EP REVIEW: The Howling Tides slam it down on début release

The Howling Tides recently released a video for their first single ‘Crack My Soul’ (which landed on YouTube on 4th June) from their upcoming self titled EP.

And now comes the big one with their brand new 5-track EP, (Produced by modern-day British Blues Rock legend Aynsley Lister) which will be available on all major platforms.

What a lot of heavy rocking these lads have packed into five songs, kicking off first with 'Cheap Painkiller' with almost a Black Sabbath vibe until it unmuffles itself and blasts into chunky bluesy rhythms.

It highlights some of the incredible range of Rob's vocals, from a sweet quirky smoothness to a ragged chainsaw full of rage.

Hayden's guitar work is incredible and all very well supported by Luke on bass and Steven slugging it to those drums.

Definitely a great track to start off with...

Second up is 'Death By Exile', a dirty southern rock style full of chunky rhythms and riffs that chug along at a perfect headbanging speed. The breakdowns are things of beauty that just make you glad to be alive at a time some young bucks were able to produce something like this.

'He Told Me', another hard rocking, face smacking, headbanging tune that continues the joyful delivery of controlled aggression and with guitar solos that fly at you with a pickaxe. Again there are moments where you have a comfortable feeling of Black Sabbath hidden here and there throughout the track.

Then comes the awesome 'Crack My Soul', a solid headbanging track full of emotionally charged, controlled aggression infused with crashing riffs and rhythms delivered in a professional tight manner that just makes your skin tingle and your hairs stand up.

Finally we have 'Running Blind' a riff-laden rumbling tune that is absolutely perfect for driving. You will just keeping driving past your stop just to listen to the very end.

This EP is a full on delivery of joyful energetic Hard Rock Blues with incredibly well delivered thundering drums, dirty fuzzy guitars, chugging bass and soulful vocals. Every track has rich chunky hooks, well timed breakdowns, a full sound and all are infectiously catchy.

The riffs, rhythms, breakdowns, and vocals will leave you with a hint of what Black Sabbath would have sounded like if they had just been a hard blues rock band.

And, as repored by our colleagues who saw them at HRH Ibiza Road Trip in May, definitely a band to see live.

The ep is out on WDFD Records on 29th June. Buy it. You need this one.

With an unrelenting desire to deliver soulful Hard Rock and unforgettable live shows, The Howling Tides are a band set on making their mark. Catch them on Facebook, Twitter, Youtube and Instagram.

Review by Ivor Whitten

LIVE REVIEW: Metal 2 The Masses: Heat Three live revie

A DAMP chilly night on Belfast’s Fountain Street was no match for the hot powerful metal that was giving everyone shelter within the confines of Voodoo under the watchful eye of The Distortion Project’s own James Loveday.

Tonight was Heat Three of the clash of metal on metal for Metal2TheMasses, with four bands stepping up on their quest to find a place at Bloodstock 2018.

The first into the fray was Indominus, melodic death metal merchants from the Belfast area.

They had a hard, heavy and thunderous set with thrumming riffage and growling vocals full of menace to let the crowd know who they were.

While there was some movement from the band members, the bassist was a centre point banging off into the crowd every so often with an energy that helped stir up the headbangers there for a good night. They delivered a good set, if only slightly offset by drowned out vocals, but a great effort and well received.

Next up was Acid Age, who interestingly introduced the crowd to the intricacies of thrash fiddling (or
violin for those slightly more cultured).

Eyebrows were raised but this soon changed to delight as this strange combination worked well.

The band were definitely enjoying themselves on stage and on the floor as the singer joined the moshers from time to time. The crowd were really getting into the set and there was even audience participation with a metaller given a mike to sing along – delivering a fair performance himself. They gave a rhythmically diverse performance with some excellent heavy rhythm and blues in the last song.

Thunderwolf, a band from Armagh, came on next and the floor was quite obviously packed now. What was going to happen now? Well, what happened was a very tight band, with fantastic stage presence and interaction with the audience, delivered the best set of the night. By a mile.

No disservice to any of the other bands, but Thunderwolf were fantastic. They rocked the place with melodic heavy riffage, great clear vocals, and songs that got everyone moshing and headbanging like demented demons. They really made even the jaded metallers there stop and take notice. If Iron Maiden did thrash, they would be called Thunderwolf.

With their pumping drums, aggressive melodic bass riffs, screaming and chugging guitars they would fit perfectly performing on screen in the likes of Altered Carbon or Blade Runner. They absolutely nailed it.

And to finish off the night came Wardomized, grindcore from the Belfast/Lisburn area, giving all they got in front of a still animated and enthused crowd of moshers.

They had an aggressive energy that did not stop throughout their set along with yet more audience participation. Heavy growling vocals, pounding drums, heavy bass and melodic guitar swaying between lightning fast and slow produced a cacophony of thrashing kept the moshers happy.

All four bands delivered their own great performances, though there was one clear winner, Thunderwolf. Also joining them in the next heat is Acid Age.

The fourth heat of M2TM will be at Voodoo on Saturday, 3 March featuring PERIAPT
RULE OF SIX, RUSTY TASTE OF SWEETNESS and SKYPILOT.

Review by Ivor Whitten

LIVE REVIEW: When Anvil Pounded the Pavements of Belfast

A COLD Tuesday night feeling like it was the dead of winter should have ensured the streets of Belfast had only a few stragglers knocking about the place. Not so for the Limelight 2 where the legendary Anvil and the mighty Stormzone were playing.

