ALBUM REVIEW: Conjurer, "Mire"

By: Mark Ambrose

Album Type: Full Length

Date Released: 09/03/2018

Label: Holy Roar Records

“Mire” is a laudable achievement in sludge experimentation and to my ears it sounded like the work of veterans at the peak of their powers.

“Mire” CD//DD//LP track listing

1. Choke

2. Hollow

3. Thankless

4. Retch

5. The Mire

6. Of Flesh Weaker Than Ash

7. Hadal

The Review:

Sometimes it pays to go into a piece of art blind – too often the biographical details or personal obsessions of iconic performers, writers, filmmakers or musicians can make every release from a prolific legend feel like another chapter in an ongoing biography.  Or, in another limiting way, you end up playing the comparison game: how much progress has this band/writer/director shown since their last burst of output?  Does it live up to an undisputed classic or just ape its style?  Is this a pandering bit of nostalgia bait or a bold return to form?  It’s another tired, fill in the blank method for quick, lazy criticism that ticks off the right boxes (prior knowledge, fealty to popular opinion, an obsessive attention to trivia), but usually doesn’t get into the actual merits or missteps of a particular piece of art.  Impressive debuts are intriguing but difficult for this very reason – is this artist a flash in the pan or a budding genius?  Does that even matter?  In the game of genre gatekeeping, making the “right call” on someone seems to be the coin of the realm.

Thankfully, when I threw on Conjurer’s debut “Mire”, I wasn’t bogged down by all this bullshit.  Knowing nothing about the band, I assumed it was a second or third major release – the level of confident songwriting, bold choices, and what feels like a carefully honed “Conjurer style” is so atypical of a full-length debut, I could have sworn this was a group into its second decade as a band.  From the first track, “Choke”, Conjurer establishes itself as a group that could lay down competent, crackling sludge and probably stand out among the crowd.  But then they throw in some nasty groove riffs, galloping drums, dual register high and low harsh vocals, and a measure of post-rock twang.  Guitar duo Nightingale and Deeprose trade off chugging rhythms with soaring leads, and on “Hollow”, introduce clean vocals that recall some of the best in 2000s post-hardcore.

“Thankless” pays further homage to post-hardcore, math, and borderline grind metal technicality.  A bass-driven interlude highlights bassist Conor Marshall’s considerable bass chops; there aren’t any wonky pedal modulations on here, just clean, precise groove.  My only caveat here is a somewhat flabby post-rock midsection that is initially atmospheric, but had me craving more of the brutality Conjurer invokes so well.  “Retch” and “The Mire” answered my prayers, ricocheting between blasts and grooves that attest to Jan Krause’s status as percussive deity.  “Of Flesh Weaker than Ash” is a return to classic sludge perfection riding on palm muted guitar harmonies and pornographically filthy guitar tone.  Closer “Hadal” is another “classic sludge” cut – a restrained wallow in hypnotic, minimalist misery that just hints at fat, bluesy riffing.

Whether or not Conjurer make a “compelling follow-up”, establish a headliner-level career, etc., “Mire” is a laudable achievement in sludge experimentation.  To my ears, obviously, it sounded like the work of veterans at the peak of their powers.  But as a debut, I do hope there are new soundscapes and amalgams for Conjurer to forge.  They more than promise excellence – they deliver.

“Mire” is available here

Band info: facebook || bandcamp

ALBUM REVIEW: Monolith Cult - "Gospel of Despair"

By: Richard Maw

Album Type: Full Length

Date Released: 17/11/2017

Label: Transcending Records

Monolith Cult have turned in seven tracks of downbeat and downtrodden delight.

“Gospel of Despair” CD//DD track listing:

1). Disconnection Syndrome

2). The Gospel of Despair

3). Kings of All That’s Lost

4). Chothia in Memorium

5). Sympathy for the Living

6). Complicit in Your Own Abuse

7). Death Means Nothing

The Review:

Very heavy doom from Bradford, West Yorkshire, Northern England. Well, I guess you are not going to be too cheery if you live there, so why not translate that despair into some top of the range doom metal? Monolith Cult have done just that, turning in seven tracks (well six and an interlude) of downbeat and downtrodden delight.

