LIVE REVIEW: Second Sem-Final of Metal2TheMasses amps the quality to 11

THE standard of the bands in both semi-finals were a tribute to the quality and diverse nature of Northern Ireland's metal acts, and Friday's (May 5th) second and last semi-final was no different in a (cue the cliché) hotly contested evening of top notch sounds.

Like the meme going round this was Revenge of the Fifth as Belfast's Voodoo reverberated with riffs.

As always the running order was drawn at random, leaving Oracle to open proceedings with a ferocious, aggressive groove metal attack. Jason manically moved around the stage when not clutching the mic as if his life depended on it.

The inter-play between the guitars was balanced, allowing sufficient breath for the rhythms to come to the fore. While they were good in the heats they elevated their performance to great in a set that showcased why many are excited ahead of their forthcoming début album.

Although shorn of their normal corpse paint there was no sense that Neamhni were going to lessen their performance levels. As soon as the intro tape ended they unleashed a mighty melodic blackened maelstrom of metal. At times the sound was a little patchy and muddy, but they soldiered on through.

And that sense of overcoming anything thrown at them was clear as Alessandro towered over and dominated the ranks of headbangers down the front. They are a band on the rise, without pretensions or poses - just laying down death for all in their path.

They may bill themselves as sludge/doom but that underestimates the dynamic of Elder Druid. They have the sensibility not to be monochromatic in the pace of their set, with fluidity not so much a functional thing but an essential part of what they do within songs and the arrangement of the tracks themselves.

As they reach out to shows outside Northern Ireland they are reaching a maturity in their music and stagecraft with some mighty playing.

Muscular music is what Beyond the Beneath do, so muscular that Badger broke the bass drum...it was a technical glitch that threw the band off their stride, and compared to their magnificent show in the heats they seemed a little off their pace.

However, what was clear is that Beyond the Beneath have heft and heaviness that is apparent through all of their songs. They tread the treacherous borderlands between heavy rock and metal with sure-footed ease, creating songs that will develop into full-flown erosion of the senses.

Bakken's thrash metal leanings are proudly displayed in all their recorded and live material, harkening back to the days when the 'Big Four' dominated the pages and airwaves. With Celtic twists to the sound they complete the mélange of their sounds with ease.

The new(ish) line-up gives the Voodoo some of the best tracks they have in their allotted 30 minutes, with a few dashes of power metal thrown in by Simon et al to complete an evening of metal excellence.

As the quantity of beer imbibed and anxious bands and fans awaiting the result Mr Loveday once again resorted to his trusted abacus and solar powered calculator.

Going through to the final on Friday May 12th are: Neamhni, Oracle and Elder Druid.

And it's at this point the local Judges hang-up their lawgivers as Chief Judge and dispenser of final justice Mr Simon Hall will adjudicate. Given he will be also running a raffle for a weekend camping at Bloodstock it's the perfect opportunity to go see top notch metal! The winner will be accorded the honour of playing the New Blood Stage at Bloodstock...

Review by Jonathan Traynor
Pictures by Darren McVeigh

EP REVIEW: Genocidal Bakken batter the world with latest release

A COUPLE of years Bakken exploded on to the Northern Ireland scene with the release of their 'Death of a Hero' album, jam-packed with thrash and power metal, and the occasional doff of the cap towards Celtic roots.

From then on the band crafted out their sound with a series of gigs which notably saw them tighten their sound and delivery.

Now, at the tail end of 2014 the metal quartet are about to release their ep 'Worldwide Genocide' a five track flurry of riffs and high speed groove.

From the moment that the bridge and solo on 'Judgement Day' kicks in you can see a band confident in delivering both furious guitar work, while still retaining the integrity of the song: something which Dave Mustaine sometimes forgets. And, at times Simon Pickett's does unconsciously resemble the ginger one.

'Master Illusion' takes the chops of the second wave of thrash and wraps it in a tight blanket of NWOBHM much favoured by the likes of 'Tallica and Anthrax. That's not a criticism - it's a compliment. At the two minutes 15 second mark then change of pace perfectly exemplifies how Bakken can break down the elements of the influences into something fresh.

Simon and Mark-Anthony McGinnis's guitar work manage to weave around each other without overwhelming the track's sound.

Keeping the integrity of the sound is key, otherwise Adrian Stockman's bass could be lost. Thankfully it stays at the right level on 'Evil Walks This Way' with Niall McGrotty's drums maintaining a dynamic in a well arranged track with real flair.

