NEWS: Anthrax, Gojira and Satyricon join burgeoning Bloodstock bill

AS the festive season looms, Bloodstock comes bearing early gifts with hree more bands for 2016!

French heavyweights GOJIRA are set to bring their whale-sized riffs to Catton Park as Saturday’s special guests!  A crowd favourite every time they play, and with a brand new album on the way, being recorded in their own studio, their Bloodstock set is sure to be a sight to behold.

Frontman Joe Duplantier said: “Bloodstock is one of our favourite festivals in the UK!  The quality of the bands playing is always a high standard and we love the passion of the people who come to rock out!  It’s an honour to be a part of it again.” Look out for updates from the studio at www.facebook.com/GojiraMusic.

Axe legend Scott Ian said: “On the most metal of days we will once again have the privilege to rage with you crazy fuckers!  Bloodstock !!!  A festival fit for all kings!!!  See what I did there?  See ya soon, my friends.”  Get excited by checking out their latest single ‘Evil Twin’, released last month, at: http://youtu.be/xPmLkF3e6Fc.

Playing their only UK show for 2016 are Norwegian trailblazers SATYRICON, performing their classic ‘Nemesis Devina’ album in full on Sunday.

“Next year it’s 20 years since Satyricon made its live debut as a band, and 20 years since we released Nemesis Divina,” frontman and visionary Satyr said.

“There's a nemesis walking through life, for all to face.  And there's a Divine Nemesis, for all to face that come to see Satyricon at BLOODSTOCK 2016.  Let us celebrate the 20th anniversary of a milestone album like only Norsemen and Brits can!"  Learn more at www.facebook.com/SatyriconOfficial.

They will be joining the acts already announced: Mastodon, Twisted Sister, Behemoth, Venom, Dragonforce, Paradise Lost and Rotting Christ.

A further headliner is yet to be announced

Early bird weekend tickets with camping are available now, priced £120 (+ booking fee) from http://bloodstock.seetickets.com/event/bloodstock-2016/catton-park/902838.  BLOODSTOCK is family-friendly and welcomes rockers of all ages!  A weekend ticket with camping for kids aged 4 - 11 is just £35 (+booking fee) and if your little mosher is under 4, they can join you for free (Note: all children must be accompanied by a parent/guardian over the age of 18)!  Campervan pitches are already on sale and these move very quickly, so pick yours up ASAP to avoid disappointment. Rock Society passes are already sold out.

LIVE REVIEW: Evil Scarecrow bring metal and laughter to Belfast

Ever since galactic metallers Evil Scarecrow turned Bloodstock Festival on its head with their now legendary 2014 performance, Belfast fans have eagerly awaited a visit to these shores.

We got close – so close - back in April; sadly that gig had to be cancelled due to 'transport issues' (ie their van died en route).

Happily, they made good on their promise to reschedule, slotting in a date on their 'Boldly Going Anywhere' tour – even better, we got them on a Saturday night. Yes!

First up were two local acts to support them, in the form of By Conquest Or Consent and Scimitar.

By Conquest Or Consent describe themselves as 'metal/groove/thrash/progressive', which basically translates to 'modern nu metal with added brawn'...

Vocalist Pete Crenshaw opens proceedings with a quick introduction of the band before releasing a scream that clearly comes from his bootstraps and up his body; by the time it emerges from his mouth it could smash windows. This roaring scream (screaming roar?) is one of BCOC's Unique Selling Points along with their heavily groovy riffs and modernised nu metal grunt. Crenshaw also dabbles in clean singing here and there, often harmonised by guitarist Jay Stevenson, to great effect.

They throw down a short, sharp set of bruising metal, including their best known track 'We Came to Win the Fight' to a small but growing crowd, spraying out rapidfire riffs that purposefully and gleefully punch you in the chest, before leaving the stage sheened in sweat and wreathed in smiles.

Thrashers Scimitar follow them with a set full of machinegun riffs, fiercely screamed vocals and battering defiance. The intensity and concentration on every member's face proves their dedication to their craft: they're clearly a hard working and well rehearsed unit.

They pound the Limelight with tracks such as 'Erased From Existence' and their ubiquitous self titled number, prompting the growing crowd to hold both horns and plastic scimitars (helpfully provided by the band) aloft, as well as headbanging along.

In short: their set of new school and old school thrash, combined with a dash of extreme metal, goes down a storm (and the dedication to the victims of the atrocities in Paris from vocalist Jonny Gray is a nice touch).

And, then it's time for that most mysterious and rather standoffish of bands Evil Scarecrow to treat the crowd to an evening of sedate and measured radio rock...sorry, what?! Not even close, actually: the band themselves set up the stage and soundcheck (in full costume, no less!) which for them involves occasionally leaping into the crowd for photo opps...having set up their instruments to their satisfaction, they huddle beside the stage steps, arriving in flamboyant, high-fiving style to that speech from Rocky ("that's how winning is done!").

After a short, jubilant speech from vocalist Dr. Rabid Hell about finally making it to Belfast ("four years we've been trying to get here...four years!") they're off, encouraging audience participation right from first song 'Rise'.

Although their music is ripe with parody and liberal doses of silliness, there's no joke in their musical talent: the music fizzes with energy and pounds with proper heaviness, while their vocal harmonies soar effortlessly. It's catchy as f**k, too!

They blast through favourites such as 'Frankenstein's Mirror', 'Morbid Witch' and 'Dance of the Cyclops', the latter prompting what is guaranteed to be the only time people have ever waltzed in the Limelight!

Throughout the set they are bubbly, beaming and quite simply bonkers, offering up silly stories and songs in equal measure, such as new, three second long track 'Sheep' and the crowd (and band!) participatory 'Robotron'.

The odd dash of potty humour lends them a slight Steel Panther vibe (albeit it with black metal corpsepaint); much like the Hollywood retro rockers, it works because they are accomplished musicians.

