ALBUM REVIEW: Ashes of Ares, “Well of Souls”

By: Richard Maw & Nathan Harrison

Album Type: Full Length

Date Released: 09/11/2018

Label: Rock of Angels Records

“Well of Souls” CD//DD track listing:

1. Consuming The Mana
2. The Alien
3. Unworthy
4. Soul Searcher
5. Sun Dragon
6. Transcending
7. Let All Despair
8. In The Darkness
9. Spirit Of Man
10. Time Traveler
11. The God Of War
Bonus Track:
12. You Know My Name

The Review:

Ashes of Ares, for those unaware, is the band formed by Iced Earth alumni Matt Barlow and Freddie Vidales. As such, you could have a fair idea of what to expect; power metal with prog/thrash/trad influences and no small amount of bombast and vocal histrionics. That's not to be flippant either: Matt Barlow may just be the best heavy metal vocalist alive. His range, emotive power and delivery are just awe inspiring. The band's 2013 debut saw the band as a confirmed trio with Van Williams (Nevermore) on drums. Van returns here but as a guest rather than a full time member. His performance is fantastic and he showcases a lot of his trademark off kilter rhythms and polyrhythms as well as a killer sound.

The sound and production is perhaps more epic than the first record- definite prog influences and elements abound. There is straightforward metal, lots of soloing and all around impressive musicianship. There are eleven tracks that make up the main album and a rather unexpected and touching tribute to Chris Cornell in the closing cover of "You Know My Name”.

The first album dealt with themes of justice, punishment, faith and death- due in no small part to Barlow's main career in law enforcement. In many ways, it's good to know that many musicians these days also do real work for a living, just like the rest of us- some, like Barlow, in more demanding jobs than most. It's a credit to him that he has kept making music. It can't be easy.

We thought it appropriate for an album of this depth and complexity to bring some discussion into the mix. Nathan Harrison, vocalist for The Human Condition and MAJOR Barlow fanatic seemed the logical choice. What follows is our take on each track, the state of metal and anything else which seemed to be relevant:

“Consuming the Mana”

RM: The intro made for an interesting start; dramatic, perhaps even overblown with its synthesised orchestration. I can see it being used as an intro tape (or digital equivalent) for the live gigs that I REALLY hope the band play. As soon as the main track kicks in, though... wow. What a sound. Fantastic production and playing. Barlow's vocals are as soaring as ever and he seems to utilise the layering recording technique that he used on some of Iced Earth albums to great effect. I like the drums of Williams as he sounds like no one else- a really technical and individual player.

NH: Overblown certainly isn’t a bad thing and this intro from Jonah Weingarten (who recently made a rather excellent album of cinematic music with Barlow on vocals under the name We Are Sentinels) certainly sets the epic tone for the album.  Every time I press play on something new featuring Matt Barlow, I expect to hear a change to his voice that can only be expected from a singer nearing fifty years old but no – as usual he is powerful and commanding, lungs surely bursting with the emotion, range and iconic power that hasn’t changed one iota since his first release with Iced Earth over 20 years ago.

This track knocks it out of the park in every sense – the layered vocals wind around polyrhythmic drums and a good mix of solid riffing and proggy shredding. It certainly gets the record off to a flying start!

“The Alien”

RM: This is a much more straightforward proposition. No intro, just straight in there with a melodic metal master class. I am going to guess from the drum sound that replacements/electronic kit was used. The drums sound incredible and you can hear the echo of the toms and so on. I have no issue with this for this kind of music; you NEED to hear everything and fortunately the drummer is unique, so this does not become a sterile exercise in perfection. I like this track a lot- it is heavy metal in a very advanced form.

NH: This song veers between the epic and the brutal. Barlow’s highs soar in the background under his earth-rumbling lows, framed by monstrous riffing before heading into a double-kick stampede which can’t help but induce some serious fist-pumping. While it’s not a theme that I can directly identify with, Barlow is undeniably frank and sincere in the way he sings about (what I interpret as) his religious beliefs here.

“The Unworthy”

RM: Now this is a track that sounds like it could have jumped straight off the band's debut! It's dark and heavy and one of the best tracks on the album. Powerful stuff and the use of Barlow's lower register is excellent.

NH: I agree – this definitely has elements of ‘What I Am’ or ‘This Is My Hell’ from album one. It offers more of a focus on Barlow’s vocals than any other track on the album, his lower range sounding like its being pushed through a throat full of razor blades whilst still sounding massive and imposing. My only complaint is that the arrangement of this track (the guitar has a few moments where it is very much at the forefront) does show that the guitar sound isn’t quite as rounded as the first album. It sounds a little too trebly to me, whereas the previous releases’ sound had that attack that cut across whilst still maintaining a bit of weight at the bottom end. An otherwise great track.