The opener, “Disconnection Syndrome”, swings a fair bit more than might be expected, but the material is still as heavy as lead. The title track goes down the same path- very heavy, surprisingly groovy and thick with, as the band say, “The Gospel of Despair”. There is no small amount of Paradise Lost to be heard at certain points of the album- “Kings Of All That's Lost” being a good example of tar thick depressive doom favoured by men of metal from Yorkshire. The band don't put a foot wrong over the latter half of the record either- “Sympathy For The Living” has a nice line in time changes and riffs, whilst the vocal performance of Bry Outlaw ("it's my real fucking name") is a great example of doom melodrama.

The final two tracks are the heaviest- “Complicit In Your Own Abuse” is a fantastic eight minutes.  “Death Means Nothing” is as downcast as you would expect. If failure is not an option, but all you've ever known: this album is for you. We're all doomed and Monolith Cult are providing the ultimate soundtrack.

“Gospel of Despair” is available here

Band info: facebook

ALBUM REVIEW: Drunk In Hell - "Drunk In Hell"

By: Charlie Butler

Album Type: Full Length

Date Released: 12/10/2017

Label: Burning World Records

Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.

“Drunk In Hell” DD//LP track listing:

1). I’m An Arsehole

2). Sick Sick Sex

3). Bitch Boy

4). I’m Not Laughing

5). Born Sick

6). Chick Flick

7). Gag

8). Walking Abortion

The Review:

It seemed that Drunk In Hell’s debut album was destined to exist only in the realm of myth. Somehow after a gruelling seven year gestation period, the notorious Middlesbrough hellraisers have finally managed to drag this dirty beast into reality.

“I’m An Arsehole” sets out the blueprint for forty minutes of soul-crushing, feedback-soaked monotony. Each track is based around one (occasionally two if you’re really lucky) minimal, knuckle-dragging riffs that the band hammer to breaking point and beyond. Imagine Flipper’s “Generic” pumped up on steroids and ruined on cheap lager and you get a good idea of the kind of punishing dirge Drunk In Hell have to offer. Bish’s belligerent vocals establish a threatening air of constant menace, decipherable enough to discern some of the grotty details of “Sick Sick Sex” and “Bitch Boy” but incoherent enough to leave the complete picture disturbingly vague.

“I’m Not Laughing” provides a twisted adrenaline rush before the second half of the LP sees the band increase the levels of drudgery with grossly compelling results. “Born Sick” is based on a lumbering doom riff that feels like the Melvin’s back catalogue distilled into one shot of pure evil while the ominous rumble of “Gag” heightens the mood of dread.

The eight minutes of “Walking Abortion” brings the album to a close in tense fashion. The track comes across like a weird, tooled-up version of Joy Division’s “She’s Lost Control”, based on an unrelenting drum beat that drives a feeling of increasing desperation and futility reflected in the guitars and vocals. The spell is finally broken by a squalling cloud of feral saxophone that provides a suitably nasty finale.

Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.

“Drunk In Hell” is available here

Band info: facebook

ALBUM REVIEW: Savage Messiah - "Hands Of Fate"

By: Richard Maw

Album Type: Full Length

Date Released: 27/10/2017

Label: Century Media Records

The record is a solid, well written, well produced and expertly played slice of modern heavy metal. The hooks and melodies are there and they are very good, but adrenaline is not a key ingredient any more.

“Hands of Fate” CD//DD//LP track listing:

1. Hands Of Fate

2. Wing And A Prayer

3. Blood Red Road

4. Lay Down Your Arms

5. Solar Corona

6. Eat Your Heart Out

7. Fearless

8. The Last Confession

9. The Crucible

10. Out Of Time

The Review:

Savage Messiah are one of the UK's premier melodic thrash/heavy metal acts and have done considerable business both at home and abroad over the course of their first three albums. From their thrashing debut “Insurrection Rising” to the slightly difficult second album “Plague of Conscience” and then on to the melodic majesty of “The Fateful Dark”, this fourth album comes with considerable expectations attached and is wrapped up in an altogether more “serious” package of artwork and sounds.