The crowd responds to it all with unfettered delight, performing the aforementioned waltz and robot dances with glee and really getting into the spirit of it.

For their part the band seem genuinely delighted to be here and at the response they receive, reacting with laughter and complete show-boatery – at one stage drummer Ringmaster Monty Blitzfist (yes, really) snatches one of his floor toms and clambers on a table in the audience to play it!

There's no sense of snideness or insincerity, just good, clean, raucous fun, whether it's during the 'no gravity' dancing in 'Space Dementia' or the party poppers provided to add 'pep' to 'War and Seek' – and certainly not during the "very brutal, very evil war march – this is definitely not a conga!" led by guitarist Kraven Morrdeth during same!

Their last song is...not the one the crowd has been waiting for, pincers aloft. Instead, they play "a depressing one", jokes their vocalist, 'Blacken the Everything', all beastly riffs and heavy metal grapefruits all over the shop.

They wave goodbye and exit stage right briefly, before returning triumphantly to play – yes, it's time – it's 'Crabulon'. A spaceship/crab thingy joins them onstage to 'assist' as the crowd participation level hits fever pitch, with crab pincers as far as the eye can see (and yes, your scribe joined in of course!).

The band spend most of the song laughing almost uncontrollably at the crowd's antics, before ending with a flourish and another dedication to "our brothers and sisters in Paris", leaving the stage to Whitesnake's 'Here I Go Again' and immediately setting about trying to meet every audience member personally. Brilliant.

Six months on from their near miss, Evil Scarecrow finally unleashed their Galactic Hunt on Belfast. Was it worth the wait? You'd better effing believe it.

Review by Melanie Brehaut

Photos by Darren McVeigh

LIVE REVIEW: Satch takes Glasgow by storm - Satriani rips through new and old classics

WHEN Joe Satriani played Glasgow in November there was only one man for the job - uber-fan and one of our resident photographer and reluctant reviewer Darren McVeigh...This is what he had to say.

Let's face it, it's a tough job for anyone to open for the Satch and it was South African born blues guitar player Dan Patlansky who landed the job.

Despite the task Dan showed no nerves and he and his band took to the stage. They ripped through their set with such aplomb to earn admiration from the crowd.

 

The axeman said he had been touring with Joe for the last month and it had been humbling experience and one of the biggest honours of his life.

The main focus  tonight for Patlansky was to promote his debut international release 'Dead Silence Thieves' . One thing that stood out was the crowd's reaction to his single 'Backbite', played like Hendrix with pedals screaming and total fluency. This is a artist worth keeping an eye on.

However, let's face it - much as Parlansky was good it was Guitar maestro Satriani everybody had come to see...

Big screens lit up with alien animation themed production kicking off the set. Then with guitars screaming it was time to rip into Joe's latest release, 'Shockwave Supernova' and at this stage the audience, as expected showed their total appreciation for Satriani.

Straight away he slowly slides into 'Flying in a Blue Dream' then into the melodic 'ice 9'.

Addressing the crowd Satriani said it was good to back in this building as it brought back good memories. and tonight he built more great memories for everyone present. 

Then he tore into 'Crystal Planet' heading into the 'Extremist' album we go with the song 'Friends', dedicated to Dan and, of course, the audience.

With all the fury and frenetic pace it was time for a mellow note with a classic Satriani tune from 'Is There Love in Space' album, 'If I Could Fly', there was great applause from the crowd as it finished.

Joe was clearly having a lot of fun on stage and got us to rename the bassist 'Thunder Beast' and urging the crowd to chant the man's nom de guerre.

There was one song that stood out; 'God is Crying', Joe showed again how clinical this band is 
playing together as they jammed and played of one another note for note: amazing to watch.

We were treated to an outstanding rendition of 'Goodbye Supernova' then into the 'Satch' classic 'Satch Boogie', bringing it all back to me and all in attendance to where it all started for Joe.

 

As per gigging tradition we then get a good night from Joe and his band, a quick bow and the lights go out.

Everybody in the concert hall as expected were screaming 'Joe! Joe! Joe!' and with no great surprise but plenty of delight the lights go up and the 'Big Bad Moon' rose to a standing ovation then straight into 'Surfing with the Alien; complete with the screen playing out an alien frenzy.

This was an amazing night of Satch classics; but then again we expected no less!


Review and photographs - Darren McVeigh.

ALBUM REVIEW: Turn it up with Skindred on Volume

WALES - land of leeks, rugby, dragons and... Skindred.

Yeah, they Welsh may still be licking their wounds after nearly beating Australia in the Rugby World Cup quarter finals, but at least the nation can raise a glass and get down to the new Skindred album release 'Volume'.

And, what a release it is. Sure 'Babylon' and 'Union Black' wre great albums, but this time aroudn Benji and the boys have reached a higher ground. The PR blurb says that we should "turn it up to 12" (as if 11 wasn't enough...) and in this case there is some justification.

Opener 'Under Attack' has the trademark Skindred light and shade, but the title track has a rollicking, rolling monstrous riff and a chorus embedded so deep as to have you humming along on your first listen.

The band have never been as prolific as could have been hoped - formed in 1998 Volume is the Skindred's sixth studio album - but this has been worth the wait.

While the US wannabes all claim to be crossover they trail way behind in how many genres Skindred draw together in a melting pot to produce a molten morass of metal. 'Hit the Ground' for example opens with a ska/reggae feel, which Benji keeps throughout as the music mashes up off-beat rhythms and muted guitar melding into riiffage of the most pleasant type.

Why does this melange of music culture work? Obviously the band are drawing on what they listen to when not invoking the 'Newport Helicopter'; but equally there is enough metal muscle to make sure that fans of dance and electronica aren't going to touch them with the proverbial bargepole when Benji gets the pit into full flow.

Thus, apart from a few non-metal fans drawn by curiosity to see how dub step and metal mix the core Skindred audience are of the denim and leather brigade, or at least that's what we used to wear.