“Soul Searcher”

RM: So, here we have the first ballad of the album. Musically, this is close to Iced Earth- and may be an acquired taste for some. For some UK listeners this may seem a little overwrought and a little too earnest; but it is not too far away from Alter Bridgewho are huge over here. For me, one of the cool things about the debut was that the band didn't just deliver ten identikit tracks and they instead covered a fair bit of ground. For me, this is a different side to the band and one that gives the album more dynamic range. Ballads are not to everyone's taste- I know that- but “Soul Searcher” is a well written song and its presence reminds me that those involved in this record are elder statesmen of the metal world; ballads were very much de rigeur on every album I bought when I first got into metal, so this is a nice continuation of that tradition.

NH: Barlow’s emotional range is really on show here – he turns on a dime from hurt and vulnerable to raging and livid. The lyrical content is direct – there’s very little in the way of imagery and metaphor here. This is a simple song about being betrayed by a loved one and it works beautifully. While it is a ballad, it certainly isn’t short on impact. And anyone who, as you say, Richard, is into their more ‘classic’ metal albums won’t feel that this is out of place – what would “Empire” be without ‘Silent Lucidity’? What would “Sad Wings of Destiny” be without ‘Dreamer Deceiver’? This song provides the dynamic range required for an album of this scope and scale.

“Sun Dragon”

RM: Well, if you don't like ballads, don't worry! This one is pure molten metal fury. Sitting somewhere on the Priest-in-their-“Painkiller”-period trajectory, this is as heavy as lead and just as deadly. It's fast and furious and rocks like a bastard. Yes!

NH: Yup, this one is certainly a contrast. Those high notes at the beginning! Fans of a good old fashioned Halford style heavy metal scream will NOT be disappointed by the first few seconds of this one. It certainly is heavy but manages to pack an epic melody into its chorus. A balance like that is difficult to achieve – now they’re just showing off!

“Transcending”

RM: This is equally heavy but with some more dynamics thrown in. Five minutes of metal goodness with some excellent soloing. This is superlative heavy/power metal. Exactly the kind of sound I was looking for from the band.

NH: Again, a slightly doomy sensibility here, but overlayed with furious tub thumping from Van Williams which is then overlayed by equally frenetic picking from Freddie Vidales. Solid as a rock throughout.

“Let All Despair”

RM: Here we have some prime storytelling from Barlow et al. Similar to their Alma mater, this marks the start of a trilogy of songs which link together and form a story arc based around the album's title. Now, as such I wasn't expecting three thrashing metal tracks- I expected a more measured approach that allowed for ebb and flow and changes in emotion. “Let All Despair” delivers exactly that. We are now entering an arena of more involved listening and “concept.” To get the most out of it it needs to be absorbed and listened to... carefully.

NH: This might just be my favourite track on the album – the atmosphere it builds over the course of its five minute running time is just stunning. A similar refrain repeats throughout, but each time there is more there until it reaches a beautiful crescendo before slowly fading away, those layered vocals showing just how effective they can be when paired with the cracking musicianship of the rest of the band. It certainly works as the first part of the trilogy it forms with the following two tracks.

“In The Darkness”

RM: This one sounds how I expected from the title; dark and foreboding. Again, musically it would fit right into the debut but as the central track in a linked trilogy it has to fit with this musical suite. I think it does- it progresses the story of the “Well of Souls” and features really good performances from Barlow and Vidales. I got the impression that they put a lot into these three tracks to make them hang together and progress almost as if the three tracks were one piece.

NH: This track has a fantastic, unrelenting, stomping rhythm to it which mixes perfectly with the lyrical theme of impending and inexorable death and destruction. However, both the vocals and the guitar are given space to be heard and appreciated over this – the drums form the ideal backing for the listener to understand what the song is trying to say. Top notch.

“Spirit of Man”

RM: This one concludes the “Well of Souls”Trilogy and starts off dark- for me, the dark sound of AOA is one of their major plus points. They don't sound like anyone else. Once again- much like Iced Earth- there is no mistaking that this band comes from anywhere other than the US of A. The delivery is serious and no tongues are in cheeks here. UK listeners, used to a more nuanced approach, may find the lack of irony disturbing... but this is metal. Proper metal. It's supposed to be serious and seriously bombastic. As a concluding track for the trilogy this works very well as it finishes the story. However, the pick of the three linked tracks would be “In The Darkness” for me.