Once again, the band has stepped up onto a larger label, once again the ideas are forward thinking and once again the production is very good. The title track is up first and is best described as a mixture of mid period/ latter day Judas Priest and Metallica at their more melodic. As the record progresses, it is clear that the band are now much more firmly in the “heavy metal bracket” and much less in the more underground thrash genre. That is not to say that the album is not heavy- it is; the likes of “Wing and a Prayer” has chugging verse sections, lots of leads but all topped with a slick vocal production and some very catchy soaring choruses.

There are faster tracks here, but no outright barn burners; “Blood Red Road” shows the band can still put the pedal to the metal and also demonstrates that Savage Messiah now inhabit a similar genre to the excellent Absolva- British Heavy Metal as a composite of classic sounds and bands with a very modern twist. The band have gone for the solid ten track album format and as the tracks go by, there is a cohesive feel- even from mid paced stompers like “Lay Down Your Arms” to the speedier melodies “Solar Corona” to the anthemic and pacey “Eat Your Heart Out”- which almost sounds like a classic Def Leppard track until the first riff kicks in.

Make no mistake, this is slick stuff and offers up a kind of composite which bridges NWOBHM sounds and enthusiasm with Priest at their arena conquering height whilst also taking in more modern production techniques and sounds. “Fearless” is almost hard rock- the vocal and chorus could be straight off … well, something a lot more commercial than I would expect. The solo section makes up for this somewhat saccharine turn, though.

There is nothing over five minutes on this album, which is quite telling in regards to where the band are aiming for and where they are heading. The quasi-ballad “Last Confession” drops the tempo but does not extend the playing time, opting instead for an anthemic chorus and a quiet/loud dynamic. The final two tracks of the album appealed to me a lot more- “The Crucible” is one of the heavier tracks on the album with a solid riff and commercial leanings kept to a minimum, while “Out of Time” provides a darkly atmospheric finish to this  intriguing record.

Overall, then we can conclude: Savage Messiah are a thrash band no longer and that style has not been pursued here. The band are making a play for commercial appeal by dialling down the metal imagery and more spiky elements of their sound. The record is a solid, well written, well produced and expertly played slice of modern heavy metal. The hooks and melodies are there and they are very good, but adrenaline is not a key ingredient any more. Having seen the band at Damnation Festival in 2015 (I think) I was converted into a fan over the course of their short set. You would be hard pressed to find many bands doing this style better. If melodic heavy metal is your bag, then definitely check this out- if thrash madness is what you are after, then Kreator, Overkill, Sodom and others have more of what you need.

“Hand of Fate” is available here

Band info: facebook

Live Review: Trudger, Swinelord. The Unicorn, Camden, London, UK. 20/08/2014

Many small bands stop off at The Unicorn on national tours. Its perfectly sized stage can accommodate the usual 5 members with plenty of space for movement, while its well above average sound system makes for quality shows.  Fully aware that the awesome Church Of Fuck band Trudger were playing I was unsure if I was going to make it due to tiredness, but went along anyway to support one of my current favourite bands.

They pulled in a great sized crowd for a Wednesday night. It seemed like a lot of people there were quite familiar with the material as well as people were nodding along and air guitaring to the particularly technical sections.

And really that’s what Trudger is about. It’s the flitterings of technicality amongst the barrage of brutality that make Trudger’s signature sound so recognisable. They perfectly place hard riffs into sludgy guitar work and end up with really solid, moving compositions. The songs progress and build up really well over their duration, while the vocals hold down that rhythmic death metal vibe. Having the secondary vocals over really heavy bits adds that edge to the sometimes-buried low register growl.

Sound wise these guys are probably the best I’ve heard at The Unicorn. A lot of time had obviously been spent perfecting the guitar tones to provide meaty chords with the ability to switch to precise single string work when the time called. The trance inducing sections of feedback and tribal like tom work from the drummer absolutely transported you away from your spot in the audience, a full body experience indeed.

A heavy contrast from the slower paced Trudger, Power Violence quartet Swinelord had the headlining slot of the evening. Made up of the bassist (now on guitar) and singer plus different bassist and drummer, these guys had quite the presence too them.

I have to say, Power Violence and Crust Punk/ Metal are not something I’m too familiar with. I’m all for noisy metal, but when there is no perceivable beat to follow, it all gets a bit lost on me. They seemed to be tight with each other, but it was the kind of tight that comes from vibing off each other as opposed to say, following the drummer. The people in the audience seemed to love it however and a pretty stoney drunk mosh pit started when they got going.