And, that is a shame, because on tracks such as 'The Healing' there are dance and dub-step elements sitting comfortably with the guitar, melody aplenty and again that wonderful sense of rhythm that Skindred deploy.

Equally lyrically Skindred are in touch with a vibe that resonates across all those who sit on the edge of societal norms, with 'No Justice' a prime example on this release.

And, it is on this relesase that Skindred have stretched their roots, added meat and veg to the sound, deployed the variety of influences that make up their DNA. 'Stand Up' perhaps sums this up best as it takes a mid-tempo twist to the sound with a contemporary metallic feel that simmers behind Benji's invective.

Newport stand up and be proud of Skindred!

Review by Jonny

ALBUM REVIEW: Def Leppard release Def Leppard...but is it any good?

SHEFFIELD'S finest return with their 11th studio album simply entitled Def Leppard. When asked about this the band said it was named that as it just sounds like Def Leppard and they didn't want to put too much weight on a title track and put all the weight on the band.

An interesting concept but does it actually SOUND like Def Leppard?

Well, yes, yes it does but with a few interesting twists on the norm.

Opening with the two tracks pre-released on youtube, 'Let's Go' and 'Dangerous' we instantly have that classic Lepp sound. Let's Go has a "Pour Some Sugar On Me" riff and is typically pop rock with the now traditional layered harmony vocals. The chorus is a bit annoying at first but does grow on you and there's a nice Brian May influenced solo.

'Dangerous' is an up tempo melodic rocker with a "Pyromania" era sound and a slightly punky riff to it. It also has a sweet, if too short, solo.

'Man Enough' is where the band changes direction. Opening with a funky bass line it struts along nicely and has a bluesy guitar riff. The song is very much Queen in its composition with "Another one bites the Dust" being the obvious comparison, hand claps and finger clicks included. A great song.

'We Belong' is a classic Def Leppard ballad that few do better. It features all members of the band sharing lead vocal duties and as Joe said, "The lines everyone sings are poignant to parts of their lives" A smooth love song featuring a nice clean solo which should get decent radio rotation.

'Invincible' is a typically British sounding mid tempo rock song. It has a great bass line to it complimented nicely by the drums, which on this album, seem to have a more traditional sound. The chorus has Joe sounding a bit like David Bowie in his early years.

The jazzy, up-tempo 'Sea of Love' is next. A lower range vocal suits the song and Joe perfectly on this. The song, apparently was due to be on Phil's Delta Deep album and you can see why by the bluesy feel and solo which has a bit of a Skynryd riff in it.

'Energised' will probably be seen as the weakest track on the album as its a bit techno sounding. It does have a catchy sing-a-long chorus to it so its not all bad.

Gears get crunched for 'All Time High', another up-tempo hard rocking tune with more of the usual stacked vocal harmonies. This song could almost be described as glam rock and is very enjoyable.

As quickly as the Lepps pushed up through the gears they slow back down again with the heavily Led Zeppelin influenced 'Battle of my Own'. An acoustic blues song featuring huskier vocals from Joe again and a killer electric solo ending.

'Broke 'N' Brokenhearted' is a catchy, guitar driven song with another punchy riff which has an almost punk vibe to it. One bound to get the foot tapping.

'Forever Young' starts with a disjointed guitar sound and is fast-paced with a good dual guitar sound to it. Def Leppard at full on rock speed is always a joy and this is no exception.

A second acoustic ballad is up next in the form of 'Last Dance' A classic Def Leppard love song in the same vein as "2 Steps" etc. Harmony vocals are to the fore on this one. Bound to get a slot in the live show.

'Wings of an Angel' may sound like it's another ballad but it is far from it! With huge riffs and great solo's in it this is a flat out rocker which should keep most fans happy although there is a strange vocal between the verse and chorus that doesn't quite feel right, but that's a minor gripe.

The final song on the album is The Beatles inspired 'Blind Faith'. Described by Viv as a psychodelic rock song its similar in style to 'Lucy' or 'Strawberry Fields' it has a nice clean guitar solo between verses and finishes with a full on hard rock riff. A completely different sound for the band and a song that should definitely grow on people.

So, Def Leppard 2015?

Released from record company demands and constrictions the boys have produced an album that is as impressive as it's diverse and it should appeal to a broad spectrum. Yes, the influences are obvious but you're supposed to listen to 'Man Enough' and go: "Hey! that sounds like Queen."

I may be only one set of ears but if you want old skool Lepps it's all there. If you are interested in hearing them venture into different musical genres then that's there too. This may be the freest album they have ever written and well worth the effort of a listen......Welcome to the Show!!

Review by Andy Gillen

Def Leppard appear at Belfast's SSE Arena on December 7th, with Whitesnake and Black Star Riders

INTERVIEW: Catching up with Thundermother...

ONE if the most hard rockin' bands out there on the planet right now are ThunderMother, a five piece machine, featuring three Swedish ladiies, an Italian and an Irish singer.

Right now they're out doing the promo for their fantastic 'Road Fever' album and caught up with lead guitarist and founder Filippa to quiz her on material, the recording process and much more.

Listen and enjoy:

ALBUM REVIEW: Ludicrous brilliance from Gloryhammer on Space 1992: Rise of the Chaos Wizards

STUPENDOUS musicianship, stupidly brilliant lyric and concepts that focus on the alternative histories of Bonnie Scotland...must be Gloryhammer's newest release.

Is Christoper Bowes under the pay of the Scottish tourist board to create a mythos to rival Northern Ireland's success as the setting of Game of Thrones?

Last time out the medieval struggles on 'Tales from the Kingdom of Fife' scoured the distant parts of the Pictish state after the 'Unicorn Invasion of Dundee'

But fast forward to the 13th generation of the McFifes and we find ourselves in the alternative timeline of 'Space 1992: Rise of the Chaos Wizards'.