Even with the early 7pm start and Stromzone on at 7.10pm the place was getting packed out. By the time Anvil took to the stage it was metal on metal with the body count as the place was packed to the rafters.

Stormzone (Harv, Steve, Graham, Dave and Jr)  took to the stage and blew away any cold February blues anyone had firing off on all guns appropriately enough with ‘Where We Belong’.

And, they certainly did belong on that stage. Next was their anthemic ‘Three Kings’ which let the band highlight once more their enthusiasm and metal energy onstage. Then came ‘The Pass Loning’, ‘You're not the same’ and ‘Death Dealer’. Each song delivered with passion and verve with each member of the band animatedly joining in.

The love of their art was plain to see and this spilled over into the audience. The set came to a close with ‘The Legend carries on’, a very fitting song for the band as they had just received the delivery of their latest album ‘Lucifer’s Factory’ which quite a few people picked up at their merch stand.

Each song was a perfect delivery of the band’s heavy rock/metal style of thrumming, chugging riffage tied together by Harv’s fearless vocals into one beautiful stage show.

Then a roar went up as Steve ‘Lips’ Kudlow, Robb Reiner and Chris Robertson strolled like mighty conquering heroes through the parting mass onto the stage.

Though Lips was feeling very under the weather, he showed his true metal grit as he launched into ‘March of the Crabs’ to a joyous reverberation of the crowd. Everyone knew something special was happening in front of their eyes. Anvil were playing Belfast!

Then on into ‘666’, ‘Ooh Baby’ and the pavement pounding ‘Badass Rock 'n' Roll’. They owned the stage, Lips had a smile that travelled from ear to ear, Chris was rocking the bass and Robb was smashing those drums. The passion and enthusiasm for their music was clear to see, and the crowd were just as passionate.

The adoration and noise from those in attendance would rival any epic victory party.

Throwing themselves into each and every song with unbridled energy they continued to push the crowd into an ecstasy of fervent joy with ‘Doing What I Want’, which should be the theme song for their tenacious dedication to their art.

On it went with ‘Winged Assassins’ with an amazingly crowd pleasing intro from Chris Robertson doing a wonderfully animated Bass solo, with ‘Free as the Wind’ and ‘On Fire’ keeping the pace going.

From their hugely popular documentary ‘Anvil: The story of Anvil’ came the raucous ‘This Is Thirteen’, before heading into Kaiju territory with ‘Mothra’ which incorporated the signature move from Anvil, Lips’ guitar and dildo Solo. Truly a wondrous disturbing sight to behold! And the crowd absolutely loved it.

Each and every time there was a pause, a resounding chant of ‘Anvil. Anvil. Anvil.’ lifted up from the floor like a prayer to the metal gods that there were more songs coming.

Anvil didn’t disappoint. Lips was a fantastic front man chatting and joking in-between with the crowd, which was lapped up with unadulterated reverence.  The crowd, without a doubt, appreciated the band’s presence in Belfast and the way Lips, Robb and Chris were giving it maximum metal.

Up next was ‘Bitch in the Box’, a fantastic metal homily on our modern day frustrations with sat-navs, before turning to the high seas with ‘Daggers and Rum’. Each and every song just brought more and more smiles, roars of appreciation and headbanging from the dedicated multitude that crammed in to see Anvil.

The energy never abated, and with no signs of slacking Anvil continued their onslaught to rock the hell out of the Limelight with ‘Swing Thing’ and an amazing drum solo from Robb Reiner. ‘Ego’ kept the unstoppable metal flowing and then ‘Die For a Lie’ before finishing the main set with their signature tune of ‘Metal on Metal’.

The only disappointment for everyone there was Anvil left the stage as the gig was now over. But wait!! To the chants once more of ‘Anvil. Anvil. Anvil.’ on they came with one more song. And what a fantastic way to finish their visit to Belfast...covering Steppanwolf they utterly rocked ‘Born to be Wild’.

Overall, the whole gig was a very special event, and everyone there knew it.

Stromzone kicked it out of the park as ever with their set bringing their usual infectious energy to the proceedings and truly warming up the crowd.

Anvil put on a spectacular show that transcended the evening, age wise, music wise and fan wise. From those who have been long time aficionados to those just dropping in to see who these guys were, all were one in admiration by even the first few songs.

Many bands would kill for the adulation Anvil got in the Limelight and the place vibrated with the noise of the crowd. The whole atmosphere screamed ‘Metal is Life’ and everything else can melt into insignificance.

It was very apt that this titanic show in Belfast was ‘A night to remember’ for all the right reasons.
Simply put, you need to see Anvil. End of story.

Anvil’s album ‘Pounding the Pavement’ is out now and after you buy that take Lips’ advice and buy the best off before plunging yourself wholeheartedly into the rest of the back catalogue.

Review by Ivor Whitten
Pictures by Darren McVeigh

INTERVIEW: When Anvl played Belfast we sent Ivor along to ask the legends...

THE legendary metal troubadours Anvil played Belfast Ivor to catch up with the Canucks.

With a career spanning decades there was a lot to ask.

Listen below:

INTERVIEW: Raveneye arrive to be interrogated...

WHEN in Belfast expect to be interrogated...no nothing to do with the police, just we send our intrepid team off to ask the awkward questions...

So when Raveneye touched down in the Belfast Empire Ivor cornered them for a few questions about the three-pieces work since they were last in Northern Ireland and their continued upward rise...