NH: Taken together, these three tracks are certainly the stand out part of the album – perhaps a sign that a concept album may be the next logical step for Ashes of Ares? They certainly have the epic sound for it and Barlow has enough storytelling experience from his time with Iced Earth, whose albums almost always have at least an overarching theme if not a full blown concept. Every bit of light and shade that could be expected from a concept album can be found across roughly 15 minutes of music and it is done masterfully. ‘Spirit of Man’ makes for a perfect dénouement, veering from frenetic, almost scatter-gun vocals to a huge chorus leading into a sonically packed conclusion which ends in a suitably abrupt fashion.

“Time Traveller”

RM: This one is pure sci-fi set to power metal. This one could be an example of how to get the genre just right. It's heavy, speedy in places, the vocals soar and offers up a dead-straight hammer blow after the more complex trilogy it follows. Sci-fi and metal go together really well (just ask Blaze Bayley) and this is a great example of how evocative the imagery can be.

NH: That chorus though! Simple but effective would be the best way to sum up both the chorus and the song as a whole. And, yes, sci-fi/fantasy themes will always work with heavy metal – I’ll say it again: concept album please, Matt!

“The God of War”

RM: Barlow and Vidales get things just right here. This is dark, menacing and the perfect closing statement. Again, there are echoes of the debut here and this is masterful metal. The genre does not get much better. Riffs, time changes, multi tracked vocals and a theme that is as universal as it is terrifying. What a track!

NH: Vidales gets his doom on again for the fuzzy intro riff – Barlow’s soft vocals that open up this otherwise pummelling track contrast very nicely. This one is a slow builder – the first minute and fourty-five seconds act as a perfectly menacing prelude to the sonically rich main feature. This is an absolute stand out on an album of wall-to-wall quality.

“You Know My Name”

RM: I liked Chris Cornell (and Soundgarden) and I like Bond films... is this track needed on an Ashes of Ares album? Of course not. Is it a nice tribute? Yes. It is a bonus track; a cover done well, earnestly and is exactly what I expected. It's not out of place exactly, but it never could have been included in the main track list.

NH: When taken as a bonus track, separate from the main thrust of the album this is a good bit of fun – the band rework it enough to make it their own whilst sticking to the original enough for it to be recognisable and maintain the spirit of Chris Cornell. Despite all the praise heaped on Casino Royale as a film, its theme tune is not often mentioned when discussions of Bond music arise. For me this is the joint best Bond theme (alongside A-ha’s‘The Living Daylights’ – shhhh, it’s our little secret) so it’s good to see such great musicians giving it some attention. Also, it’s refreshing to hear a Cornell tribute that isn’t a tear-inducing version of ‘Black Hole Sun’ – this celebrates his life and work in a more fun way. A good choice all round.

...And there you have it. This record is sure to be one of the best metal releases of this year. Ashes of Ares have kept to the lofty standards of their first record and delivered another tour de force.  I've run out of superlatives to describe the musicianship on display here. We can only hope for live shows and await with interest who will fill out the live line up. This album is for all fans of true heavy metal. Outstanding.

“Well of Souls” is available for preorder HERE

Band info: facebook

ALBUM REVIEW: Cauldron, "New Gods"

By: Richard Maw

Album Type: Full Length

Date Released: 07/09/2018

Label: The End Records

If you want melodic traditional heavy metal with a penchant for hard rock sensibilities, there are few bands better and you won't hear a better album of that style than this one released in 2018.

“New Gods” CD//DD//LP track listing:

1. Prisoner of the Past
2. Letting Go
3. No Longer
4. Save the Truth – Syracuse
5. Never Be Found
6. Drown
7. Together as None
8. Isolation
9. Last Request

The Review:

Cauldron are back, close to three years after “In Ruin” and are not straying too far from their original raison d'etre: old school heavy metal, old school sounds, old school songs. Yep, Cauldronare plugging away; on the road, in the studio, presumably in a less than salubrious rehearsal room... Cauldron keep on keeping on.

“Prisoner of The Past” picks up where “In Ruin” left off, with tight and crunchy riffage- plus a dose of melody of course. The drums still thud like 83, rather than snapping like 2018 and reverb is present on the vocals and, indeed, all instruments. “Letting Go” is a melodic and dark track as the title suggests; with both of the first two tracks sounding like a wound down Accept, musically, if not vocally. Nice chorus and anthemic riffs combine to good effect.