We can see this one as a real live favourite as their is a real mix of thrash and the better aspects of power metal;  as well as having a balance throughout that showcases all the member's talents.

'Inescapable', while in itself is a solid track, at times wanes, and the influence of Mustaine on Simon's vocals again occasionally creeps in. The song is saved by Niall's metronomic and well timed double bass and a manic series of riffs. After two minutes the guitar work manages to resurrect what could have been a mundane thrasher, especially the melody work.

Rounding off the ep is 'Gaia'  which clocking in at over five minutes 20 is the longest track on the release. This is where Bakken plant their flag, stand with feet soundly planted on the soil of metal and deliver.

This has all the elements you could wish for: riffage, shouted backing vocals from Niall, Simon strident in his delivery as he paints a dystopian vision of the planet's fate. There is enough variety in the arrangement to avoid it becoming just another thrash track. The delicate acoustic moment (and it is a brief moment) builds into a crescendo of guitar work, which like 'Sasquatch' from the last release, showcases a flurry of Celtic infused melody solos. Truly a lesson in how to meld where you come from into your chosen genre. There's even a piano sequence as a coda!

After 'Death of a Hero' you could very well have expected Bakken to keep the similar themes going. Rather than that they have stretched themselves that little bit further on 'Worldwide Genocide' without leaving their core sound and values.

One hopes that this ep will serve as a bridge to further live success and getting noticed further afield.

Review by Jonny

 

Worlwide Genocide is officially launched at The Distortion Project on Saturday, 20th December at Limelight 2. Doors are at 5pm.

Bakken will headline with support from Irish mentalists Psykosis and young thrash upstarts Donum Dei

Door tax is £5 and usual drink promos are available

Fast, furious thrash-tastic evening with Sinocence, Bull Riff Stampede, Psykosis and Bakken

FOR a few short hours the Limelight2 in Belfast was turned into a mini-Bay Area bangers of thrash metal's heyday.

That thrash spirit was delivered by The Distortion Project in bucketloads with four bands delivering sets that could snap a neck.

Sinocence, Bull Riff Stampede, Psykosis and Bakken were on top form in front a diverse crowd ready to applaud, shout and generally get as much fun out of the night as the bands also had on stage.

From the off it was full-speed ahead with openers Bakken delivering a 'Deth inspired set of solos and riffs. Highlights included Mystic Moghul, Sasquatch and one of a duo of new tracks, Evil Walks This Way stood out as oozing potential for a forthcoming ep.

Throughout the set the pace was rampant and the attention solely focussed on a pounding momentum - highly enjoyable.

Enjoyment was the order of the day with Psykosis. Old school long shorts, high tops, mighty thrash and hyperactive bouncing from Tony on rhythm guitar, while Grant romped through neo-classical lead. Nailed down behind the pair were Shane's manic drumming and a rampaging bass from Jay.

Psykosis proved that solid musicianship and laughs need not be exclusive on stage; the ethos that means thrash is so enduring in the face of trends and PR efforts from labels seeking to promote the latest 'approved' scene.

Psykosis are a force for good, grabbing the audience by the balls and shaking them about...however, knob exposure is taking the line and stepping way, way over it.

Bull Riff Stampede - fresh to the audience -  delivered sheer heavy thrash metal, pile-driving and - a word that is usually not bandied about outside the clichéd magazine writers - brutal.

The four-piece were focussed and forceful, drilling through a set based on their Scatter The Ground début and their recent Enraging the Beast -mighty and things that look simple are revealed as a deceptively complex arrangement heavy on the pace, heavy on delivery - we're certain they'll be welcomed back in heartbeat. Dave and Jay particularly accomplished front and centre.

Sinocence always deliver a consistent set, pure metal, pure thrash. Maybe it was the three previous acts, but Sins raised their game, pounding the audience into happy submission.

By the time that opener Coda on Self Slaughter blurred into the stand-out Long Way Down the subtleties of the composed set, balancing aggression on a tightrope of well arranged songs packed with thrash sensibilities and buckets of hooks.

Anto and Moro's guitar work inter-twined and wove patterns of power, while Jim and Davy kept the ball rolling - and rolling at times in wicked rhythms. Throwing in the cover version of Prong's Snap Your Fingers, Snap Your Neck kept variety going before the highlight of Occam's Razor.

Recent appearances at Hammerfest and rigorous gigging and rehearsals have benefitted Sinocence  - roll on the next release.

