“Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year
“Solitude and Savagery” CD//DD track listing:
1. Enter the Hermitage 2. Black Mass 3. No Sleep 4. Beyond the Wall 5. Lifebreather 6. Reawaken 7. Laniakea
The Review:
Barbarian Hermithail from Manchesterand play crushing stoner/sludge/doom. This is a band that is not afraid to play aggressively- like High on Fire- but also slow; like any doom band worth their salt you can name. The opener, “Enter The Hermitage,” sets it out for you. Straight in, no messing about, just some huge and fuzzy riffs with some maniac (Ed Campbell- who showcases serious versatility elsewhere!) shouting over the top.
There is plenty of variety here, too. There are passages of more thoughtful and melancholy music, both in the first and second track and beyond. There is quite some range on display. Suffice it to say, that by track two (“Black Mass”) I was absolutely sold on this album. This is what is needed in the underground and beyond at the moment- a band sounding not like anyone else, but featuring the best elements of quite a few bands. There is something here for fans of many different bands and sub genres. You like Orange Goblin? Try these guys out. You like High on Fire, ditto. In fact, from Sabbath to The Sword and from Conanto Candlemass: Barbarian Hermit may just appeal to fans of all those bands.
There are shades of the likes of Raging Speedhorn and The Rotted in “No Sleep” (and Motorhead, of course) while the epic might of “Beyond The Wall” is crushingly powerful with a fantastic solo. Nothing outstays its welcome here; there are no short songs and most tracks stretch out over six minutes plus (the closing “Laniaka” is eleven epic minutes!) but it all feels like it flies by at a clip. The band's approach makes this happen; each track is different and brings a slightly different approach, while remaining consistent in vibe and feel. It's no small trick to pull off but the band achieve it with ease. This is a proper album and I think one that might become very influential going forward.
This is not simple two chord/two piece sludge and nor is it just Sleepworship or a cheap copy of any other band. The production, courtesy of the effervescent Chris Fielding at Skyhammer studio is immense and as usual Chris has achieved a crushing drum, guitar and bass sound. The clarity of the mix and the sheer weight adds a good deal of muscle to the album and, having worked with Chris myself, I can hear his audio-stamp of authenticity throughout the record.
The album is just as weighty down the stretch- “Reawaken” features a riff that Iommi would be proud of and some guitar work that Mastodon might find a home for on any of their better work. “Life Breather” before it is versatile and deft in its mood swings. The aforementioned “Laniaka” is eleven minutes of schizophrenic and groovesome riffage. It's a tour de force ending to one of the best albums I have heard in 2018.
Barbarian Hermithave it; that intangible factor that makes this album like lightning in a bottle. “Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year. These guys could really fly the flag for the UKunderground and reach the heights of Conan; as a singular band operating in a field of one. They'll spawn imitators, sure, but I know the real deal when I hear it. Superb.
Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power.
“Electric Messiah” CD//DD//2LP track listing:
1. Spewn From the Earth 2. Steps of the Ziggurat/House of Enlil 3. Electric Messiah 4. Sanctioned Annihilation 5. The Pallid Mask 6. God of the Godless 7. Freebooter 8. The Witch and the Christ 9. Drowning Dog
The Review:
At this point, High on Fire are nothing less than underground metal royalty. The ferocious power that the trio exude leads to inevitable Motorhead comparisons- not only that, but the comparisons are actually apt. With HOF you know what to expect and their records deliver what the fans want... even if the band has been developing and progressing from album to album.
Kurt Ballou returns as producer for the third time and the sound and performances are as mighty as we have come to expect. The opening speedball of “Spewn from the Earth” is what the band do best: balls to the wall, take your head off, axe wielding fury. Pike, Matz and Kense play fast, tight (but loose) and with so much fire. It's breathtaking stuff. The band can do epic just as well; “Steps of the Ziggurat/House of Enlil” is over nine minutes of very weighty sounds. It's tribal in its sound and focus, huge in sound and zealous in its pursuance of bludgeoning power- no matter which section of the track the band moves through. From there on, the scene is set and the band deliver an absolute tour de force of dirty, greasy rock n roll. The title track is feral, the second epic- “Sanctioned Annihilation”- is a brutal exercise in dynamics, endurance and volume.
Really, that is the key to High On Fire's appeal: they provide an almost alchemical sound in that they take the straightforward approach and push it to the max. Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power.