Here is what they said:

LIVE REVIEW: Raveneye, Skam and Mosmo Strange. Three rock bands walk into a bar ….

ON a rather cold Friday night the Belfast Empire played host to a full on rock performance of epic proportions. As the crowd milled in anticipating a good show, little did they know what a fantastic night it was to be - minds, as they say blown...

Setting the scene was local band Mosmo Strange, a four piece band of Gavin Scott, Nolan Donnelly, Eamonn Doherty and Conor Bradley. Kicking in with ‘L'Etrange’, Clipper and ‘Fumar Mata’, they grabbed people’s attention straight away with an eclectic alt rock energy.

These guys were not the usual looking rock outfit many would expect and their tight set, banter and stage presence really hit the tone.

Hitting the crowd next with ‘Vince the Pince’ and finishing off with ‘She’s away’, they have an almost indifferent rock like attitude, playing for their own enjoyment, and if others want to listen, then that’s all good. They had an enjoyable Zappa jazz rock feel about them with a touch of musical experimentation about their set list. A great set to warm up the Empire Hall.

Leicester three-piece Skam, consisting of Steve Hill, Matt Gilmore, and Neal Hill, were back in Nelfast six years since their last apppearance in the city.

There were a few hardened fans in the hall and were beyond excited Skam were back. One attendee specifically there for Skam was one Cormac Neeson, lead singer of The Answer. So this promised to be an interesting affair.

Well, it wasn’t interesting. It was a hard rocking, mind blowing experience. Coming on stage, they suddenly owned it.

Firing off the Rolls Royce engines of their spitfire hard rocking set they took to the skies with ‘Between the Eyes’, ‘Iron Cross’ and ‘No Lies’. With pounding drums, rumbling bass lines, melodic hard rocking guitar riffs and superb vocals, they completely kicked ass from the first notes.

‘Fading before the Sun’, ‘Holy City’, and ‘Take it or Leave it’ entrenched their outstanding style of hard rocking with the Belfast crowd, before delivering their coup de gras with ‘’Massacre’. Each one had their own distinguishable personality with Steve on lead vocals and guitar connecting beautifully with the audience, Matt on bass strutting around like a turkey cock having a whale of a time and Neal energetically smashing the hell out of the drums.

As a singular rock unit they were supremely tight. They had a real banter and connection with the throng.

While most of the people there were awaiting Raveneye, there was a palpable disappointment Skam’s set was over. Definitely a band to catch if the opportunity ever arises. Hopefully it won’t be another six years before they are back again.

Then, almost unnoticed three unassuming likely lads nonchalantly took to the stage. For a few moments checked the equipment, and then proceeded to utterly blow the place apart with a foot stomping, uproarious gungy blues rock that had everyone’s undivided attention.

Clouting everyone round the head the night’s tour de force smashed in with ‘Hate’, ‘Come with Me’, and ‘Inside’, Raveneye just defy expectations every time they perform as they keep upping their game just when you think they did an outstanding job the last time.

Crowd favourite ‘Hey Hey Yeah’ with Oli and Aaron’s shoulder riding antics did not fail to make the hairs rise and heads bang. The crowd loved how both stalked through hall faultlessly pumping out the tuneage all the while. Next was ‘You’re a Lie’, ‘Supernova’, ‘Madeline’ and ‘Oh my Love’ continuing the amazing onslaught of superb rock that was perfectly delivered.

The interaction of Oli, Aaron and Andy showed a natural self confidence that was humble and joyful was the rock cup that spilled over into the crowd. Oli is a remarkable front man with an incredible skill as he both playfully toyed with his guitar and the audience.

‘Out of the Rain’ and ‘Breaking Out’ kept the audience on a high as they just continued the pounding beats, graceful bluesy rocked out riffs and thrumming bass before taking it down a notch to deliver ‘Eternity’, a beautifully conveyed acoustic performance.

Then, with pure and well deserved confidence, Oli just came out straight that at this time the band goes off stage only to come back on for an encore, so sod that, they would just do the extra three songs now. This led into ‘Hero’, ‘Turn the lights down’ and then to completely shake the foundations of the Empire they ended on ‘You get it’.

Overall, all the bands delivered more than was anyone could have expected. Mosmo Strange were a great warm up and Skam were utterly superb rockers. Raveneye, the absolute stars of the night, came, saw and conquered the hell out the Belfast Empire.

All the bands had an undiluted self-effacing and unpretentious attitude, even though they all had the talent to get away with being overbearingly up their own holes. They took the time with the audience on and off the stage which made the night a very special night for everyone who stayed to the end.

They got a chance to meet a number of bands that will be hitting the world recognition level in the not too distant future.

If you have an opportunity to see any of these three bands, do yourself a massive favour and do it. You will be blown away.

Review by Ivor Whitten
Pictures by Darren McVeigh

ALBUM REVIEW: Climate of Fear deliver a Holy Terror of an album

Climate of Fear, a UK hardcore metal band, are bringing us a ‘Holy Terror’ of an album and is due to land on 23rd February.

And boy, does this album play with you from the very start with a very soft, almost Spaghetti Western acoustic introduction, before you get slapped firmly in the face with a driving steam train of a track ‘Twisted Reality’.