Four bands, all four-pieces, all four a furious demonstration why whatever form thrash is delivered in, when it is delivered this well there is only one appropriate response - bang the heads, raise the horns, raise a beer and yell "hell yeah!"

Rockin' our RockD with a feast of thrash and down-laden deep groove

SATURDAY (14th December) was the last offering from The Distortion Project's RockD of 2013, and the Limelight2 reverberated with a feast of thrashing and some series groove.

As a result of work and personal commitments Sinocence were not able to land up for the show, but Donum Dei, Bakken and the awesome Astralnaut laid down tracks and attitudes to give 2013 a great send off for RockD.

Donum Dei are relatively new in terms of the metal gigging circuit, but they put on a fearsome set of straight forward thrash, with flurries and time changes. Stuart and Thomas stuck close on guitars with Stuart's lead work impressive and energetic.

As far as energy is concerned Dean on bass provided the stage presence of the night, bounding across the small stage - the band has the right attitude; play as if you were in front of an Odyssey audience.

The sound was nailed down Alastair in a set that nodded to early Metallica, with a dash of Testament and even at times a flavour of Tank - which no doubt given the age of the players is 'before their time'.

Bakken have added their own unique take on the thrash template with an album chockful of tracks that are given extra legs in the live setting.

Mystic Moghul and Sasquatch are especially impressive on stage, even though Simon suffered equipment problems with leads and sound drop outs. Still, as any band worth their salt knows, you just got to keep playing and Bakken are more than worth any amount of Sodium Chloride....

With Simon leading the line, Mark-Antony worked the sound textures in perfect synch as Niall and Adrian kept it all tight all of the time.

With this consistency and considerable talent we are thinking that album number two should be underway to capture that intensity imbued in the band with their live shows.

Astralnaut are awkward buggers at the best of the time when it comes to reviewers struggling with the setlist. Last time we saw them one of the songs was just called 'New Song'...

To make matters more complicated this time they débuted yet more tracks, which thankfully they later provided the titles of - with the proviso that these titles may change...if the music wasn't so good we could have got really frustrated.

But as said the music is really sound and really grounded. The new tracks have been soaked in the deep southern groove; given a dose of poteen and they're now an Armagh groove mash-up of southern US groove with a Norn Iron twist ofdelight; down-tuned and doomy glory amidst the twisting sounds of metaphorical lows and literal highs.

Opening with four-tracks that look set to make it on to a forthcoming e.p. Egocentric, Neopium, Mac Tire and Parasitic take the Astralnaut sound and add depth, at times slowed down and as heavy as a Coca Cola Christmas truck rolling over baskets of puppies...you know it's wrong, but somehow it works....not the puppy deaths of course, just the sheer weight of these new tracks.

With Emerald Lord of Pleasure and Back to The Bog rounding things off this was a perfect way to wrap up another year of RockD with Thomas roaring out, Gaz leading the guitar attack, backed up by Pearse's intense rhythm work, tight in time with Jon Joe's bass rumble and Stephen's pounding of the tubs - it all rocked the foundations of The Limelight.

Astralnaut continue to grow in live stature and with more recorded material due in 2014 should be a truly promising year for the band.

All in all the Saturday gig was a great closer to RockD 2013.

The tribe of rockers and metallers always trumps the scenesters

THERE is a camaraderie about rock and metal fans that is beyond compare - and for the past several days that has been demonstrated time and time again...but the scenesters and their chequed designer shirts will never know how to give and receive respect. (More of that later.)

First let us rewind back a week or so. 'Twas a Saturday evening and all was well in the world. A healthy gathering of like-minded souls congregated in the vicinity of Ormeau Avenue, many graduating to the hallowed Distortion Project residency in Limelight1.

Once inside there was a four-band treat, at which many nodded in agreement at the mutual enjoyment.

This was a celebration of the launch of Gacy's Threads split 7" with Swiss monsters Colossus Fall.

Opening up was the rhinoceros like charge of Tusks. In your face, in your ears, in your way if you wanted a casual early evening pint, because this was an unrelenting, groove assassination on your senses. Outside Limelight1 casual drinkers and scenesters winced. Where there was calm once there was now mayhem; and it felt good. Tom was manic in this his second singing slot of the weekend, and more than aware of how 'under the weather' he was and how 'angry' he was at everything and everyone while he was on stage, despite being a model of congeniality off-stage.