After his defeat in the Battle of Dunfermline the evil sorcerer Zargothrax has been in frozen slumber -  a slumber that the Chaos Wizards are determined to destroy and bring back the scourge of mankind.

Stop sniggering at the back and pay attention! For all the madness on the lyrical front this is a superb example of power metal. And, given the mad nature of many a symphonic or power metal's lyrics why shouldn't Bowes et al take it to the next level.

On Voice-Modulated Star Nucleus Thomas Winkler manages to keep a straight face while singing about the Astral Hammer, the Quest Lords of Inverness, and the 'Heroes (of Dundee)'

The best form of drama, whether it be based on pathos, bathos, satire or comedy needs the performers to stand straight and allow the audience to enter that state of suspension of disbelief.

Immersing yourself in the Chaos Wizards universe can also cause oneself to question whether Gloryhammer are taking the piss or paying genuine homage to epic metal anthems. When we interviewed Bowes on the release of '...Kingdom of Fife' he insisted it was the latter, and rhymed off with affection band names, albums and individual songs. Thus, we not only suspended belief, but also granted Bowes the benefit of the doubt...


Let's be clear though, the Alestorm front man gives full rein to his own performance on keyboards and effects...sorry the credits say he is on Positronic Oscillator Command.

The rest may be playing out Bowes Scottish sci fi wank fest, but they are more than bit part players. They really play and play well.

Ben Turk's drums - sorry Percussive Phi-Quason Battery - hold the entire sound together, preventing it spinning into a Super Massive Black Hole of over-expressiveness. On 'The Hollywood Hootsman' (yes, that really is a song title) he varies between solid rhythm and just the right amount of fills, and the title track has some serious pounding going on.

Paul Templing's riffage on guitar (Dark Matter String Manipulation Interface) is equally impressive on '...Hootsman' with a measured solo. Indeed throughout the album it is that ability to measure the guitar input that is a tribute to Templing's performance and the song arrangements.

Lest we forget, James Cartwright's bass (Trans-Dimensional Subsonic Cluster) is a constant anchor, bridging Turk's drums and Bowes and Templing's exuberance. 'Victorious Eagle Warfare' and 'Heroes (of Dundee)' are two examples of that (astral) bridge.

The whole album is again based on the struggle between McFife and Zargothrax, this time across a galactic tapestry during which sacrifices may have to be made to ensure victory...but we're not going to make the mistake of plot spoilers. You'll have to stick with it to find out the outcome.

But there is one song that will nag your core, will insinuate itself into your very melodic temples like shrapnel from an Astral Hammer's strike may pierce your heart... 'Universe on Fire' is a throwback to the 80s roots of power metal. It is catchier than an STI at a Mars Brothel.

Damn you Gloryhammer, we can't get the chorus out of our minds!

And, this is the real secret of Gloryhammer. For all the nuttiness, the weird styles and the lyrical ludicrous nature of the band the tunes are tremendous; songs that soar; and music that laughs at the po-faced 'serious' metal acts.

For some Gloryhammer will be a guilty pleasure; for the rest of us it is proof that we don't need a note from teacher to have FUN.

Review by Jonny 

PS - this really is an over-the-top video in everyway...

ALBUM REVIEW: Stryper rise with Fallen

STRYPER are back with their 11th album 'Fallen' and sounding heavier than ever. Lyrically they have always relied strongly on their Christian beliefs and this album is no different.

Does it divide opinion? Yes, but here's the thing. All songs are stories, whether based on fact, history or the writers' own imagination. You don't have to believe to enjoy and if you've heard the new WASP album then you will know of the powerful religious imagery throughout. Good enough for Blackie? Then 'Fallen' at least deserves a listen. You won't regret it!

So.......

The Gospel according to Stryper: Chapter 11...

11:1 Yahweh.

'Yahweh' has a choral opening before blasting an all out power metal assault on the ears. Three minutes into the song the tempo increases again, Fox and Sweet exchange lead breaks before slowing down with a Sabbathesque riff. Soaring vocals with Sweet hitting the high notes seemingly without much effort and huge harmonies complete the song. Named after the ancient God of Israel and Judah and depicting the crucifixion of Christ this is an epic start to the album.

11:2 Fallen.

With a heavy riff and Sweet in top screaming form 'Fallen' backs up the opener brilliantly. Great guitar work and vocals are the mainstay of this tune. It's got a bit of a nasty edge to it as it's about Lucifer being expelled from Heaven before becoming that nice chap Satan.

11:3 Pride.

'Pride' is a down tuned monster of a song and possibly the best on the album. Sweet has a gutteral sound in the chorus which adds great effect to it. Another song about Christianity but a total headbanger with more excellent guitar work.

11:4 Big Screen Lies

'Big Screen Lies' is a pretty vehement attack on the film industry and their depiction of, yes, you guessed it, Christians in movies. Another catchy riff runs through this with some almost tribal drumming in places. There is definitely a lot more aggression on this album both lyrically and musically. Another top tune.

11:5 Heaven.

'Heaven' chugs along with a slow backbeat and matching heavy riff with a more traditional Stryper sound thrown in for good measure.

11:6 Love You Like I Do

Opening with a more uptempo riff 'Love you Like I Do" is a pure rocker with great harmonies and chorus. This song would've had serious rotation back in the days when MTV played music. Catchy as all hell. Yet another strong tune. (with a strange ending!)

11:7 All Over Again.

Next up Stryper out Bon Jovi Bon Jovi with a ballad that just stays on the good side of not being nauseating. Superb harmonies and plenty of 'ooh's' in the chorus are followed by a clean solo that makes this song a potential radio hit.

11:8 After Forever.

A Black Sabbath cover is next up. Yep, Black Sabbath! Taken from the 1971 album Master of Reality this was Geezer Butlers "Christian" song and its a very good updated version with a 'faith' melting (sic) solo.