Truthfully, I think the likes of “No Longer”could stand to be a little shorter (oh sweet prescient irony), but these are not thrashing and urgent tracks. They are hard rocking, but with quite some emphasis on rock rather than metal this time out. Again, the spectre of early Leppardis present at this feast- but it is a welcome apparition. The darkness of “Save The Truth- Syracuse” is well honed as the band again find their mid tempo groove.

“Never Be Found” doesn't move things around too much in terms of initial approach but the pre-chorus and chorus really lift this up. Great song writing and hooks. “Drown” sounds like a prime Paradise Lost track at first- a turn up for the books, but I was waiting for the tempo to lift and it did! This time, the band rip out some more thrashy riffs and it is a welcome throw back to the “Chained To The Nite” opus. Great cut.

“Together as None” is very light weight in comparison- there is plenty of light and shade on this album, for sure, but this particular track is a little too (bitter) sweet for my tastes and could easily have turned up on any hair metal album you could care to name. “Isolation”, meanwhile, fulfils its titular promise of dark sounds, being as it is an instrumental and a good one. It's maudlin and brooding and one of the best things on the record. It sets thing up nicely for the appropriate “Last Request”which is another album highlight; a little quicker, a little heavier, a little more bite.

“New Gods” represents both more of the same for Cauldron and is also leaning a bit further towards the melodic song writing present on all their releases thus far. For me, I yearn for some of the crunchier riffage that was present on earlier career tracks such as “Conjure The Mass”, but no one can deny the quality of the songs here. If you want melodic traditional heavy metal with a penchant for hard rock sensibilities, there are few bands better and you won't hear a better album of that style than this one released in 2018.

“New Gods” is available here

Band info: facebook

ALBUM REVIEW: Judas Priest, "Firepower"

By: Richard Maw

Album Type: Full Length

Date Released: 09/03/2018

Label: Columbia Records

“Firepower” is one of the best albums in Priest's canon- it has the songs, the sound and the playing to match their best.

“Firepower” CD//DD//LP track listing:

1. Firepower
2. Lightning Strike
3. Evil Never Dies
4. Never The Heroes
5. Necromancer
6. Children of the Sun
7. Guardians
8. Rising From Ruins
9. Flame Thrower
10. Spectre
11. Traitors Gate
12. No Surrender
13. Lone Wolf
14. Sea Of Red

The Review:

It would be fair and accurate to say that there are only a handful of bands in the metal genre that can accurately be described as legendary due to their progressing the genre and defining the sound and image. Naturally, Judas Priest are one of that very select number. The band brought twin guitars (with more bite than either Wishbone Ashor Thin Lizzy) into the metal world, along with screaming vocals- often with an aggressive edge to them- and utilised double bass drums and complex arrangements long before most.

Priest's70's output catapulted the heavy metal genre forward- “Sad Wings of Destiny”, “Sin After Sin”, “Stained Class”, “Killing Machine” and “Unleashed In The East” are classics one and all (even if SAS is a little uneven) and sowed the seeds for thrash, power, speed and even death metal in their approach. 2018, then, finds the band 28 years on from their last classic (“Painkiller”) and a couple of decades on from a truly consistent album. To be clear, I love 70's Priest through and through. I love half of their 80's output; “British Steel”, “Screaming for Vengeance” and “Defenders of The Faith” are all fantastic. However, after that and “Painkiller”the band's work in progressing and defining the genre was done. “Painkiller” was a monstrous work of metal- still massively heavy and the production still sounds enormous- but it is not on the level of their 70s work in my view. “Turbo” and “Ram It Down”were quite simply woeful.

Throughout the 90's, Priest suffered a similar fate to Maiden in that they got in a younger vocalist after their erstwhile frontman went AWOL, who kept the band going. To be fair, “Jugulator”- featuring Tim Ripper Owen's superb vocals- was a good and very heavy record, “Demolition” was Ripper Owens' second with the band and suffers a little  from trying to keep up  with the times- but still contains some great tracks. Halford's return was lauded but produced somewhat uneven results; “Angel of Retribution” had some classics, but it also had the abysmal “Loch Ness”. “Nostradamus” was a conceptual misfire. “Redeemer of Souls” from a few years back was the best of the reunion albums, but was over long and lacked a little in terms of production and aggression. Oh well, thought the fans, they are getting on a bit- we can't expect the aural pyrotechnics of the past... maybe Priest are ready to wind down.