As more and more people in checked shirts and coloured jeans gathered (hand in your mancard people!) for the early show with Jimmy Eat World in Limelight1 Lantern Gale came on two doors away. Self-proclaimed 'post-hardcore, melodic hardcore they quickly into the groove and the obligatory singer, Paul on the dance floor.

Post-hardcore and melodic post-hardcore has always been a slightly mystifying to us here at Belfastmetalheads. Apart from 36 Crazyfists and local act Escape Fails there has been a lack of coherence to 'post-hardocre' acts. Lantern for a Gale kicked up a noise but only held together with some of the melodic sections. Of note was the title-track of their ep Cut Throat Blues, which had more than an echo of the Cancer Bats but cleared the decks with a frenetic energy and an edge that left more than a few nodding their heads in appreciation.

As more and more pints were consumed - naturally - we broke our Fivewilldie cherry. First time seeing these guys from Cork and wow! Sludge, metal, doom, prog all mixed together in a wonderful brew of noise.

This is where the camaraderie of rock and metal was in clear evidence. This was a band unknown to more than half those present, but each person appreciated their effort in making the journey and their effort on stage. And what an effort it was.

With more groove than a 12" long player, more noise than a flag protest and more focused energy than a thousand Duracell Bunny Fivewilldie are a potent force. The homage to Sabbath was done perfectly with a modern take on the riffmeister's sound.

But, let's face it we were there to celebrate Gacys Threads split launch with Swiss Noisenicks Colossus Fall.

How come we can celebrate such a furious assault? There has been some recent research that listening to loud, aggressive music makes you happy. Well, f**k me pink, we already knew that!

And when Gacys Threads came on stage they made us happy. Furious, aggressive hardcore metal played with an intensity that was frankly scary at times - but scary in a good way.

Life Struck, Titans and the tracks from the split Plague Wielder and Salvation struck the assembled like a smash in the face by a knuckle-duster wielding thug.

Aaron Vance prowled the stage like a caged animal until let loose off the stage, rampaging and tearing loose. On this night in particular Gacys Threads were at a peak, rhythm rolling, guitars furious and an attitude that bound all in attendance together.

Contrast that with the crowd at Jimmy Eat World. Wandering two doors up from being pummeled by Gacys Threads and smiling faces we were immediately taken aback by the numpties there as it was an 'event' to be seen at rather than a gig to enjoy.

Would you rather actually watch performers and enjoy the effort they put in, or would you rather talk amongst yourselves?

For the vast, vast majority of rock and metal fans you pay your fee and enjoy the show. You do not talk, chat, compare styles, take selfies, watch the gig through your phone and keep on talking, and talking and talking....

While the Belfastmetalheads crew were divided over whether Jimmy Eat World were great or insipid it was difficult to make up one's mind when the people next to you are talking, or complaining about getting bumped into (it's a rock gig for Odin's sake not an opera!).

After the sheer exuberant joy of The Distortion Project Gacys Threads show (and the three superb acts with them) it left a slightly sour taste in the mouth.

Fast forward a few days. A double header - The Distortion Project were hosting four bands and Rockradioni were promoting a Motley Crue tribute band.

Unfortunately we missed the debut of '84 at Stiff Kitten, but there were smiles all round when Bakken brought the thrash - and grins were in evidence. Darkest Days and Sasquatch were awesome. This is a band that deserves more exposure!

As to exposure we saw a Scottish invasion in the form of Mair. Now we like a band that shows enthusiasm, and we like a band that enjoys being on stage, and we really like a crowd of people of people gathered together for the music, not to chitter and chatter.

Mair provided a refreshing take on groove metal, with Del's broad Glaswegian accent transmogrifying into a deep bellow, verging between Tom Araya and Howard Jones. Miranda's bass playing was outstanding, but her off-stage antics, running around the crowd while playing, egging on the audience kept the momentum flying during the set. The easy, between song banter, showed a cohesive unit leading the line. Scotland are lucky to have these crowd of glorious nutters. If Scotland gets independence will we need to show our passports to see them...

What can one say about Sinocence? They are players par excellence, with a fine sense of subtle songwriting. Noise and finesse, excellent playing and sheer talent. No Gods, No Masters Vol1 is an obvious platform to build upon as they march onwards.

Again this shows what a rock audience is about. Appreciating the band, acknowledging the effort and being genuinely entertained by the likes of Sinocence - and if you want to chat go outside and have a smoke or take in the fresh air.