11:9 'Till I Get What I Need

This is a fast tempo number and seemingly a personal statement on Sweet's life. Great guitar work again with a great solo. Nice bit of shredding from Fox.

11:10 Let There be Light.

Possibly soon to be known as the Creationists anthem 'Let There be Light' is ripped, in part, straight out of Genesis. More fast, powerful riffs elevate this song to one of the highlights on the album.

11:11 The Calling.

'The Calling' carries on in the same vein. More powerful riffs and top notch vocals with another catchy chorus. Yet more shredding in the solo should see this song being firmly inserted into the live show. Plenty of squeals too to keep the air guitarists happy!

11:12 King of Kings.

'King of Kings' bookends the album nicely touching on the same subject matter as 'Yahweh'

And they kept the best to last as this is a monster of power riffs and harmony vocals with Sweet giving it loads and ending with a high pitched scream.

Theological Analysis: Overall this is an excellent album musically and any true metalhead should be giving it a listen.

Lyrically? That's down to individual taste and viewpoint but certainly shouldn't put anyone off giving it a go. It was, supposedly,  the Greatest Story Ever Told after all.

　REVIEW BY ANDY GILLEN

COMIN' ATCHA: Four feardome, mad, loud days of rock and metal

RIGHT rockers, ready yourselves because over the next four days your lugholes are gonna get a battering, your necks will be snapped and when Monday 26th October rolls around you'll be heading into work for a rest.

Starting tonight (Thursday, October 22nd) legendary - and yes he really is a rock legend - Glenn Hughes is at Limelight 1. The man who lent bass lines and vocals to Deep Purple, Sabs and a host of super groups will be on a Belfast stage with axe man Doug Aldrich and on the sticks is Pontus Snibb.

Then on Friday it's another feast, when NWOBHM legends Raven appear at Limelight2, with support from local noisenicks Rabid Bitch of the North. Then you have a choice of heading to see tribute act 101% Pantera with support from Donum Dei and Cursed Sun in Voodoo or stay in the Limelight complex for country rocker Steve Earle.

Saturday (October 24th) sees Screaming Eagles, Gasoline Outlaws and Baleful Creed in Limelight2. After that it is a quick race round to the Voodoo for cross over madness with English Dogs, By Any Means and Acid Age.

And all of that was just to get your pulse racing before the utter destruction of every ounce of your being when Deathcrusher 2015 decimates Limelight1. Yep, five acts that will mash your very soul.

Carcass, Napalm Death, Obituary, VoiVod and Herod...five acts to round up four days of rock and metal that proves, once and for all that there is a scene that is not for scenesters, hipsters or floppy fringed wannabes; it's a scene where rockers and metalheads rejoice in glorious insanity...well as Suicidal Tendencies said "Pledge Your Allegiance".

INTERVIEW: Harlott talk Aussie Rules, Airbourne and ambitions

AUSTRALIAN thrashers Harlott were in Dublin recently as part of the Annihilator tour package.

We caught up with the band and asked all the (not very) tough questions...Enjoy.

INTERVIEW: Catching up with Skalmold...

WITH news that Skalmold are about to head back into the studio, and having hit the festival stages in Scandanavia we thought now was as good time to reprise an earlier interview with Þráinn.


And, after seeing them in Belfast and at Hammerfest the obvious first question was:
How do you keep that intensity up night after night?

Þráinn: It´s not difficult to tell you the truth. Even when I´m dead tired I always find it easy to lock in with the other guys onstage and everything else is forgotten. When you start playing onstage the world changes, everything changes. It´s the best feeling in the world, playing your own music to people with your best friends ... I enjoy it a lot, love it ...

Despite singing entirely in Icelandic, have you ever thought about handing out translations to English speaking audiences?

Þráinn: No. hahahaha ... we have translations available online and in the booklets with our cd´s ... it would be cool though ... to hand out a brochure to every guest at a concert ... yeah ... I´ll work on that! ;)

Icelandic and Norse mythology are, of course, key to the band. Has the revival of these myths been powered by the many bands

Þráinn: We grew up with these wonderful stories. By bringing them to life again with new music is something we are proud of and it´s important to bring the stories back to life for the people of today. If you dont teach the younger ones and remind the older of the magnificent sagas ... they will be forgotten, you know what I mean? You can't blame young people for not knowing about something if you never teach them about it ... "oh, the kids today ... they know nothing ..." - well then fucking teach them instead of whining!

What do you think festivals can do for a band’s exposure, when there are so many other acts to see?

Þráinn: When you go to a festival, you, as a fan of music want to see something you´ve never seen before. A lot of people still talk to me about Wacken 2011, our first Metal festival show. They had no idea about Skálmöld but have seen us every tour since ... so playing festivals is important for exposure.

With the autumn/winter festivals already underway and planning for 2016 festival have you any festival survival tips?
Þráinn: Drink water ... a lot of water AND be sensible in whatever you decide to do. You are your own guardian, if you behave like an asshole, people will treat you as such. Be proud of your self and your family be it your parents or family in Metal, stay true!!!

UPDATED COMIN' ATCHA: Slipknot Belfast announcement & Exodus show - mad February mayhem!

The multi-platinum, Grammy-Award-winning, masked beast that is SLIPKNOT will play The SSE Arena, Belfast on 15^th February.

 

After their triumphant return headlining this year's Download Festival at Donington Park, the metal icons return to these shores with their visually arresting, chaotic and spectacular shows.

SLIPKNOT frontman Corey Taylor comments: "Any time we get the chance to come over to the UK, it's awesome. Hopefully the fans have as much fun as we do.  We'll be putting together a great set for them, and as we fill out the bill with bands, we hope the excitement gets even bigger."

Tickets on-sale THIS Friday at 9am:


UPDATED NEWS: Exodus playing Limelight2 on 29th February...