How wrong we were. The Priest is back! “Firepower” is their best album for decades. Certainly the best since “Painkiller”... maybe even better than that. What marks this record out? The songs, the performances and the production. This is the best set of tunes Priesthas put together in a lifetime. The playing has real fire, Halford sings superbly. Scott Travis really works hard and puts in a superb turn on the kit- he sounds animated and powerful. Andy Sneap and Tom Allom have combined to make an incredible production team. The album sounds incredible. Muscular, heavy and with a sheen that makes this really listenable.

From the off, the band deliver two stone cold classics: the title track and “Lightning Strikes” could have opened any Priest album and been regarded as two of the best racks on there. They are that good. From there, the album is consistently good and often fantastic. “Evil Never Dies” is a foot stomping beast, “Necromancer”is classic metal in every sense of the word. There are more melodic songs too; “Never The Heroes” is a touching semi ballad- but still features a stunning riff. “Children From the Sun” and “Rising From Ruins” may hint a little too much at the more plodding material from “Defenders of the Faith..”. but they are still good songs and, frankly, the fact that I am even comparing them to the weaker tracks from one of Priest's best albums speaks for itself. They are still pretty good.

If “Flame Thrower” strays too close to Spinal Tap territory in the chorus lyrics, it makes up for this with energy and riffs for days. Plus, Halford's verses are pretty neat and have some nice references to the band's past- with some serious hooks in the bridge to boot. The band deliver another catchy mid tempo track in “Spectre”, another metal classic in the form of “Traitor's Gate” which has some great story telling, more anthemic hard rock/heavy metal in “No Surrender” (it could be from any of the band's best albums) and a Sabbath-esque curveball in the form of “Lone Wolf” which delivers sinister atmosphere and serious groove. Halford is absolutely on fire here as well. They even manage to sign off with the best ballad they have written since the 1970's in the form of “Sea of Red”- an epic finish to an album I thought the band would never make. Every band member excels.

“Firepower”is one of the best albums in Priest's canon- it has the songs, the sound and the playing to match their best. Even if being very picky, there are only a couple of weaker tracks and they are STILL good. For a classic band to make an album like this after so long is incredible. For it to be Priest to have done it is an absolute triumph. If this is to be Glenn Tipton's last record, he has signed off in style, having kept the band going through the good and bad times. If this is to be the latter day high point for Tipton, Halford, Hill, Travis and Faulker then that is fine with me. To be clear, this leaves every other giant metal band's work of the last twenty years in the dust (with the possible exception of Heaven and Hell's “The Devil You Know”- Dio-era Sabbath in all but name- which was a majestic album). “Firepower”is so good, I can't quite believe it. This can be added to Priest'slist of classic albums. A long list just got one longer. There are fourteen tracks here, but this album goes to eleven. 

Band info: facebook

ALBUM REVIEW: Visigoth - "Conqueror's Oath"

By: Richard Maw

Album Type: Full Length
Date Released: 09/02/2018
Label: Metal Blade Records

Eight tracks, all absolute killers. Superb production, fantastic playing and performances all around. With “The Revenant King”, Visigoth delivered my favourite album of 2015. With “Conqueror's Oath” they have achieved heavy metal perfection.  . The best heavy metal album of 2018? Count on it.

“Conqueror's Oath” CD//DD//LP track listing:

1. Steel and Silver
2. Warrior Queen
3. Outlive Them All
4. Hammerforged
5. Traitor’s Gate
6. Salt City
7. Blades in the Night
8. The Conqueror’s Oath

The Review:

Salt Lake City's most metal export return here with a blazing follow up to their mighty opus “The Revenant King” of 2015. As I noted in that review: this is heavy metal. Proper heavy metal. Think of the sounds of Priest having a sword fight with Maidenwhile Grand Magus referees. In fact, words cannot express the utter heavy-metalness of it all. The band has delivered everything I hoped for with this sophomore full length. The galloping and majestic rhythms, the soaring lead breaks, the powerful and dramatic vocals- all are contained within the opening “Steel and Silver” and the album does not let up from there. It pleases me that there are still bands out there like this; bands that keep to the old gods. Bands that rejoice in the defeat of their enemies and laugh at the four winds from their mountain.

It is not often that there is nothing to fault, but I can't find anything here that is not just right. The mix and production is confident and muscular with every instrument clearly audible. Jake Rogers' vocals are even more self assured than on the debut and he delivers a master class here- a powerful singer in a fairly low register, his voice is perfect for this. The songs clip by at such a rate that the album is a focused and vicious raiding party even after repeated listens. “Warrior Queen”is catchy and joyful, propelled along by a very tight rhythm section and duelling guitars. It is five and a half minutes of heavy metal heaven- or should that be Valhalla?!

