrified had a history of being a HM2 using band and I have a Japanese model HM2 I used to use all the time, but it's currently out of action at the moment. I don't really have much of a studio set up (Oddly enough even though I have a music production degree) Guitars for releases I write and play on are tracked dry with my interface for reamping purposes later in the mix phase

What are your amp/ pedal settings?

On the ENGL I use something close to this:

Gain - 7
Bass - 6
Mid (boosted) - 5
Treble - 7/7.5
Presence - 6/7

What tunings do you use and why, and as a result is there a specific brand / gauge of string you prefer ?

I have been playing in D standard for years and using 10 gauge strings for a very long time. A lot of people poke fun at how light gauge strings I use but I much prefer playing a lighter gauge strings. I find it much better for phrases and legato runs in terms of lead playing, as for the reasons for playing in D standard. I just find that it’s a tuning that provides a perfect middle ground in terms of pitch and I also love writing in D Minor. Since Horrified is quite melodic going any lower would be out of the question.

Do you have any advice for up and coming guitars players, bands?

Be patient, put the work in and keep grinding out. 

Do feel there are deeply help misconceptions about being in a band?

A ton, haha. Being in a band isn't touring the road 24/7 and partying. Its hard work, its stressful, there are elongated periods of little to no activity on the live front, its lots of practice, it can be disheartening, frustrating, etc.

Moving on a little then, what can you tell us about any of your current projects, tours, CD's, etc you’re currently promoting, completed and anything else band related we should know about?

The new Horrified album "Allure Of The Fallen" is coming out on Shadow Kingdom Records on September 29th, a release I worked incredibly hard on and I'm very excited for it to be finally coming out! This is the best record Horrified have done to date, we are also working on getting back out on the live front to support the release. With at least one show planned and hopefully gaining interest again from promoters to book us for shows post release. I'm also playing live in Sojourner and our debut live appearance is currently being organised and that may progress into a touring band to. I've also been working on my funeral death side project called Enshroudment. Which I have wrote a three track EP for, we have been practising it in the shadows for around a year and we are about to record the EP and start playing live in the final 1/3 of 2017. So after a pretty tough year of inactivity and hard work in regards to making "Allure Of The Fallen" I'm pretty excited for what the music has in store in the future!  

What springs to mind when you think about the completion of your upcoming record and how is the mood in the camp at present?

Excitement and maybe some nervous anticipation. We are all very eager to push the new album hard and start playing again, it’s been a long and at times tough journey. But now things are finally coming to fruition... 

What can fans look forward to from you over the next 12 months? How is your schedule shaping up?

Hopefully a few decent shows for Horrified, it’s long overdue and deserved with this new record I feel. I'm also starting to write material for the fourth album. I want to try and out do “Allure…” and give Shadow Kingdom another epic!

Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Just a thanks for the continued support from THE SLUDGELORD and anyone else out there who has been with us, or will join us with this new record. A lot does go into Horrified and I greatly appreciate all forms of support for the band, cheers all!

The End

Band info: bandcamp || facebook