COMPETITION: Win tickets to see The Prodigy and Public Enemy in Belfast

FOR goodness sake we are generous to you lot here at Belfastmetalheadsreunited and RockRadioNI. Really, really generous! We've teamed up with those superb people at MCD to offer you the chance to win two pairs of tickets to see The Prodigy.

And, if that wasn't enough The Prodigy are backed by Public Enemy for their December 1st date at the SSE Arena.

Yep - two pairs of tickets for a band that straddles so many genres but are bracketed by lazy journalists as Electronic Dance Music. Ha, ha, ha! The Prodigy are more than a bunch of samples and turntable twiddling.

Anyone expecting an EDM sell-out for album number six obviously doesn’t understand The Prodigy’s oppositional ideology. The Day is My Enemy finds the band pushing at the edges of expectation with the unbridled fervor of a bunch of teenage car thieves hot wiring the fastest motor they can find.
　"The Prodigy right, we’re proud of our roots and we cannot be lumped in with the f**kin’ formula dance music by numbers crew," Liam Holett said. "They’re the f**kin’ jokers that stop this music getting taken seriously. Skits on Saturday night live takin’ the piss? That’s where it’s ended up… 　That’s not what electronic music is about.

"The lazy DJ’s, they have to be exposed. I’ve gone out of my way on this album to not have any of those things that people attach to dance music now… there’s no f**king typical snare builds or that bollocks."

"I’m coming out firing on this record."
Now if you want to win one of the pair of tickets we've set you a question...yes a real question!

To win a pair of tickets answer this question: Name Keith Flint's motorcycle team?

Send you answers here before midnight on 24th October. Good luck! Usual terms and conditions apply -  i.e. if you are not in you can't win and buy a pair of tickets anyway, so if you win you can be a hero to your mates!

 

 

LIVE REVIEW: Annihilating Dublin with Canuck's, Aussies and Yanks - Annihilator, Harlott and Archer

WHEN there are songs that range from the Dublin crowd singing 'Hairy Dick' to a master class in guitar from Jeff Waters of Annihilator you know it was a special night.

As part of the European tour from this trio the gig in The Button Factory could have been seen by the bands - like the previous night in Bristol - could have been seen a warm-up for the extended run of dates across the continent; but that didn't mean each band wasn't giving their all.

From Santa Cruz Archer provided competent contemporary thrash that was engaging and relatively fresh but it fell on relatively deaf ears as the venue filled up. Sure, they were good, but perhaps needed more time on stage to engage the audience.

In contrast Harlott brought a sense of humour, and more importantly a sense of humour, as their opening was plagued by technical problems. Rather than be daunted by this the band used banter and chat with the audience and band mates to ease through the problems.

Despite having to drop a song from their set their take on thrash, with classic bay area elements mixed with Teutonic thrash á la Kreator Harlott ripped through their set with real purpose.

Andy Hudson may lead the line as vocalist and lead shredder, but it is clear this is a unit. Ryan Butler (guitar), Tom Richards (bass and backing vox) and Tim Joyce (drums) Harlott are clearly a band revelling in this opportunity to rise from 'Down Under' to storm Europe.

While many reviews may focus on the humour - and yes everyone did chant 'Hairy Dick' - this is a band with a real tight set of songs and the chops to deliver them: 'Heretic' in particular stood out. Definitely a band to watch out for the next time they come this way.

For guitar aficionados Jeff Waters has always been amongst the elite, despite flying ('V') under the radar from the mainstream media. He plays with a precision and, as importantly, with a sense of fun in every riff and every solo - not to mention the wit inherent in songs and between tracks.

In Dublin Annihilator were a force of nature; a thrash 'phantasmagoria' of new tracks and older favourites. And, it is to their credit that while fan choices such as 'Never, Neverland' were in evidence the band aired tracks from their latest release.

The title track from 'Suicide Society', the crushing 'Snap and Creepin' Again' were greeted with the same ardour as the likes of 'Brain Dance' and set closer 'Alison Hell'.

Waters, as always plays with ferocity and fun in equal measure, but the band are not a supporting cast to the man's six-string genius. They are a thrash quartet determined to deliver. Ryan Hinks (bass) and Mike Harshaw (drums) combine with Aaron Homma (guitar) to provide an intense backdrop.

Certainly with Waters returning to lead vocals the focus is on him throughout, but this is a band that are tight, coherent and corroding all doubts that they are still relevant in 2015. They are more than relevant, they are playing with a ferocity and freshness that deserves more attention.

 

Review by Jonny

Photos from Darren McVeigh 

LIVE REVIEW: WASP wow the Limelight in pure showbusiness style

NEVER mind the overblown stage clothes, never mind the doubts over vocals, never mind the vaudevillian vacuous nature of everything - that all comes to nothing because 17th September WASP were back in Belfast and on top form; c'mon it's motherfucking WASP, it's gonna be fun!

Their loyalty to play all parts of the UK and Ireland is without doubt and the 33 years on the road mean the expectation of a packed audience is always delivered.

However, that cannot be said about The Treatment. Competent and with the tunes that should please instead it was marred by the constant cajoling for the crowd to applaud and shout. And, what's with the fashionista hair styles?

There may only be two members of the original line-up but the musical soul of the band is intact. Tunes such as 'The Doctor' 'Bloodsucker' and 'I Bleed Rock 'n' Roll' are catchy, riff packed hard rock. They have an undoubted stage presence, but by just throttling down a bit it could have been more enjoyable.

When they next play Belfast it is sure that they will have gained more fans, but on 17th September they seemed to forget that many were getting the beers in preparation for WASP.

Blackie first brought the LA madness to Belfast in the mid-1980s, and has consistently returned with various incarnations. A sold-out Limelight1 roared approval when the band came on stage; echoes of past glories washed away into a deliver of where WASP are in 2015.

The energy of songs such as 'Inside The Electric Circus' and 'L.O.V.E. Machine' are contagious as the audience sang almost every word and shouted themselves hoarse on every chorus.