With so many fast transitions of really fast riffage going into heavy doom inspired drawn out sections, the music could be likened to Grindcore but with emphasis on the punk and hardcore side as opposed to the death metal side. The lack of a tight beat to follow just threw me though, especially as we had just watched a band who’s meticulously planned compositions were on the absolute other end of the scale.

All in all though I had a great time at the show. Swinelord were the perfect marriage of fun chaotic music with awesome presence and attitude while Trudger as polar opposites were serene and thought provoking. Thank for reading Y’all!

Words by: Asher G. Alexander.

Live Review : The Haxan Cloak, Neurosis. The Cockpit, Leeds, UK, 3/5/2004

Under the twilight of a hollow arch in the centre of Leeds, UK, tonight is all about Neurosis. Stepping away from the South and playing their first UK shows outside of London in 10yrs, the overwhelming consensus was that Neurosis were compelling and brutally loud during their set at the inaugural Temples fest; decimation by aural drone.

20 yrs or so earlier I witnessed Neurosis for my first and only time. Ironically enough that was in the West of Yorkshire in a club called Rios. Acting as main support to Entombed at the time, Neurosis were likely to have been supporting their breakthrough record ‘Through Silver in Blood’.  Fast forward to the present and with the touring cycle for their current record ‘Honor Found in Decay’ likely to be coming to a close. Tonight is a very rare spectacle and one that may not be repeated for sometime to come. For that reason tonight's gig is very special for a host of different reasons. Upgraded from Leeds Uni. Neurosis on bank holiday weekend is the hottest ticket in town.

Acting as main support, The Haxan Cloak is one man, producing electronic experimental drone. The darkness of the room is met with punishing bass that literally has your body shaking. Feeling like you're in a packed metropolis with the floor rumbling under each gargantuan footstep of Godzilla. The din is cacophonous with waves of ambience enveloping your senses. Sounds and samples that you'd expect to emanate from the page of a Philip K Dick novel. Or even H G Wells’ War of the Worlds. Hell you expect a psychopathic replicant from Blade Runner to appear in the haze of smoke and begin to chase you.

In terms of musicality, The Haxan Cloak kinda reminds me of Pre Millennium Tension era tricky. It's incredibly heavy stuff, your body spasmodically shaking under the tremors of bass. The music affects your senses and almost gets under your skin, creating tension and claustrophobia. This stuff could serve as the accompaniment to an Alien movie. It is stunning stuff and perhaps with an accompanying visual display it would perhaps give the listener more to engage in. Despite this, your mind kinda creates its own visual narrative based upon the sounds and textures. Most of which evoke darkness, like you’re observing the destruction or desolation of humanity.  I can't actually describe the music because I haven't actually heard anything like it. There are pulses of electronica which are delicate, married together with thudding ambience. It really is captivating stuff and unlike anything else I have heard. If you fancy something experimental and left field this is surely some of the most ambitious and mind bending stuff. Electronic ambient drone genius.

It is hard to describe the sense of anticipation for Neurosis, there is rampant fervour building amonsgt the masses present and for me tonight’s gig doesn’t actually feel real somehow. The tension builds until Neurosis unloads into ‘A Sun That Never Sets,’ instantly the drums sound huge, with every detail on record translated perfectly on stage. Steve von Till’s voice is anguished, languid and impassioned. Next up is easily one of my favourites, ‘Locust Star’which is tribalistic, the dueling vocals, the driving bass slides from Dave Edwardson, with his ferocious guttural vocals.  From the outset everything is pitch perfect, in between songs, the electronics and ambience immerses you. Jason Roeder’s drums are huge, the snare cracks, with the drone of guitars engulfing you like a rampant conflagration.  Seriously this is barbaric stuff, and yet the decadence of the ambience transcends you to a spiritual plain, where on a battlefield warriors lay down their arms before the charge begins again with more vicious guitar breaks. Not a layer of sound is missed and it's as if a story from a page has come live and is told through the crunching music. This is night perfect.