The band press the pedal to the metal with more regularity on this album; there were elements of doom to be found on “TRK”, but that has been superseded by the likes of the Highlander-themed “Outlive Them All” which is fast and furious, whilst being full of hooks. Naturally, the band are not flat out all of the time and there is plenty of room for acoustic elements, vocal harmonies and swinging grooves through “Hammerforged”. It also has a fantastic central refrain of the mightiest riffage.

“Traitor's Gate” acts as a centrepiece for the record as Rogersinvokes the spirit of Ronnie Dio in the melodrama and gravitas of his performance. It builds up slowly, but when it rolls in, triplets blazing, once again metal nirvana is reached. The whole band are playing out of their skins on this one; it's superb with all essential metallic elements present and correct.

The band's tribute to their home town follows- “Salt City” is pure heavy metal rock and roll, expertly delivered and anthemic in the extreme. It provides a burst of carefree enthusiasm with not a revenge plot in sight. There is also great lead playing, as there is throughout the album. “Blades in the Night” follows, with feet pressed to the floor and swords fully unsheathed. Again, it's hooky and powerful in equal measure.

The title track closes this remarkable album in majestic style. It is another slow burning epic with excellent two guitar work and themes that will make your battle jacket be filled with pride. Eight tracks, all absolute killers. Superb production, fantastic playing and performances all around. With “The Revenant King”, Visigoth delivered my favourite album of 2015. With “Conqueror's Oath”they have achieved heavy metal perfection. I have all but run out of superlatives to describe this fantastic record. Iron Maiden are on their way to retirement, Priestare readying themselves for  perhaps just one more foray, Manowarare bowing out and the world is just not as receptive to songs about valour and glory any more. Visigoth, though, keep the flame alive and burning brightly, ready to forge sounds of the purest steel- hopefully for years to come. The best heavy metal album of 2018? Count on it.

“Conqueror’s Oath” is available here

Band info: facebook || bandcamp

ALBUM REVIEW: Converge - "The Dusk In Us"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 03/10/2017

Label: Epitaph Records |

Deathwish Inc.

Today, with random acts of violence, anger and pessimism dotting our timelines, maybe Converge just now seems like a soundtrack to our contemporary apocalypse

“The Dusk In Us”CD//DD//LP track listing

1. A Single Tear

2. Eye of the Quarrel

3. Under Duress

4. Arkhipov Calm

5. I Can Tell You About Pain

6. The Dusk in Us

7. Wildlife

8. Murk & Marrow

9. Trigger

10. Broken by Light

11. Cannibals

12. Thousands of Miles Between Us

13. Reptilian

The Review:

Rarely does a timeworn saying like 'absence makes the heart grow fonder' seem more apropos as it does with a band such as Converge. It has been five years since we last heard from the storied Boston quartet, together now for just south of 30 years. Their old releases feel like they only get better with time, but there is nothing quite like a new Convergealbum, and experiencing how its sound evolves from its past outings.

Converge has long been hailed as a heavy music innovator, with an impressive track record. Among its accomplishments are "Halo in a Haystack," their iconic 1994 debut, and "Jane Doe,"the band's 2001 breakthrough release. Converge's last record, "All We Love We Leave Behind"in 2012, received madly positive reviews. Never do words like "brutal" and "beautiful" get brought up so often in conversations about a group that encompasses metal, hardcore and punk as abrasively as Converge. Yet, those words are earned through intricate songwriting, disarmingly gorgeous arrangement and consistently pioneering approaches in an ecosystem that sometimes struggles to produce truly singular music in such a content-rich age. Epitaph'sannouncement of a new Converge album and the subsequent preview of the divine song "I Can Tell You About Pain" were greeted by much excitement. The clear question is what might the layoff have done for the quartet, which had previously only done two- and three-year breaks between recordings. A lot can be said for a stretch that long. "The Dusk In Us" creates that conversation even before the first listen.

Converge's greatest gift, and why it has been so universally hailed, is their ability to pour so much emotion into its vociferous musicianship. With "A Single Tear," the initial song, it feels like Massachusetts' favorite sons were never really gone, as they pick up seemingly where they left off, while managing to tread new ground. Led by Kurt Ballou's ruthless guitar, Converge's kickoff is far more sonically complex as it unfolds. It is fast and heavy, while tense and melancholy. The track, you soon learn, is about that shared experience of finding our own self-worth, and the orchestration at once creates a mood of confusion while opening up to hope. It's Converge at a brilliant clip, and seems like a promising beginning.