‘Twisted Reality’ has a fast/slow tempo mix almost mimicking that train starting out from metal station and out onto the railway of oblivion. Paul’s vocals perfectly reflect the anger and frustration meted out through the musical assault of the drums, bass and guitar. It has a very strong Slayer feel about it, as do the other tracks on this album.  This one has a definite ‘Relentless’ feel to it.

Next is ‘Scorched Earth’, once again the uncontrolled aggression pummelling through the speakers will have you violently headbanging without a throwing save. It once again has an unstoppable, driven steam train riffage that just pushes along with brutality.

Then a short ‘Interlude’ that pulls you back to that western melancholy feel, tinged with a Metallica like sound till it pounds you into the ground just to make sure you know it’s a BLOODY interlude, mate!

Now onto ‘Entombed’ which comes in like a riotous cacophony of discord all the while the melodic aggression of the guitars punctuated by the drums pushes the song forward like a punch dagger shoved through your earlobes. A great sounding track full of little Egyptian like swirls weaves a mystical doom throughout.

Finally comes ‘Holy Terror’, and the track lives up to its name as it rushes you like an angry Spartan battle line out for blood. It powers through with an belligerence full of unrighteous indignation. It is interspersed with Paul’s usual rough throaty anger and primordial guttural utterings that give it a dark doom laden feel of Cthulhu-like nihilistic tendencies. And yet another pure headbanging track that delivers.

Overall, this EP is a fantastic full on moshfest of aggressively epic proportions.  Climate of Fear definitely provide, through ‘Holy Terror’, an album delivered with such a visceral brutality that it could single handed start and finish World War Three before beating you to death with sticks and stones, as it starts World War Four.

Even if you are not a hardcore/thrash/speed metal fan, the melodic ferociousness of this EP will keep any headbanger happy.

This is a great debut and needs to be added to your collection.

Review by Ivor Whitten

Released on 23 February, ‘Holy Terror’ is available through Demons Run Amok Entertainment Pre-orders up now at www.climateoffearuk.bigcartel.com.

ALBUM REVIEW: Does Kill the Unicorn dream of an electric Prism?

WHAT do you get when you cross metalcore with 8-bit gaming and jazz? Kill the Unicorn, an avant garde Swizz band formed in 2014. And, an interesting concept it is too.

Their latest album ‘Prism’, released in late 2017, is a really…. interesting listen. It’s as if Thy Art is Murder had a lovechild with Frank Zappa and immediately started playing the Legend of Zelda on a Gameboy.

The album immediately gives you that vibe with ‘Motoko Kusanagi’, a very familiar name to anyone who knows of ‘Ghost in the Shell’, with nostalgia inducing 8-bit tones before bludgeoning you with fast and frenzied riffs.

Throughout there is that undertone of 8-Bit magic as its sound rises to the top to be replicated by the guitars. All the while Pipo’s visceral guttural vocals roll along like a platform protagonist that just beat the shit out of Bowser. It’s a very well put together weird piece of metalcore that you will want to listen to over and over.

‘Dreams in 56k’ is one of the most nostalgia inducing intermissions (only 23 seconds long) you will hear. If you grew up in the 90’s and had a modem then this will both melt your heart and make you cringe with horror. No incoming or outgoing calls when that baby was running.

Next up is ‘Ode to Spot’ is a wondrous mad mix of metalcore with pure Zappa/Primus weirdness that perfectly complements the subject of the song, Spot the Cat. Yes, all you will think of is Data’s cat. And his own ‘Ode to Spot’.  Again they neatly entwine references to contemporary nerd culture in a natural fun way. And yes Pipo was counting Tribbles in there too.

On into ‘Wormhole To Gliese 556c’ is one for science geeks as Kill the Unicorn seem to make an oblique reference to Gliese 581, a recently discovered, possibly, habitable planet. As Pipo rumbles out his vocals as the band lay down a fantastically heavy track, it just drags you along into space. Again there is a little musical twist plopped right into the song. Always expect the unexpected.

As ‘F.U.C.K.U.P.’ blasts in with pure heavy metalcore, you will be trashing your head until they get to the chorus when you will stop and go ‘WTF’, which is just the Hors d'oeuvre for the weirdness main course. Which involves a submarine at one point.

Just for a bit of left curve balling, ‘Me And My Velociraptor’ is an amazing tour de force instrumental, which has such a Chilli Pepper feel at the start you almost think Anthony Kiedis is about to drop a bit of ‘Under the Bridge’ for a laugh. It then leads off into melodically epic driving riffs and thunderous drums and cymbals. Being Kill the Unicorn, they just couldn’t leave it alone with beautifully crafted slow spots and reprises throughout. A fantastic track.

Kicking you in the face. Again. Is ‘Conquistador’. A heavy thrashing track full of serious metal tonnage mixing in some catchy melodies all while pounding along like an army on the march. Fantastic.

Then comes ‘Catacombs’, a short but perfectly formed piece of rage filled vocals full of power, an unstoppable force until it hits a jazz speed bump, and then goes wonderfully weird from there.

On into a rousing thumping track in German ‘Ausgefuchst’ or ‘Crafty’ that just grabs your body and tosses you about in its own hard melodic way. It may put you in mind of Metalocalypse's Dethklok.

The penultimate tune is ‘Rendesvouz with Cleopatra’ a fast thrashy metal track that will still keep a headbanging metalcore fan happy with solid moshing breakdowns.
 
Lastly comes ‘Pitch Black VR’ which immediately conjures up the film that brought us the mighty Vin Diesel and the track has a chaotic and frentic dread heaving throughout reflecting the atmosphere of the movie.