Again, Jason Roeder seemingly has 8 arms connecting this tyrannous music together with massive sounding drums. The first song from ‘Honor Found in Decay’, sounds like a classic. Something they have been playing for 20 yrs, Scott Kelly taking the lead vocals for the first time. The music is so graceful and powerful, The Cockpit awash with a maelstrom of anthemic decadence. The heat is overwhelming but the crowd are hypnotised by the juxtaposition of ambience married with the crushing heaviosity. Scott Kelly barking out ‘From the hills’, a front man spewing out his words with vigour and such intensity it makes the hairs on your back stand on end. The music of Neurosis is a journey of peaks and troughs, but you’re always drawn back to the snap of Roeder’s snare. Snapping you out of the trance you have immersed yourself in.

Ultimately Neurosis play music that is dense yet tranquil, but you have to give yourself to the music. Invest in it. Indeed those present are stupefied by the brilliance of the music. It can become plodding but it's never boring because the sloth like pace always leads to a road of ferocity. The tone is often orchestral, elements of electronic soundscapes infusing the clean guitars giving it a spacey and organic feel. A single note of the piano sending a shiver down your back and the reason it all works is that Neurosis are a live band. On record it is tracked live. What you hear has ultimately been committed the same way on record, hence the measured and tight performance.

The magnificence of it all is that the show seemingly goes on for days because the band is so absorbing and you’re completely immersed in the music. It's epic in length but it doesn't feel that way. 90 mins or so into the show, they begin ‘Bleed the Pigs’, by this time it seems like Von Till has been a spectator but his vocal delivery is venomous. Spewing out ‘Bleed the Pigs of Its Life.’ Remarkably Roeder is as fluid at this stage of the set, performing for nearly 90 mins without a break. This guy could perhaps be the best out there. His performance is monumental, and let us not forget Edwardson, his bass booms and at times it feels the roof is going to fall in around you.

Just when you think it can't get any better, Neurosis unleash into ‘The Doorway.’ One of the best things they have produced from arguably their best record to date. Seriously the songs just keep coming, spilling over like an overflow of black sludge. This tune brings the ‘weight,’ the refrain of "Standing in the doorway" is belted out and here I am having walked through a doorway to watch possibly the best live performance I have ever witnessed and I will swear to that under oath in court.  Omnipotent, all-powerful, invincible.  Neurosis reined supreme.   

Words by : Aaron Pickford

For more information :

http://www.neurosis.com/

https://www.facebook.com/officialneurosis

http://www.neurotrecordings.com/ 

Live Review : Sylosis, Manchester Academy 2, UK, 09/04/2014

It doesn’t take a rocket scientist to realize that being in a metal band ‘aint the easiest of occupations. Putting pen to paper and signing a record deal is a highly attainable aspiration for some many bright-eyed musicians the world over; the ones fired by a love of the genre and a determination to turn hobby into breadwinning, but with that signature comes blood, sweat, tears and drama as well as affirming the realization of a lifelong dream.

Reading quartet Sylosis are one band who know all about the hard side of being in a metal band. While touring the US with Trivium and DevilDriver in the autumn of 2013, playing their part in their biggest tour to date, a golden opportunity to convert thousands of new fans and take the band to the next level, they were involved in a serious RV crash. While all of the members survived, they were physically and mentally unable to continue with the tour. No sooner than life had handed the band a route to bigger and better things, it was snatched away from their grasp.

Three members of the band were hospitalized and several days after the crash, mainman Josh Middleton posted a message to their fans which hammered home the implications of the crash, showing people the logistical nightmares that arose as a consequence to the crash. “Aside from the physical issues that prevent us from continuing on with the tour it has also put us in thousands of pounds worth of debt,” read the message. “[This is] due to losing the deposit (and now paying extra) on the RV, damaged trailer, booking new flights home, equipment damage and we're now incurring all kinds of transport/accommodation costs as we make our journey home.” The band’s fortunes had reversed dramatically in a millisecond: From traversing the States with two of the nation’s most well-respected modern metal bands with the world at their feet to having the weight of that world climb incomprehensibly onto their shoulders and drag them down into obscurity and bankruptcy.