Vocalist Jacob Bannon has always done a masterful job of sharing such a well of anguish as well as an almost uncomfortable vulnerability. Remember his blighted words on a song like "Jane Doe"("I want out/Out of every awkward day/Out of every tongue tied loss/I want out/Out of the burdening night sweats/Out of the rising seas of blood")? Bannon's return continues his fearlessly frank tradition in the opening, and in "Eye of the Quarrel," a dredging of old hurt and self-doubt ("I still have to wonder who let dysfunction in/The little lies, distorted truths/Smeared the perspective and made me love you/Queen of the garbage, prince of the weeds/My legacy won't inherit disease"). This cut in particular also proves to be a defining moment for bassist Nate Newton and Ben Koller behind the drums. They are a dominant force as a rhythm section within this song, and, later, in "Arkhipov Calm" and "Murk & Marrow."

What is fascinating as a feature in "The Dusk In Us" is how Converge's songwriting and Bannon's performance are further inspired by a world in constant conflict. Longtime fans know Converge has taken cues from a rotting world before, such as in "Sparrow's Fall" from "All the Love We Leave Behind." Today, with random acts of violence, anger and pessimism dotting our timelines, maybe Converge just now seems like a soundtrack to our contemporary apocalypse. In "Under Duress," Bannon sings, "I will never kneel and kiss your ring/The sickness spreads under duress/Compassion bends under duress/Wouldn't need a gun if you didn't have one/Don't need you to serve or protect." The title track exudes an atmosphere of resistance and defiance, cautioning, "there are monsters among us." In "Cannibals," Bannon's lyrics feel most hopeless, reminding us that, if opportunism and parasitism are left unchecked, "we will not survive." Yet Convergecleverly avoid naming names or getting too topical. Instead, the band speaks to a more universal, perhaps even timeless, story: that of good and evil, oppression and freedom, self-destruction and redemption. Those are themes that are long a staple in metal and heavy music, and Convergedraw them out for some of their most compelling work yet.

In the book "Catastrophism: The Apocalyptic Politics of Collapse and Rebirth," old friends Sasha Lilley, David McNally, Eddie Yuen and James Davis investigate the popular culture and political trends that forecast a world to be reborn from the ashes of the old. The 2012 read is relevant today, and might shape some of your understanding of tales that are brought up in "The Dusk In Us." Smashing to reveal beauty comes up in fits and spurts here. By the time the album ends with "Reptilian," a standout cut for certain, Convergebegin a journey that may be further explored during our growing days of rage. "We must lose sight of the shore to know what courage means," Bannon howls. "We must lose sight of who we are to know what we can be."

Whether the world must fail to succeed remains to be seen. What is not in doubt is how missed a legendary band has been, and just how important their return truly is.

"The Dusk In Us" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: R.I.P. - "Street Reaper"

By: Richard Maw

Album Type: Full Length

Date Released: 13/10/2017

Label: Riding Easy Records

I don't expect it to usurp the likes of “Born Too Late” or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.

“Street Reaper “CD//DD//LP track listing:

1). Unmarked Grave

2). Street Reaper

3). Mother Road

4). The Dark

5). The Other Side

6). Shadows Fool

7). Brimstone

8). The Cross

9). The Casket

10). Die in Vain

The Review:

Portland's R.I.P. unleashed their debut on an unsuspecting public back in 2016. Since then, the press seem to have latched on to the quartet's “street doom” label as something new in the doom sphere. Truthfully, it is not. Street doom is as old as Saint Vitus and The Obsessed... maybe even as old as Sabbath! Any doom head knows the difference- fantasy vs reality, heroes vs heroin and so on.  Regardless of what genre tag has been ascribed, “In The Wind” was an enjoyable slice of Saint Vitus meeting Fu Manchu. With “Street Reaper”, the band have progressed their sound on by focussing it and tightening up the arrangements.

The one minor criticism I levelled at their debut was that it was a little on the long side. Well, the ten tracks here have solved that problem and the band have really delivered a muscular set of songs. Once again, the influences are there: Pentagram, The Stooges, Saint Vitus, Sabbath... and the aforementioned Fu Manchu. The spectre of the Californian state looms large in the sound and vibe, and gives the band a little something extra, a little uniqueness. A little of the desert and a little of the imagery shown on the album cover- four hirsute dudes rolling in a low-rider. It is clear that these guys are not from Barnsley, that's for sure!