Kill the Unicorn are Full Metal Alchemists who pound out a wonderfully dissonant cacophony of techno metalcore, 8-Bit insanity, and Zappa jazz. They just revel in trolling metallers by defying tradition and creating an existential heavy metal crisis. All the tracks have a schizophrenic force driving forward with an undeniable energy. The songs themselves delve into the dark dystopian side of humanity’s dependence on technology, the album has an overall hard cyberpunk ‘Blade Runner’ feel.

As Pipo says “Live fast, die digital”. Especially pertinent as technology and social media is so dominant.

Review by Ivor Whitten

Kill The Unicorn’s ‘Prism’ is out now

Kill the Unicorn are
Pipo Thalmann - Vocals
Marc Sommerhalder - Bass
Matteo Leuthold - Drums
Ziggy Lebon - Guitars
Raphael Zumstein – Guitars

Metalcore / Progressive / Hardcore / call it what you want...

EP REVIEW: Thuum release Through Smoke, Comes Fire' this February

THUUM smack 2018 out of the park with their heavy, no holds barred and bruising self-released EP ‘Through Smoke, comes fire’.

If you like Down, Corrosion of Conformity or Mastadon then this is right up your street.

Even if it’s not your thing, there are still melodic heavy thrumming bass and guitar riffs that will have you headbanging with pleasure.

Thuum have a compelling  grungy, sludge sound that has its own stoner like groove.  This is aptly highlighted with their first track, fittingly titled ‘Intro’. This is an instrumental of epic stoner proportions that keeps you listening and swaying along. It slides in with a wonderfully dark Orf-esque soft throated tribalistic chant that slowly transcends into rolling black coated riff laden guitar, rumbling bass and thundering drums that keep a murky beat rumbling onwards to the end.

Next is ‘Worthless’ that gallops along in a hazy groove. The singer, suitably named Bear, adds a rough primordial vocal sound that compliment the animistic feel of the track as it rolls up sinister mountains and down disconsolate valleys. In the faded background there is a tinge of Black Sabbath at play. Its melodic rhythmic swaying back and forth with heavy riffage makes this a truly fantastic composition

‘Hafgufa’ is a track that will roughly grab your neck and throw you around like a rag doll. A tunefully catchy conflagration, it is perfectly jagged with a fuzzy edge. Bear goes from rage filled guttural screams to emotionally charged clear blaring vocals that fit beautifully with the whole track.

Lastly is the title track ‘Through smoke, comes fire’ is a solid piece of thematic sludge that just crushes your ears with grooved out metal, a sharp fuzz, clashing drums, and stomping riffs. A colossal piece, it again finds Bear’s symbiotic vocals flowing from the barbarian guttural vocals to a hard clear voice challenging all and sundry to battle.

You will realise, after listening to this beautifully crafted hefty beast, why Thuum were on the New Blood stage at Bloodstock 2017 and are building a reputation amongst metal lovers.

Slick, tight, professional, hard, heavy, and uncompromising they have produced an EP that would take down a Mammoth at a 100 paces. ‘Through Smoke, Comes Fire’ crushes it totally.

Review by Ivor Whitten

Listen to 'Worthless' (official stream): http://thuum.bandcamp.com/track/worthless

ALBUM REVIEW: Walking papers don’t need to push their luck with their latest album

WALKING Papers' second album ‘WP2’ with a lucky 13 of sublime tracks to tenderly caress your little ears with some hard rocking blues that tease your soul.

Walking Papers is a rock band from Seattle that delve into the sweet, swinging side of rock with an unmistakeable core built on the blues.

‘WP2’kicks it all off with ‘My Luck Pushed Back’ with a crunchy driving beat, thundering drums, the dirty fuzz of rumbling bass and a hypnotic guitar overlaid with the clear vocals of Jefferson Angell. The track is an instant classic rock blues song that demands your attention, and some damn good air time.

Photo by Mark Weiss

Then comes ‘Death on the Lips’, where the organ work of Benjamin Anderson beautifully rolls through the song. It’s a slow track that has emotion filled vocals that pulls you in. It’s another winner with a beautiful melody that will have you tapping your foot with satisfaction.

A slow blues track changes the tempo with ‘Red & White’ that is filled with a melancholy that would melt the hardest heart. It pulls you in with a teary tight hug. This is one to listen to when you need a good sit down and think about a shitty day.

Back to the hard and fast rock, with the superb ‘Somebody Else’ as it slams down the beat with a driving thump that just leads into a hypnotic tribal beat. The vocals, drums, bass, guitar, and keyboards are just perfectly balanced in a mesmerizing track that is full of bolshie attitude.

A sexy build up gets you in the mood with ‘Yours Completely’ that is full of pent up energy and the tension in the track is almost palpable. It is on the edge of exploding right to the moment the release comes with the chorus. Immediately it pulls back, like a tease building it all back up again. You may be tempted for a brief moment to watch that god-awful Fifty shades, but only briefly.

Thumping hard fuzztastic rocking blues clears the head once more with ‘Hard To Look Away’. This is a track that will blow away any cobwebs as you shake your head and stomp along with your feet. This song will indeed improve your circulation.

Next is ‘Before You Arrived’ a rolling chilled out but hard hitting track with Jefferson’s vocals flowing over the music like a rough by sticky sweet syrup. It is just fat on chubby riffs that just slope along with style.