“The last thing we want is for people to think we're now cashing in on the accident and taking advantage of people's sympathy, but we need some help right now,” it continued, before releasing details about two new, exclusive shirts the band had launched on their website. “I can't stress enough that we do not intend to exploit the situation,” the band needed money to survive, otherwise they simply couldn’t have carried on.

We can now say, with a pleasing exhalation that lifts the weight from the bands shoulders, that that specific chapter in the band’s history is exactly in; in the past. 18 months later and they find themselves on the road with DevilDriver once more, this time in the UK as main support to the band who are supporting their blistering new record, Winter Kills. It’s funny how the circle of life revolves, but it seems fitting that they are back on the road with one of the band’s that had so cruelly left on that tour. 

With drummer Jay Colios-Terry missing from the tour due to work commitments – the band still have to hold down jobs outside the band to support their musical brainchild – giving further proof of the rocky road that being in a metal band takes you down, the band can reap serious rewards in this tour.

With Bleed From Within drummer, Ali Richardson providing the band’s snarling engine, they were greeted on stage at Manchester Academy 2 like headliners. Instantaneously the crowd became a raging sea of headbanging hair and beards, of beers and horns held likewise aloft. The crash seems to have cemented their place in many a metalhead’s heart as a searing passion tantalized the venue. After all, metalhead’s have always been the outsiders and outsiders root for the underdog. The crash was like fate had shat on the little guy, only for the little guy to fight back and reign supreme. From the unrelenting pounding Fear The World, which packs the groove of Decapitated with the drive of Testament and the harmonies of Kvelertak into one astounding package, to sweep-laden, black metal tinged punch of Empyreal, there was never any doubting of this band’s ability.

Whether or not this tale will have a truly happy ending or not only time will tell, but for now they are firmly embedded in arguably their most promising, adhering chapter so far. Logistical factors will always be a thorn in their side, as they are with most bands out there – even Metallica have their gripes – but Sylosis are on fine form right now and you wouldn’t bank against them truly taking off.

Set list:

Fear The World
Conclusion of an Age
All Is Not Well
Teras
Altered States of Consciousness
Empyreal

Words by : Phil Weller

Live Review : Bast, Dead Existence, Indian, Conan, Electrowerkz, Islington, London, UK, 22/3/2014

The Electrowerkz is a warehouse/lockup type venue just around the back of Angel station. Labyrinthine in layout, it is not the most organic of places to allow fantasy doom to flourish... but nonetheless, that is what happened on Saturday 22^nd March 2014.

Arriving on time to catch Bast's set, I was not let down. Having previously been in the band that was first support to them at the Unicorn, Camden a couple of months back, I very much wanted to see what they could do live- I had to leave early that night to get a train so missed out.

Going on at 7pm did not do them many favours in terms of attendance but those who were there were into it and enjoyed a superbly delivered set of atmospheric blackened/doom/sludge metal. The band played very cohesively, with different band members handling vocals as appropriate. I was particularly impressed with drummer Jon Lee- he played fluidly and mathematically with good phrasing and feel (you can't teach that) he made a basic set up sound much, much bigger. Their forty minutes of allocated time flew by, converting the audience or solidifying any existing links. A class act with an excellent full length out in “Spectres”. Do yourself a favour and check it out.

Sadly, I missed Dead Existence's set as I was interviewing Jon of Conan so I apologetically have to say that I did not see them. I can only say that the venue was filling up and after their set I heard quite a few positive write ups. I'll catch you next time guys.

Indian arrived to the stage late due to, from what I could make out, difficulty with onstage sound. They only ended up doing perhaps 25 minutes, but what minutes they were! Intense, horrific and unpredictable- the band started in an Eyehategod style; lurching into action as if an unstoppable machine was being started up. Having not heard them before, I was converted; the band gave their all and got the room firmly on their side. The Americans delivered a powerful and noisy set of heavy sludge/alt/weirdness. Another 25 minutes would not have been amiss at all!