Having been so thoroughly entertained smiling groups of people wandered amiably from the Stiff Kitten to The Empire. Genially chatting before hooking up with friends old and new before Screaming Eagles ripped apart the Botanic Avenue venue. Quite literally - in the same way that Gacys Threads and Sinocence rise to new heights - the Eagles lay it down. Three bands, three very different genres within the spectrum of rock and metal and three performances that earned admiration.

The Eagles seem to be growing with each performance, as if the spirit of DC, Cream and Free has inhabited all four band members.

And this returns to our main theme: when two or more are gathered together at the altar or metal, the tribe honours the music and upon completion of the music the congregation - whether in clusters of friends or at the bar contemplation and critiquing the tribe has a camaraderie no other genre has.

That particular evening concluded with Motley Crew UK, headed by the irrepressible Ash. While more entered into the spirit (get drunk and party!) there were others - Anto for example - who did not find it as appealing - yet no-one fell out over it, no-one took the hump.

No matter which genre of hard rock and metal there seems to be a genuine camaraderie, a general feeling that we are one tribe.

Yes, there are always a few numpties out there, who spoil it more for themselves than the people around them, and there bands that part ways due to 'musical differences' but in general it seems that the tribe holds together better than any other group of people. As Eamonn Nancrow says: "protestant, catholic, black, white,   or Bangorian" rock 'n' roll transcends boundaries.

And a big hand to all the promoters and publicists, from Stephen Currie and Savour Your Scene through to MCD, from Derwin and the Diamond Rock Club crew, from James and the beloved Distortion Project to Shine and the Limelight, from all at the Voodoo through to Rockradoni - all deserve a hearty slap on the back for enabling bands to play for the benefit of the tribe.

Motley comp winner and a mad Saturday of rock and metal

CONGRATULATIONS to Darren who was the first drawn for the Belfastmetalheadsreunited/Rockradioni competition for a pair of tickets to see Screaming Eagles and Motley Crew UK at The Empire tomorrow night (September 14t)

Thanks to all who entered and some tickets are still available on the door.

What a mad, bad and great Saturday it looks like being. Kicking off at the Stiff Kitten with The Distortion Project presenting a four-band line up. For a small fee you can see '84, Bakken, Mair and Sinocence.

With that appetiser it is a short stagger to the Empire for the Eagles and some remininsence of the 80s glory of the Crue.

All in all a night that come Sunday will require us all to KickStart Our Hearts to recover...

Ballsy Bakken burst forth with power début

REGULAR readers know we here at Belfastmetalheadsreunited have no time for labels. Yeah, sometimes you need to add a wee classification, but if it's good metal, hard rock or punk then that's all needs to be said.

Bakken could, potentially have several labels attached to them, but they deserve more than to be labelled as thrash/classic metal/NWOBHM/power metal crossovers. The sum of the parts is more - much more
Having burst forth from seemingly nowhere they have produced a life-affirming album, Death Of A Hero, which is to be released in September. Hold on to your hats people, because Bakken have produced a spectacular début platter.

For a band who have had their fair share of turmoil and tragedy is remarkable that they have emerged with fists pumping, guitars roaring and a pounding defiance that whaever fate has thrown their way they can emerge stronger.

Album opener Darkest Day is eight minutes plus of snarl, riffs, rumbling with a Maiden-esque rhythm and a contemporary structure. Niall McGrotty's drums and Brian O'Kane's bass the power-house upon which the song is built.

With Simon Pickett's vocals dripping with attitude the flesh of the track is on Pickett's and Mark-Anthony McGinnis's twin guitar attack the template is set for the rest of the album.

Up next Mystic Mogul and Cursed are now available from the band to listen to for free. Mogul has more than a slice of NWOBHM at its heart, with Pickett's vocals taking a slightly higher tone, emphasising the roots of the song. Cursed [sampler below] has more of a contemporary feel; steady paced and chopped chords breaking up the riffs; married with a chant of the title makes a perfect setting for the middle eighths and breakdowns.

However, debts any twin guitar act have to their predecessors must be paid: self-proclaimed Lizzy fan Pickett pays that debt in full in Sasquatch, with a Celtic feelign series of harmony guitars layering together nicely.

The album closer Voyage of Aodh is perhaps where the depth of the band can be found. After a heavy opening, subtleties of structure, slower sections and emotive lyrics build up over almost eight minutes; there is a feeling in the complexities of prog metal, a dash of black metal and a cap nicely doffed to the likes of In Flames, pace varies, tempos change before a headlong rush of melodic guitar lines, underpinned with impressive drum lines and rampant bass.