Then comes the delicately forceful shuffle of ‘Don’t Owe Me Nothin’. It’s just a pure hobo blues slowed way down skiffle of a down and out. It is sublimely relaxing and chilled with a background tension the whole way through. The keyboards perfectly complement the song and when they get a solo it’s almost religious experience in its slow thoughtful reverence

Now comes the dirty driving gumshoe-esque ‘This Is How It Ends’, with a thumping beat that tempos the song perfectly like a tense heartbeat. It is excellently lush in its tone and the story telling like vocals – as if you’re down the pub listening to a friend of dubious reputation retelling a story of a close miss with the mob. There is a slight tinge of ‘Night Stalker’ in this song.

Track number 10 is ‘I Know You're Lying’ keeps the fuzz alive with a fantastic intro that may put you in mind of Ghost ‘Square Hammer’, if they went dirty rock blues. In fact the vocals feel a little Father Emeritus. This is no way a criticism as it all adds a spellbinding and entrancing edge to it. An intensely formed track.

And, so we have ‘Into The Truth’, a full on funky blues rock track that grabs you by the scruff of the neck from the very start. Again all the instruments work beautifully with each other and effortlessly fold round the vocals. A great track to listen to before you go out gigging for the night.

The penultimate track, ‘King Hooker’ is a beautiful thumping, southern blues slide guitar filled track that just flows along on a perfect tempo. Break out your JD and shuffle around your kitchen to this beauty. It has a fantastic fuzzed up ‘Cocaine’ feel about the riffs.

Lastly comes the slow soulful blues track ‘Right In Front Of Me’. This wistful sliding track just beautifully caps of the album.

Walking Paper have a real rock and blues diamond of an album with ‘WP2’ . It will not disappoint those who like their rock and those who like their blues. The whole album has a hard edged schmaltz that imbues every instrument and pours out of Jefferson’s vocals. Its full of a ‘put up, or shut up’ attitude that permeates the whole tone of album

Well worth adding to your collection and would not be out of place with even the hardest rocker out there. This is the chill out album for rockers and metallers that won’t make them feel awkward if their friends hear them playing it.

The album is out right now on Loud and Proud Records. So, go get it!

Review by Ivor Whitten

ALBUM REVIEW: Anvil prove themselves total legends on Pounding The Pavement

ANVIL are heavy metal legends who have had more than their fair share of bum deals. While many would have given up and gone home after having to deal with less than half of the shit these guys have had to cope with, Anvil only seemed to resolve themselves more to keep going.

And, thank the metal gods they did, otherwise ‘Pounding the Pavement’ may never have been made.

This album is real heavy metal gold kicking off with a weighty driving melodic track ‘Bitch in the Box’ which you will just keep head banging to only to realise half way through that they are singing about how frustrating a satnav is.

It really is one of those rare ‘WTF?’ moments that will just raise a smile out of you before you get back to headbanging. It sets a fantastic tone for the rest of the album and you will just want to listen to it again and again.

Firing off fast and heavy is the next song ‘Ego’ showing Anvil are adept at spreading razor-sharp guitar riffs over the dynamic rhythm foundation, Kudlow adding additional bite with his familiar raw vocal style.

Kudlow tells the world that he will ‘Do what I Want’ as this up tempo hard hitting heavy track sounds like an anthem that will be a fan favourite at any gig. The guitar riffs chug along like a freight train at perfect headbanging speed – and you will really want to.

This is heavy metal at its finest.

Next up is ‘Smash Your Face’ pumps up a slower but no less weighty track that is reminiscent of Black Sabbath. It’s like Anvil are having a wee go at stoner rock but changed it to pure metal. And, boy, is it glorious.

Then comes the title track ‘Pounding The Pavement’. An instrumental of monumental proportions with chunky slamming drums, muscly riffs and rumbling bass. It is beautiful and if Doctor Who ever went metal, this would be the theme tune.  Allons-y!!

Back to normal with ‘Rock That Shit’ where Anvil meets a blues infused rock and roll with their usual fervour. It is a glorious upbeat rock and roll meal reminiscent of hard rock and Chuck Berry.

You will love it. You will smile and rock around the clock, or the house – whichever you find easier.

No.  ‘Let It Go’ is not an Anvil cover of a Disney song (though that would be quite interesting). This track hammers out frustration, Anvil style. Its melodies, riffs and chorus have it marked out as another amazing anthem.

Then Anvil pull of a fantastic epic song with ‘Nanook Of The North’. Kicking off a little like Aerosmith it quickly assures you it is something else entirely. Again it is a solid, fist pumping, foot thumping track that brings you to the far north where the Inuit live. It is a protest song about oil drilling, but one of the best protest songs out there.

This just cries out to be played live as any crowd they play in front of will belt this superb song out with gusto

‘Black Smoke’ is a hard and fast rousing moshing track that screams Motorhead ‘Ace of Spades’ in bucket loads, but supremely Anvil at its core.  If you are tidying your house, you will do it in double time to this.

Next up is definite stoner like ‘World Of Tomorrow’, a tune full of heavy Black Sabbath chugging sound that is pure ‘Sweet Leaf’. Filled with dark depressing and oppressive bass and guitar riffs, it is a fantastic track.

Almost at the end now and they will have you ‘Warming Up’ quite nicely to the whole album and ready to listen over again. This rockets in with fast drum rolls booting up a fast flowing guitar filled rhythm and blues to get your feet moving. Again, a bit of a fast and furious Black Sabbath feel about it.