Four songs in a storming version of The Who's 'The Real Me' took the energy levels up another proverbial notch.

With the new album 'Golgotha' about to be released lead single 'Last Runaway' received a solid response and the large screens flanking the stage showcased creativity in terms of a stage show.

But one obvious drawback was the breaks the band took, such as for 'The Titanic Overture', which brook up the intensity of the set and caused mounting queues at the bar...

With the title track of the new album played Blackie's overt Christianity is once again on display - while the days of 'Animal' and exploding cod pieces are well in the past no-one seems to mind this change.

Certainly by the time of the encore the audience was hanging on every note of Doug Blair's playing and every gesture of Blackie. His propensity to turn his back on the crowd at times was perplexing, as was his movement away from the mic during 'Wild Child's chorus; but all that came to nowt as the audience roared to both 'Wild Child' and 'I Wanna Be Somebody'.

When WASP come to town it is a reminder that great songs, great stage show and great audience response makes a helluva metal show. It was not perfect, but it was a super night.

Review by Jonny

Pictures by Darren McVeigh

No reproduction of text or photos without permission

 

ALBUM REVIEW: Annihilator slay on Suicide Society

THERE is no doubting Jeff Waters ability as a guitarist - he's amongst the top in the thrash genre ad the wider metal scene; all of which makes it a crying shame that his band, Annihilator have never attained the heights of success they deserve.

However, there is a hard core set of fans who remain devoted to the Canadian crew. And, they, as well as many more we hope, are set to be slayed by the latest release 'Suicide Society'.

Fans of classic thrash will suffer from neck ache when they play this album. Second track 'My Revenge' has echoes of 'Tallica's Whiplash: relentless riffing but also with a measured mid-section that slows down to offer an explanatory lyric and tight soloing.

And while the comparisons to thrash and later metal are obvious (at times Waters - back on lead vocal duties - sounds remarkably like Mustaine) it should be noted that this is the Canuck band's 15th studio album. They were there in the late 1980s and early 1990s when metal was allegedly being killed by dance, trance and grunge. It couldn't be killed.

That's not to say that Annihilator are just a one trick thrash pony. 'Snap' take the grunge template, does away with the over-blown angst and self reflection and turns it into a track about anger and rage about to be unleashed with melodic parts that will have even the most reluctant fan singing along.

Mike Harshaw has been in the band for four years, and he has real impact on this release. Waters always chooses the style of drumming he wants during pre-production as he has said in interviews with this site and others; using software to match styles to songs; but that means Harshaw has a challenge to interpret this. on 'Creeepin' Again' this is pulled off in remarkable fashion.

That track also showcases the real strength of this album. If you think of the likes of 'Escape' from 'Tallica's Ride the Lightning this album takes the thrash template, adds melodic choruses and then brings the whole sound kicking and screaming from the 1980s into 2015.

Album closer 'Every Minute' is the neo-classic thrash power ballad, with that subtle opening that is there to soften you up before the brutality is brought upon the listener.

On the surface it would be easy to take 'Suicide Society' as just 'another' release trying to regain the heady times when the burgeoning scene was taking metal and the mainstream in a drunken haze of aggression and angry teens; but the release is more than that...

This is a balanced exposition of metal performances and song writing; exemplary playing aside it is a cohesive release that should have heads nodding across the world.

Review by Jonny

Suicide Society is on UDR Music and is now available in all formats   

Annihilator are today (September) embarking on a European tour with Aussie thrashers Harlot. They play Dublin tomorrow (October 1st) before a lengthy haul across the continent - make sure you catch this tour!

 

 

 

 

 

 

COMIN' ATCHA: Clashes, gigs and more: Beholder, Ricky Warwick, Bullet for My Valentine, Paradise Lost and much more

THERE are those that bemoan the fact that many tours bypass Northern Ireland; for example the Hardcore Superstar/Michael Monroe UK and Europe tour announced yesterday. However, with such a feast of acts already penciling in Belfast dates there are rich delights for rock and metal fans.


And we say that with total confidence after The Distortion Project confirmed Overkill's Belfast date on April 9th.


But ahead of that we have a week ahead packed with much fun and frolics for fans. Look no further than Thursday when the mighty Beholder roll into town. Their Limelight2 show will see Simon and co rock the foundations in Ormeau Avenue after Sinocence and By Any Means shake your fillings loose.
On the same night Heart of a Coward are playing the Voodoo with support from By Conquest of Consent.


If you want to mellow out and relive a guilty pleasure, on Friday Wheatus' show has been upgraded from Limelight2 to Limelight1. They'll be playing all that album in full; you know the one about Iron Maiden tickets (although we refute the idea that it is only teenage dirtbags who have the issues referred to in the song).


Saturday, it's always a good bet you'll wend your way up to the Diamond Rock Club a fair amount of Saturdays in a year: this coming Saturday Ricky Warwick and Damon Johnson will be returning for more rock, supported by the Acoustic Outlaws (that is the Gasoline Outlaws without amps).


Sunday sees Rich Robinson - ex of the Black Crowes - play The Empire Music Hall with a selection of solo tunes and BC standards.


Mondays are crap, right? Wrong! This coming Monday is the second of the big gig clashes of the autumn. In the red corner, weighing in at an impressive mighty dose of doom we have Paradise Lost and Lucifer in Limelight1. In the blue corner, weighing in with contemporary metal fandom we have Bullet for My Valentine in the Ulster Hall.


Who will win out? Well we hope it is a draw with equally packed venues. Tickets are still available for both shows, but if you're under 18 the Bullet show is your only option. [BTW - if you caught the Editor's show on Belfast Underground TV on Saturday past you'll know that Lucifer are going to blow your ears off...]


Now is that enough to wrap up September?

NEWS: Making Monsters score Fightstar support slot

LONDONDERRY noiseniks Making Monsters have landed a nine-date UK tour support slot with Fightstar.