The second half of the album is no less powerful or masterful. There is some melody, on “The Pallad Mask”, for instance- but again the key here is the straightforward approach embodied in the likes of “God of the Godless”. You can feel the force of this stuff through the speakers; it's just elemental and percussive on every level. The band have honed their style and gone more metallic, perhaps, over the years and away from the stoner grooves of earlier works but this has only made them more effective. Just have a listen to “Freebooter” and name one band doing this type of thing at the same level.
The final two tracks both push over the six and a half minute mark and while “The Witch and the Christ” showcases the more rhythmic facets of the band's sound, it is still desperately heavy. “Drowning Dog” introduces an almost maudlin sound to the riffing before swinging like a baseball bat and provides an expert finish to this superbly vicious record.
“Electric Messiah” is certainly up there with the band's best work and further elevates Matt Pike's deity status within the scene. For my money, this knocks Pike's other band's release of this year into a neatly cocked hat. It's just so... adrenaline inducing. It reminds me of why I got into metal in the first place: unadulterated exhilaration. A tour de force, in every sense of the term.
Hailing from South Louisiana, Radiant Knife plays the sort of sludge-infused progressive metal popularized by fellow southerners Mastodon, but play the style very much in their own way. Their new album “Science Fiction” is packed with inventive song structures and trampling riffs that are underscored by a strong sense of melody.
Although often lumped into the post-metal category, Radiant Knife's broad sonic spectrum lands somewhere between experimental projects such as Zebulon Pike, King Crimson, “Willpower” era Today is the day and Zombi. Today we’re excited not only be premiered a fantastic new track “Suffer Under God” but Greg Travasos (drums) and Stephen Sheppert (guitar, vocals, keys) chat to us about their “Records of their Years”. Check it out below.
SL: Favourite album from the year you were born?
Greg:Motörhead,“Ace Of Spades”.
What can I say it's a classic, plus it’s the only thing that I liked out of that year that I can find. Really there self titled is the jam but I wasn't born in 77’. Also Phil Taylor rips.
Stephen: Probably Rush, “2112”. I was born in 76, and although this is not my favourite album by Rush it’s a good album. Also I believe AC/DC’s “Dirty Deeds Done Dirt Cheap” was released that year also so that’s up there as well.
SL: First album you bought with your own money?
Greg:Metallica,”...And justice For All”. Yeah, I was at a K-Mart if those exist anymore, where cassette tapes came in oversized plastic things. I remember my cousin telling me to get it because they had lyrics that said “Put your Mother to death” I thought that was pretty sick so I got the cassette, and loved it since. Heaviest album I had at 11.
Stephen: Now that I really think about it, it was probably Guns n Roses, “Appetite for Destruction”. I would sit in front of MTV for hours figuring out all the hair metal stuff on guitar. My pops was/is a rocker and didn’t limit any of my music choices. Most of the time he bought the tape/record before I did.
SL: Favourite non metal / rock album?
Greg: Father John Misty“I love you Honeybear”. Great compositions, songwriting and lyrics. I have much relatable laughter with his lyrics and cynicism. Much relatable truths I can see in my day to day life. Also could be a comedy album as well.
Stephen: Polvo,“Exploded Drawing”, or really any of their albums. Some great dissonant guitar work and great songwriting on those albums. They have a knack for keeping it low key, dark and angular. All good stuff.
SL: Favourite album of all time?
Greg: This is always are hard question to answer, as I don’t really have a favourite album of all time. I like a shit ton of albums, but Suffocation,“Pierced from Within” definitely stepped up heaviness in metal for me when I was younger. Listened to a lot of death metal, punk and grindcore in my younger days and this was the go to then. Crazy riffs, time changes, low growls, sick drumming.
Stephen: King Crimson, “Red”. When Dillinger Escape Planunleashed “Under the Running Board”, that started a whole musical journey into off timed/progged out music that eventually led me to the source of all that stuff. That source IS King Crimson, “Red”.It’s a great album, but when listening to it, it’s also like paying homage to my elders.
SL:Favourite album (s) of 2018?
Greg: YOB,“Our Raw Heart” Heavy and emotional crushing, jammed this album a couple of times. Atmospheric and cool. You can feel Mike Scheidt’s pain in this album, which explains this album title.
Stephen: YOB,“Our Raw Heart” as well. I’ve never been a YOBworshipper like some but to me this album brings a more positive, over the horizon emotional vibe compared to their previous work. It’s shoegazish at times and you can definitely tell some of the songs originated on acoustic.