Lastly is the bonus track, ‘Don´t Tell Me’ a venom filled uncompromising track full of frustration pouring out of Kudlow’s vocals. What a way to finish the album!

Overall they have a real Motorhead crossed with Twisted Sister undercurrent, especially highlighted with Kudlow’s vocals pelting out the songs in such a rough and raw way.

Indeed he sounds like the lovechild of Lemmy and Dee Snider. This is of course intermixed with a Black Sabbath sensation through some of the songs.

Throughout, you can feel the nostalgic cheese thrumming through the rocking tunes as if Spinal Tap and Bad News had combined to make a super duper group. It is a joyous thing indeed.

Now, this is in no way takes anything away from the band and ‘Pounding the Pavement’. Anvil’s sound is unique and unmistakable. They just seem to have thoroughly enjoyed writing and making the album. It certainly comes across that way.

It is an absolute priceless musical diamond . The heavy pounding melodies and crunchy riffs are sublimely metal at its most perfect.

You will love this beauty and may well wear it out, as the different styles of tracks will just keep you entertained throughout the day and night. This is the anti-depressant you have been looking for. No prescription required.

Review by Ivor Whitten

The Album is out on 19th January and Anvil will be touring on the back of its release including a date on 13th February in Belfast

INTERVIEW: Toby Jepson discusses all wayward thngs

FOLLOWING a stormer of a set in Belfast supporting Steel Panther (review is here) Toby Jepson of the hard rock super group chatted with Ivor in a wide ranging interview.

Covering the band's genesis and his own personal history it is a fascinating listen.

Listen below:

Interview by Ivor Whitten

LIVE REVIEW: Operation Mindcrime packs the Belfast Empire as Geoff Tate wows all present

WHEN a metal icon comes to town you know the place is going to be packed. And, so it was at the Belfast Empire where Geoff Tate brought his Operation Mindcrime to the expectant mass of fans.

He was very ably supported by local rockers Conjuring Fate and his daughter’s band Till Death Do Us Part.

The Belfast Empire’s hall was already heaving when the excellent metallers , Conjuring Fate, hit the stage and the really hit the ground running to a very appreciative audience. Blasting off with ‘Darkest Days’ ‘Marching Dead’ they were heavy, fun and furious

.

Working the crowd up into a heavy metal headbanging mood they powered into two powerhouse songs with ‘Dr Frankenstein’ and ‘House on Haunted Hill’. They finished off their set to a stoked crowd with ‘Trust No One’. They ripped the stage up with their heavy melodic riffs all while they played with the audience who lapped it up.

So much so , Phil Horner strode through the audience in the hall and stood in front of the stage playing his heart out with a playful smirk on his face. What a performance and a superb start to the proceedings.

Till Death Do Us Part, with Geoff’s daughter, Emily Tate, on vocals took the stage next.
Their style of music would be the contrast of the night as they brought a dark alternative rock to the Empire.

This would be a light rock with a tinge of Depeche Mode yet Emily’s expressive and emotional vocals fit perfectly with the style of the songs.

They kicked of with ‘Burn’, ‘Monster’ and ‘Cannonball’ and in between Emily would interact with the crowd with some warm banter.

It really made the packed but intimate gig feel even more like you were among friends. They continued with ‘Runaway’, ‘Blue Boy’, ‘Ink’ and ‘Salt Water’, rounding it all off with ‘Romance’.

The band was tight, professional and warmly received as the dark and sombre lyrics flowed along easily with a good energy and stage presence.  They certainly have a signature sound with heavy distorted guitars, a djent like bass tone, synth layering, samplers, soundscapes, powerful drums and soft symphonic vocals.

Then came the highlight of the evening. Geoff tate with his Operation: Mindcrime project. And you could see immediately that almost everyone there were dedicated and diehard fans of Mr Tate and Queensrÿche. The roar from the hall would have shaken the roof.

Geoff looked totally at ease knowing that he was among firm fans, friends and family. This was the 30th anniversary of the album Operation: Mindcrime and that was what Geoff and his band delivered to a packed audience that knew every word off that album.

The joy was palpable and Geoff could have just stood there waving his arms and the songs would have still been sung, word for accurate word.

Kicking off with "I Remember Now", "Anarchy—X" and "Revolution Calling" the mass of air guitar and air drums along with a plethora of fist pumps made it feel like you had been transported back to the heyday of the late 80’s and the joy of the crowd and the band on stage fed a euphoric energy that pervaded the whole set.

The elation of the crowd only increased with “Operation: Mindcrime", "Speak", "Spreading the Disease" and "The Mission". Geoff and his band bantered and toyed with the crowd as many surged forward to take photos and try to catch a quick handshake as outstretched arms followed him as he moved round the stage.

Then came "Suite Sister Mary", "The Needle Lies", "Electric Requiem" and "Breaking the Silence".

Each and every song was joyously received and the band looked like they were enjoying the gig as much as the fans.

As Geoff belted out "I Don't Believe in Love" the whole room really got caught up singing the whole song along with him. Then came "Waiting for 22" and 14."My Empty Room" before the set finished to "Eyes of a Stranger".

They came back on for an encore with “Silent lucidity” that was delivered with such raw emotional power there were a few fans who could be seen to be visibly welling up. Then Geoff and his band pumped out “Empire” with once more the fans almost drowning him out with their enthusiasm before he finished the whole show with “Jet Set Woman”

This was the second date on his European tour and the first of his UK leg. And if you have the opportunity to go, then take it with both hands.