Finally, Conan took to the stage just after 10pm. The sound was enormous- and crystal clear. Rarely have I heard cymbals so cleanly in a live venue- credit to the front of house sound. Crown Of Talons fairly ripped out of the speakers to a packed and sold out venue. I lurked, as per, at the back to watch the crowd swell to jam-packed proportions as the intro riff rang out. The audience began to move as one. Heads nodded, then banged. Crowd members shouted along as Messrs Davis and Fielding utilised brute force riffage and throat shredding vocals. Fielding seems to have slipped right in to the band's lineup. All three hooded figures cohered as one giant noise machine. More material from “Blood Eagle” followed with devastating results. Jon's claim that the mid tempo stuff seemed to move the crowd more was proved accurate as Foehammer hammered friends and foes alike in the crowd. The bass drums of Paul O'Neill clicked impressively as the band reached a gear that many would have been surprised by only two years ago. The crowd were very into it- there is nothing like a rammed room moving as one organism and that is what happened.

Gravity Chasm was a highlight for me (as it is on “Blood Eagle”) as the groove was deadly and the conviction of the band unshakeable. This is often the key to metal in a live setting: are you convinced? I was. Songs about wizards and warriors may not be your thing, but that wont matter- the band play with a heartfelt honesty and delivered on every level. A good gig can make someone's week, month or even year. Having had a busy and stressful week at work this was the perfect antidote. All others in attendance seemed to agree as people forgot about the hassle of everyday life and rocked out to ideas of victory, magic and might. 

I will be eternally disappointed to have to have left the gig a little early (22.45hrs) to get back to catch a train (the scourge of my gig going, it seems). The gig will not be forgotten in a hurry, though. Powerful and uplifting, Conan reaps souls and improves lives. 

Words by : Richard Maw



Groan - Ride The Snake - EP Review

Groan is a Doom/Stoner Metal Band from Four Corners Of The UK.

The members are:

Mazzereth - Vocals
Mike Pilat - Guitar
Jimmy Beedham - Guitar
Leigh Jones - Bass
Zel Kaute - Drums

Groan have had quite a career in the last 4 years or so. Two critically acclaimed albums from fans and critics alike have seen Groan labelled one of the UK's best Doom/Stoner Metal bands though their sound is very hard to define.

Their last album - The Divine Right Of Kings - impressed the hell out of me when I heard it earlier this year when I bought it. Groan's sound takes the best bits of UK Rock Music from the last 30 years or so and turns it on it's head.

Stoner, Doom, Hard Rock and NWOBHM combine for thunderous hard rocking affair. Groan call their music Doom 'N' Roll and that is an accurate description. Well Groan are back with their excellent new EP - Ride The Snake.

A 5 song hard-rocking affair on for a riff-tastic 25 mins or so. First track - Women Of Doom - opens with a sublime riff that will have you rocking out right away. Mazzereth is channelling his inner Bruce Dickinson persona as his vocals have a similar vibe to that legendary rocker. But this song is all Doom and Stoner Metal riffs wrapped up in one awesome head-banging package.

2nd track - Drug Lord - carries on the superb hard-rocking vibes from Women Of Doom but with a simple but effective singalong chorus to sing along to. Groan manage to combine the best moments of 70s Hard Rock, 80s NWOBHM and modern day Stoner Metal riffs into something down right groovy.

3rd track - Slice Of  That Vibe - is a more intense affair with Groan playing some of the fastest riffs of their career. The band have written more top-notch lyrics to remember so you can sing at your hearts content and not give a FUCK what anyone else thinks. This track has some awesome Thin Lizzy dual guitar worship going on and that is no bad thing in my book!!!

4th track - Blessed Is My Blade - is more of the same awesome riffs that Groan have played throughout this excellent EP. Groan have hit upon the perfect formula of playing crazy insane catchy as fuck riffs. If it aint broke why change a God Damn Thing.

Though the band have left the best track for last. The epic 8:24 minute track - Citadel Of Chaos - that sees Groan expertly combine Doom, Stoner, and NWOBHM riffs that Iron Maiden would be proud to call their own. Well this track does have a certain Iron Maiden vibe to it if they ever decided to go Stoner Metal style.

OK. Ride The Snake is fucking superb. There is no denying that Groan are going to be one of the UK's biggest Doom/Stoner Metal bands in the years to come. I can't wait to see where they go from here.

Brilliant and Highly Recommended.

Thanks to Cat at Southern Cross PR for sending me a copy to review. Ride The Snake will be available to buy from Superhot Records BandCamp Page from 10th December on Digital Download and CD.

Check The Band From Links Below

Facebook
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