SL:...and finally The last album you bought
Greg: Spazz,“La Revancha”.I had this CD a long time ago, lost it, recently repurchased. Short fast bay area skater grindcore. I remember playing the shit out of this in high school. Definitely brings back memories of how shitty and awesome the late 90’s were.
Stephen: King Crimson, “Discipline” reissue on vinyl. Not my favourite album by them but the song “Frame by Frame” itself probably spawned countless math oriented bands/songs, including much of Don Caballero’s catalogue.
“Science Fiction”is available to preorder/buy here
Fans of each era of Immortal will find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.
The story surrounding ‘Northern Chaos Gods’, Immortal’s first new album in nearly nine years, is all about what transpired during their long hiatus, and the absence of their longtime and charismatic front man Abbath. It’s a difficult thing, trying to move out from under the shadow of someone whose personality and voice were so intrinsically linked with the band’s very existence. On social media, the announcement of this album was plagued by comments from long time fans deriding the very thought of Immortal continuing without Abbath. It felt like an impossibility to them, like trying to imagine Motörhead without Lemmy.
Heavy metal history is brimming with stories of bands trying to continue on without legendary vocalists: Iron Maiden, Judas Priest, and so on. And we know that those stories rarely end with the band continuing to succeed at a similar level once that change is made. But there are exceptions to that rule. The most prominent example of this, at least from an extreme metal perspective, is probably Cannibal Corpse. Corpsegrinder has proven to be a more dynamic vocalist and an equally, if not more engaging live performer. It’s hard to find the basis for an argument that the band’s popularity has suffered without Chris Barnes, as you won’t find any evidence supporting that idea based on comparing sales for last year’s Six Feet Under and Cannibal Corpsealbums.
Making predictions for something like this is never easy, but the Cannibal Corpse analogy may hold water still, even though they and Immortal represent different subgenres. Cannibal Corpse’s first post-Barnes album was ‘Vile’ in 1996, an album that was met with mixed reviews from fans. And while it’s pretty likely that ‘Northern Chaos Gods’will fare somewhat better in its reception, there are some issues with the album that deserve consideration.
The main concern I have with ‘Northern Chaos Gods’ is what I’ll call “going to the same well too many times” with certain compositional choices. In specific, it’s using very similar-sounding triplet-based clean guitar parts in several songs throughout the album. They first appear early on in the song “Gates of Blashyrkh” and show up again and again as the album goes on. Directly related to this is Demonaz’ continued love affair with viking-era Bathory, which in and of itself isn’t a bad thing. But the way that slower, epic sound manifests itself here causes the album to lag somewhat as we get late into the album. By the time “Mighty Ravendark” ends, we’ll have heard the “clean triplet guitar interlude into epic Bathory” device in three separate songs. For those who remember Demonaz’ solo album ‘March of The Norse’, you’ll remember that nearly every song on that album featured the same central rhythm. The man gets a specific musical idea in his mind and isn’t afraid to invest huge chunks of an album to that one idea, exploring it from every possible angle over an album’s duration. The repetition isn’t as difficult to sit through here, but it definitely warrants discussion.
Where ‘Northern Chaos Gods’ shines brightest is when it’s going full speed ahead. The lead single and title track was absolutely the right choice to showcase up front, with its callbacks to the pitch black frenetic energy of ‘Battles in the North’. ‘Into Battle Ride’ is another blast fest, sticking out in particular because it’s the only song on the album in which large sections of it are in straightforward 4/4 time, with the triplet rhythms waiting nearly a full minute before coming into play. “Grim And Dark” is a great combination of the two central styles of the album, with blast beats giving those giant chord progressions some extra energy via Horgh’s blistering speed.
‘Northern Chaos Gods’ is largely a great album. I’ve spent a large section of this review pointing out the album’s faults and hammering Demonaz for dwelling on a certain compositional style, and that’s because I think that’s a valid criticism of what he’s shown us as a composer between his solo album and now this album. But even keeping that criticism in mind, this is still a better album than Abbath’s solo album, which hasn’t held up especially well as time has gone by. Abbath’s album definitely holds the advantage in variety, but ‘Northern Chaos Gods’ is better as a fully realized listening experience. Fans of each era of Immortalwill find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.
“Northern Chaos Gods” is available digitally here and on CD/CS/LP here.
Overkill are now fully established as the Motorhead of thrash: a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time.