Geoff Tate delivered, without doubt, an emotionally charged, powerful and entertainingly tight rock act that will leave you exhausted and fulfilled by the end of the show.

Review by Ivor Whitten
Pictures by Darren McVeigh

INTERVIEW: Geoff Tate talks about Operation Mindcrime and the importance of family

WHEN Geoff Tate returned to Belfast he sat down with Ivor to chat about why Operation Mindcrime is so important to him.

In an extensive discussion he talked about what Queensryche did, the importance of family and much more.

Listen below:


Interview by Ivor Whiten

ALBUM REVIEW: The Vikings are coming as Leaves' Eyes unleash Sign of the Dragonhead

THE Longships are coming in 2018 as ‘The Sign of the Dragonhead’ looms over the horizon...

Leave’s Eyes, a fantastic symphonic metal band, return to storm these shores with their seventh album, an uncompromising, combative, epic album and they are ready to loot and pillage your ears without compromise.

Leave’s Eyes have created historically inspired musical masterpiece that chronicles the Vikings like a keen-edged Ulfberht sword perfectly wielded to deliver a flurry of high powered tracks that leave you in awe.

The title track, ‘The Sign of the Dragonhead’, hails a furious warning of the coming of the Viking raiders and starts the chills of anticipation with a choral assault. A rousing track that just hits the right buttons, painting an image of fast moving ships sailing with deadly purpose. And nothing can stop them.

The second track ‘Across The Sea’ is a fantastic marathon that will have you pulling out your dusty copy of Elder Scrolls: Skyrim. It is a hauntingly inspiring track that is flawlessly executed to affect even the most battle hardened warrior.  It’s shanty like beginnings only adds to this heroic headbanging berserker epic.

Continuing the search for treasures comes ‘Like a Mountain’ that evokes, through Elina Siirala’s hauntingly operatic vocals, a tragic Niflheim lament. And, there should be no surprise that it is a tragic Icelandic love saga. It is a beautifully ethereal bass-heavy track full of emotion pulling you through cold and stunningly harsh landscapes painted by the symbiosis of Lina’s elfish tones and Alexander Krull’s Jotonheimr guttural vocals. This along with the swaying metal and delicate folkish interludes just work so well.

Again the warrior rage takes hold with ‘Jomsborg’, recalling the legendary Viking fortress in the Baltic Sea area and the Jomsvikings. Another track that gives you the warrior chills that no matter what the odds all will stand as battle brothers to the end. It conjures once more the common theme of sweeping vistas in a cold tundra or seascape filled with warriors of legend and renown. It is just gorgeously epic in scope and the heavy resounding rhythmic battering your ears will get is an absolute pleasure.

‘Völva’ keeps up the magnificence, once more summoning a grand vision combining metal, opera, choral orchestra, and traditional instruments into a perfect storm that will roll right over you without missing a beat.
 Blasting in is ‘Riders On The Wind’, an almost southern dixie-like shanty inspired performance that is a catchy metal track. This is a fantastic upbeat smile-inducing stadium anthem. If you don’t want to sing along you will have to really put the work in to resist. Utterly elegant in every way.

Next is ‘Fairer Than The Sun’, a beautiful lament imbued ballad done in only the way Leave’s Eyes can do. Even if you’re not a fan of slow ballads, this will still be a pleasure to sit back and listen to intently. Elina’s vocals are beyond compare throughout the album hitting the absolutely right emotional notes.

And, just when you thought you could relax, ‘Shadows In The Night’ gives your complacency a damn good kicking. Another excellent and solidly performed symphonic piece of metal that maintains the flow and theme of the album.

The pure Viking instrumental shanty ‘Rulers Of Wind And Waves’ uses traditional music and instruments backed by a beautifully choreographed orchestral  and choral support to blow your mind.

This is honestly a perfect little interval that only adds to the overall beauty of this album.

Kicking it back up into gear is ‘Fires In The North’, another excellent delivery of symphonic Viking metal that can be enjoyed and loved by a much wider audience than just symphonic metallers.

The close comes with ‘Waves Of Euphoria’, the longest track on the album coming in at just over 8 minutes. This is almost too perfect as the whole track, musically, feels like a highlight summary of all the previous tracks. Slow, haunting, fast, heavy, ethereal, dreamlike and headbanging. This one has it all as it arches through from start to finish, perfectly balanced. This is the Rainbow bridge of the album as images of Heimdallr awaiting you to see that you are worthy to pass to Valhalla will just run through your mind.

This is an end credits track par excellence...

The whole album is a beautifully crafted and perfectly balanced piece of Viking artistry that refuses to let you think about anything else other than heroic Vikings, joined in battle for glory, fighting for their place at Odin’s table in Valhalla.

What is most striking is the confident and independent vocals of Elina as she takes absolute and unquestionable possession of each song, which lends an individual note to her interaction with Alex‘s growls.

The album is filled with complex yet catchy tangible tunes. The instrumentation is perfectly balanced and unconventional with medieval nyckelharpas, fiddles, uilleann pipes and whistles blending seamlessly with the driven heavy metal entourage. It all whisks you away to a fabled world of the harsh cold North.

This album is where Heavy Metal and Celtic Folk music craft an acoustic Viking party of epic proportions.

Now, where is the nearest Longship?

Review by Ivor Whitten

‘Sign of the Dragonhead’ is released on 12th January 2018