In pulling together this album - other tracks are the equally impressive Back to the Future, Get Back to Your Feet, and Fortress of Evil - Bakken have laid down a marker of future intent. All in all a welcome addition to the local output that surprises with its depth and delights with its structures in this ballsy début release

Forged in fire, tempered by tragedy

"GOOD music is something to fall back on in tough times." The words of Bakken's Simon Pickett, when we caught up with the lead singer and guitarist of Northern Ireland outfit Bakken as they prepare to launch their début album 'Death of a a Hero' in just over a month's time.

And Bakken are a band that knows how much it means to have music pull you through. Simon contracted a serious illness and another band member lost a close relative in tragic circumstances. But as a result of this Bakken have pulled through, are a tighter unit and make what statements they need through their music.

Simon spoke to us about the process of recording the album enabled them to move on, grow and develop - reflecting as many readers of this blog know, metal isn't always about darkness.

"It's fair to say that some of the band has had a horrible last few years," he said. "But as I'm sure most metal fans do, I always feel that good music is something to fall back on in tough times.

"When we started the band I was still quite sick and was obviously quite depressed, but I found that airing some of the negative emotions and frustrations I felt through music was a really cathartic process and helped me through it.

And that catharis has produced an inner strength; "For me, heavy metal (or at least the bands I like) always have a positive vibe or an element of strength and hope in the music and this was the same for me when I was writing the songs.

"I like to think that this really stands out in our music too and that other people listening to it can find the positive messages in there and be inspired themselves.."

That musical inspiration can be something apparent as musicians step on to the stage, when a mixture of nerves, angst and excitement bubble into the best of sets. Getting ready for the studio is a different matter.

Simon explained that Bakken were prepared for the challenge: "We actually had the songs very well mapped out as demos and practiced them hard before we gigged them, so that made things a lot easier in the studio.

"Having said that, the pro level studio experience was new adventure for all of us and it took us a bit longer than originally planned to record the whole album, mostly due to the complex nature of some of the songs."

They also had - like many taking to a professional studio for the first time - the challenge of making sure that the live vibe was not lost in the studio.

"Capturing the live feel was quite difficult but was important for us," said Simon. "Specifically we wanted to avoid using a constant unchangeable click track beat wherever possible as this can make some sections sound dull and monotonous.

"We also stayed true to the equipment we use live and tried to resist the temptation of layering the instruments too much. Most of the time there are only two rhythm guitars playing which retains the percusive raw edge to the sound; the vocals also have a raw live feel about them too."

So what can the listener expect from Bakken? The one-sheet explains that they are a mix of classic metal, NWOBHM and thrash. It's a heady mix on Death of a Hero [Review to come later] with early Bruce era-Maiden, Diamond Head, and Thin Lizzy caught up in structures and styles fans of the likes of In Flames, and the better Trivium songs will recognise. They are all clear influences, but they are not slavishly followed.

"The influences are quite obvious to those versed in classic metal," explained Simon. "As the main song writer my main influences come from my love of 70s and 80s rock and metal, Thin Lizzy, Queen, Judas Priest, Iron Maiden, Helloween, etc.            

"Niall is a hard hitting drummer who is a fan of very heavy contemporary bands and is very skilled at fast “double kick” drums, something we used a lot in the album; also Mark-Anthony (the second guitarist) is also a huge thrash metal fan (as I am too), so combined with these harder influences I like to think we have created a fairly unique sound that doesn't compromise on either melody or heaviness."

But it's not just metal that Simon draws his influences from - he has a musical reference point in common with the late Cliff Burton.

"In terms of finding unique inspiration, I often listen to classical music (composers like Mozart and Bach) [Burton was a skilled classical musician who cited Bach frequently] which has definitely opened up my mind to incorporating innovative approaches to composition.

"For instance, a lot of the time, the two guitars and the bass are playing different things, which when added together give a full, more complex sound. You mentioned contemporary influences like Trivium; some people often comment that we sound a bit like them, although I wouldn't say this would be a result of a direct influence but more probably from a shared set of classic metal influences. That's not to say there aren't any modern bands that influence our style; personally I am a huge fan of melodic death metal bands like Children Of Bodom and In Flames, these influences often creep in to our music too, so its a real mixing pot I think."

Death of a Hero is the soundtrack of a band that has emerged from dark times, who have feen forged in fires of misfortune, but used tragedy to temper their attitude into an honest reflection of how metal can birth hope, and, as epitomised by the words of Simon brings hope and strength.

Review to come later...