“Live in Overhausen” 2CD//DVD//DD//2LP track listing:
1. Coma
2. Infectious
3. Blood Money
4. Thanx For Nothin'
5. Bare Bones
6. Horrorscope
7. New Machine
8. Frankenstein
9. Live Young Die Free
10. Nice Day - for a Funeral
11. Soulitude
12. Raise The Dead
13. Rotten To The Core
14. There's No Tomorrow
15. Second Son
16. Hammerhead
17. Feel The Fire
18. Blood and Iron
19. Kill at Command
20. Overkill
21. Fuck You
The Review:
Overkill return with a double live album after last year's excellent studio effort, “The Grinding Wheel”. Instead of a career spanning greatest hits set, or even a compendium of track's from their last four stellar albums the band have gone for something a little different. Indeed, New Jersey’s finest have opted to re-visit their “Horrorscope” and “Feel The Fire” albums. In full. In track list order. Oddly, the set starts with the chronologically later album, “Horrorscope”.
So, you get 21 tracks over either two CDs (plus DVD or Blu Ray) OR you can fork out for two double LP sets; one for each album. I have opted for the CD and DVD this time around as I simply can't justify buying that and two double LP sets- that really is a big ask, even for a dedicated fan.
This review only focuses on the audio part of the release: it is superb. In fact, this is easily the best Overkill live album. “Wrecking Your Neck” suffered a little from a flat sound, whilst “Wrecking Everything” was an improvement, it still did not capture the full intensity of the band. This time around the band has nailed it. This is one intense performance with the band firing on all cylinders and ably assisted by guest drummer Eddie Garcia of Pissing Razors.
I saw one of the shows on this tour and the band were on fine form, and clearly building up to this performance in Germany. The sound is excellent; full and clear with 1500 German maniacs ably assisting the band by rowdily cheering along and chanting the band's name between songs. The material form “Horrorscope” sounds fantastic with the beefed up modern production and the songs shine. The band retained their punk-ish edge even through the more complex and dark material on offer here and it is still regarded as one of their best, over a quarter of a century later.
The real draw for me, though, is the performance of the “Feel The Fire” album. It stands shoulder to shoulder with “Kill Em All”, “Shown No Mercy”, “Fistful of Metal”, “Bonded By Blood”, “The Legacy” and “Killing is My Business...” for me- and I prefer it to nearly all the records on that list! Overkill's debut was and is a thing of marauding beauty- matching Maiden-esque guitar runs with thrash speed and punk like aggression. To hear the band sounding so vital and revved up on this thirty-something year old material is a treat. “Rotten To The Core” is superb, the extended middle section of the title track (Higher... Higher... Feel The Fire!!!) is as dramatic as it is spine tingling. Metal perfection! The run of great tracks on the album is astonishing; “Hammerhead”, “Blood and Iron”, “Kill at Command...” thrash metal does not get any better.
The CD/DVD is actually pretty good value- you get two full albums live and a DVD for your money: not bad! As stated before, forking out for both vinyl sets is pretty steep, but if you love one album and are not too bothered about the other, you can choose. I'll pick up the “Feel The Fire”set when I have the cash. Ah, who am I kidding, I'll get the “Horrorscope” one as well!
Overkill are now fully established as the Motorhead of thrash: a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time. Compare their recent output to any of the other big thrash names. Overkill are streets ahead in intensity, hunger, material and work ethic. This expansive live release may well test your wallet, but the band passes the thrash exam with flying colours.
Gritty and uncompromising, Whipstriker truly are “Soldiers of Sodom” and will cast their “Warspell” on you if you get a hold of this feral beast of an album.
“Merciless Artillery” CD//DD track listing:
1). Merciless Artillery
2). Rape of Freedom
3). Calm after Destruction
4). Mantas ’Black Mass
5). Solider of Sodom
6). Warspell
7). Enemies Leather
8). Bestial Hurricane
The Review:
Brazil's Whipstrikerare back- again- in their prolific career since 2008 they have amassed no less than four albums and countless split singles and so on. If you haven't heard the band, I can sum things up for you: Venom. This band are the hellish spawn of Mantas, Abaddon and Cronos- ably assisted by Bathory, Hellhammer and early Celtic Frost.
That tells you exactly what you are getting. This is a dark and rough listen- echoing Venom'slegendary debut and Motorhead's attitude perfectly. The title track kicks things off in gritty style- have a listen and you will know instantly if this is for you or not. Over the course of eight tracks, you get Venom, Sodom, Motorhead, Frost, Hellhammer, Bathoryand so on all wrapped into an appealingly raw production. The band has gone for vibe and attitude, not sound replacements and perfection. This really is a warts and all recording- there are some imperfections here and there for sure! That is of absolutely of no issue to me, though. There is also a fair amount of very smooth playing and surprisingly melodic riffing. This music is supposed to be rough and ready and Whipstriker have delivered their own vision.