The music is direct and punchy, featuring over-driven bass and fuzzed up guitars again. The riffs are simple and groovy and this really does have the feel of street level music. From the opening chug of “Unmarked Grave”, through the title track and beyond; this will get your head nodding. As noted first time around, it is great to hear a band with a singer and actual riffs. This isn't about playing really slow or being massively heavy but is instead more about the vibe and the flow of the record. There are nods to the gods via instrumental interludes like “The Cross”, grooving slabs of riffage such as “Shadows Folds” and even some more melodic playing here and there (the intro of “The Dark”, for instance, and the closing “Die in Vain”).

The wheel is not being reinvented here, but that isn't the point. R.I.P. bring a slightly more youthful swagger to the game- it's welcome as most of the really big players are knocking on a  bit now, to say the least. By the time of the seventh track “The Casket”, you will have made up your mind about the album. Personally, I like it. I don't expect it to usurp the likes of “Born Too Late”or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.

With the last three tracks clocking in at around four and a half minutes apiece, the band close the show consistently, albeit using different tempos and approaches as they go- relatively up tempo, slower dinosaur riffing and melodic- respectively. The yowling vocals are more Reagersthan Wino, the sound is never less or more than over-driven and fuzzy and the whole thing works well. It is an improvement on their debut and sets the band up very well for album number three and a possible rise through the ranks of doom. When are they coming to the UK?!

“Street Reaper”is available here

Band info:  Facebook||Instagram || Bandcamp

ALBUM REVIEW: Absolva - "Defiance"

By: Richard Maw

Album Type: Full Length
Date Released: 28/07/2017

Label: Rocksector Records

For anyone interested in melody and hooks, they will find them here. The guitar pyrotechnics are astonishing- really good solos- and the band as a whole sound very cohesive, live and tight. The UK's best kept secret in metal? Not for much longer. Absolva will soon reign!! 

“Defiance “CD//DD track listing:

CD 1

1. Life on the Edge

2. Defiance

3. Rise Again

4. Fistful of Hate

5. Never Be the Same

6. Alarms

7. Connections

8. Midnight Screams

9. Life and Death

10. Eclipse

11. Who Dares Wins

12. Reflection

CD 2 (Bonus)

1. Harsh Reality

2. Hundred Years (Live)

3. Live for the Fight (Live)

4. Drum Solo (Live)

5. Code Red (Live)

6. Never A Good Day to Die (Acoustic)

7. It Is What It Is (Acoustic)

8. Never Back Down (Acoustic)

The Review:

Absolva return with studio album number four. This Manchester metal band are amongst the hardest working in the business- three of them are Blaze Bayley's band and have played on his latest albums, one plays with Iced Earthas well! Holding down two regular bands is enough of a feat on its own, but to produce this level of quality across the board... well, that is another proposition entirely.

For those who are unfamiliar, Absolva are a heavy metal band. Not thrash, not trad, not blackened sludge with ambient passages: heavy metal. I suppose that their sound is mid way between, say, Judas Priest, Accept, Alter Bridge and Metallica. “Defiance”follows up the rather excellent never “A Good Day To Die” and continues down that road- while being a little heavier and a little more rocking to my ears.

Opener “Life On The Edge” sets the tone- blazing guitars, superb clean vocals and a meaty production. The title track is just as good- catchy and anthemic with a strong refrain. Truthfully, Absolva would go down really well as a support for any of the aforementioned bands- and that is exactly the type of tour they need to push them over the edge from professional band into the rock start bracket. That these boys are not in the mainstream press and consciousness as much as they should be is ridiculous.

As the album's twelve tracks progress, the quality control is there- each track is different and brings hooks, melody and weight. The urgency of “Rise Again” is balanced by the strong hooks. The mid paced likes of “Fistful of Hate” sit alongside faster tracks such as “Never Be The Same” and melodic tracks such as “Alarms”, while the revved up charge of “Who Dares Wins” delivers a shot of adrenaline as a counterpoint to the more restrained fare.

For your money, you also get a bonus CD (or MP3s, I suppose) of acoustic versions from earlier albums and a selection of live versions. As a nice bonus, it's a winner- it encourages the listener to delve into the back catalogue and gives value for money.

For anyone interested in melody and hooks, they will find them here. The guitar pyrotechnics are astonishing- really good solos- and the band as a whole sound very cohesive, live and tight. The UK's best kept secret in metal? Not for much longer. Absolva will soon reign, after all Maiden and Saxon won't be around forever.

“Defiance” is available here

Band info: official || facebook