If you are after anything in the style of the bands mentioned above, this album is a must. Gritty and uncompromising, Whipstriker truly are “Soldiers of Sodom”and will cast their “Warspell” on you if you get a hold of this feral beast of an album.
Hashteroid’s self titled album is truly one of the most enjoyable experiences one can have from heavy music in 2018.
“Hashteroid” DD track listing:
1). Freak Power
2). Black Tide
3). Stan the Wolfman
4). Green Caramel
5). Godspeed Below
6). Cool Ghost
7). ...Return to Hash Planet
The Review:
From the outset, Hashteroid’s self titled record seems like an average stoner metal experience. From the album’s artwork aesthetic, to the band’s implied interests in psychedelics, the listener gears themselves for another exercise in Sleep worship. Once the music starts however, all of these pre-conceived notions are gone. From the sheer speed, guitar solos, and focus on song melody, “Hashteroid” is an experience impossible to pin down to one genre. “Hashteroid” is an album that is forward thinking, but packs enough nostalgia to speak to die hard Mötorhead fans. If you’re looking for a truly unique experience in heavy music, look no further than “Hashteroid”, itis abundantly filled with riffs of all kinds. From the thundering rock and roll of “Freak Power” and “Godspeed Below”, to the doomier “Stan the Wolfman” and “Cool Ghost”, there is something for everyone. Each track transitions between multiple riffs, constantly keeping the listener on its toes.
None of this would be work, however, if it weren’t for great song writing by the band as a whole. The band has a great understanding of how to utilize pace, and how to properly incorporate guitar effects. Songs like “Godspeed Below” are elevated with the bands ability to incorporate small subtleties throughout. Hashteroid’s debut record breathes new life into heavy music, while at the same time striking the right amount of nostalgia listeners love from retro metal. Hashteroid’s self titled albumis truly one of the most enjoyable experiences one can have from heavy music in 2018.
Fans of Motorhead will find what they are seeking here. Likewise, fans of more conventional hard rock acts like Guns n Roses and even earlier Aerosmith will find much to enjoy here. A solid and hard rocking record.
“The Age of Absurdity” CD//DD//LP track listing:
1. Ringleader 2. Freak Show 3. Skin and Bones 4. Gypsy Kiss 5. Welcome To Hell 6. Dark Days 7. Dropping The Needle 8. Step Into The Fire 9. Get On Your Knees 10. High Rule 11. Into The Dark
The Review:
Phil Campbell played guitar in Motorhead from 1984 to the end of the band. Over thirty years on the rock n roll front-lines. It's no surprise, then, that this record is a rocking shot of adrenaline, but some might be a little taken aback by the bluesy inflections in much of the material and the classic rock inflections to the solos and hooks. In fact, while opener “Ringleader” has a fair bit in common with Campbell's Alma Mater, the likes of “Freak Show” are bluesy swaggerers which would have fitted in perfectly on much more melodic records- think The Wildhearts by way of Free and you have it about right.
As the record progresses, it is clear that Campbell hasn't used up all his bullets with his extensive output with Motorhead and instead must have saved up a wealth ofmaterial which he did not feel was right for Lemmy, but makes perfect sense. When the tempo ratchets up, as it does on “Gypsy Kiss”, of course the spectre of the greatest rock n roll band of all time will loom large- but the cleaner vocals and melodies are a departure.
Over the course of the eleven tracks there are a variety of tempos- from the gallop of vinyl tribute “Dropping The Needle”to foot stompers like “Welcome To Hell”and the blues rock of the excellent “Dark Days”. Neil Starr's vocals are a real strong point of the release- confident and melodically powerful, they provide a great counterpoint to Phil and the bass/drums/guitar supplied by his sons- and as you would expect, the band are a tight unit.
Over the course of eleven tracks you get bluesy, swaggering rock n roll, delivered at maximum volume. The final three song stretch is catchy and hard driving and even thoughtful as on the closing “Into The Dark”. Fans of Motorhead will find what they are seeking here. Likewise, fans of more conventional hard rock acts like Guns n Roses and even earlier Aerosmithwill find much to enjoy here. A solid and hard rocking record.
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