The four-piece are warming up with seven shows in Ireland and Northern Ireland. These include a show in QUB Bar Sub on 9th October and two shows in one day in Derry on then 10th October.

One is a Trash all ages slot and then concluding with a show in Sandinos.

Cork, Dublin, Omagh and Portrush make up the rest of the headlining tour before they head off to hook up with Fightstar on the 17th October.

Fightstar are returning to the stage for the first time since they took a break in 2010 and will be releasing their new album 'Behind the Devil's Back' the day before the tour kicks off.

Making Monsters said they were "extremely pleased" to snag the tour:

"It's our first time back in the mainland since November last year," the band said in a statement. "We can't wait; we have plenty of new material to début!"

Def Leppard set to release a new album ahead of tour - and it's called...Def Leppard!

MANY, many years ago the Ulster Hall in Belfast resounded with one of the most remarkable gigs as Def Leppard kicked off their Pyromania tour just as 'Photograph' was storming the charts. They even ranked it as one of the top 10 gigs of all time.

Now, many, many years later Def Leppard are coming back as part of a tour backing their eleventh studio album, called simply 'Def Leppard'. Yeah, they must have been up all night thinking of that one...

The band play the SSE Arena, Belfast on 7th December as part of a tour package that includes Whitesnake and Black Star Riders.

The new Lepps release is officially released on 27th November, but as has become fashionable of late the UK CD fanpack is being released as part of a Classic Rock magazine 'special' with all the bells
and whistles on 30th October.

The last time out Def Leppard's average 'Songs From The Sparkle Lounge' the promise from the band is "instant hooks" from the lead-off single 'Let's Go' to tracks such as the promised "anthemic" 'Sea of Love" and acoustic 'Battle of My Own'.

This is a 14 track release that wasn't intended to be an album as Joe Elliot explained.

"We got together to see what we had with maybe putting out a three track EP in mind," said Elliot. "All of a sudden we had 12 songs on the go, and two more would come just a few weeks later.

"It's the first album we've ever made with deal in place and no one looking over our shoulders so the freedom was immense and I think you can hear it in the songs."

The elusive deal came thanks to earMUSIC, part of EdelGmbH.

The aforementioned fanpack is a 116-page mag, a bonus track, art and interviews as well as a key ring and 'stuff'. The price tag? £15.99. To tempt fans to pre-order there is a window sticker and a chance to win tickets to be on the four-night Def Leppard cruise from Miami. Even us cynics are tempted by that!

While we ponder listening to classic rock vibes in the sunshine, sipping cold beer here's the tracklisting for Def Leppard.

<sup>1. Let's Go
2. Dangerous
3. Man Enough
4. We Belong
5. Invincible
6. Sea Of Love
7. Energized
8. All Time High
9. Battle Of My Own
10. Broke 'N' Brokenhearted
11. Forever Young
12. Last Dance
13. Wings Of An Angel
14. Blind Faith</sup>

ALBUM REVIEW: Suddenly it all makes sense on Ghetika's A Monster In Mourning

EXTREME metal and concept albums - a dichotomy surely; yet Ghetika manage to pull it off in a weird, yet beautiful album which explores the outer realms of acceptability.


Here in the 21st Century it is rare that one finds a self-released album of such intensity and passion than that released by Ghetika - an English band that have produced a revelatory piece of metal.






This release came out of left-field and it has been out on release for a number of weeks - weeks that we took to assess what it is all about.
The musicianship is outstanding with 'One Night:Seven Sins' and the previously released - and now re-recorded 'Stack the Pyres' among the tracks that stand out.

Producer Owen Davies has captured an esoteric extreme metal sound, when mush of what is going on could easily have been lost.

But the reality of a concept album is that it must have an inner core as well as the deeper meanings. That inner core is where the music compliments the theme that it is almost onomatopoeic in places, something which is evident on the title track 'A Monster In Mourning' as vocalist Anthony Knight explained:

"'A Monster In Mourning' is the title of one of the album tracks and we felt that this song summed up the whole concept of the story. One of the main characters has a fairly monstrous reputation, yet within the lyrics and the story you get to see why he's become the way he is and even get to see things from his point of view; see that he's filled with remorse and tormented by his conscience. So naming the album after this track, and with reference to this character in particular, just made sense."



"As we'd agreed that this would be a concept album following a story from start to finish, we had to work quite differently to how we usually would; for a start I had to come up with some 'working track titles' to give a feel for each stage/chapter of the story - this helped Scott and Topher in writing riffs that would suit the feel of each track."



That 'feel' is something that gels the album together, whether it be the tale of a massacre at a masquerade ball (The Massquerade) or the high concept of the back story behind a monster. A definite grower and a definite high standard release from Ghetika

Review by Jonny

COMIN' ATCHA: Gunzo, WASP, The Amorettes and Danko Jones

THIS week sees a veritable plethora of rock and metal storming into Belfast with four acts that prove that the city is still one of the preferred destinations for proper music, not the U2 and boy band nonsense that clogs up the mainstream media.

First up tomorrow (Wednesday) at Voodoo is Gunzo. Who you ask? Well none other than Tracii Guns of LA Guns and Rudi Sarzo, who as aficionados will know has played bass with such rock luminaries as Ozzy, Dio and Whitesnake.

Support for the four-piece Gunzo playing in Belfast’s comes from Stone Trigger and Cross Eyed Mary.

Once you’ve got your fill of hits such as Ballad of Jayne, Rainbow in the Dark, Sex Action and many more catch a breath, because on Thursday Mr Blackie Lawless rolls into town once again with metal warriors WASP.

This Limelight1 show promises to be one of the highlights of the year as the band prepares to release their new album Golgotha in two weeks time.

Lead single ‘Scream’ from that album had its début NI play on the Belfast Metal slot on Belfast Underground TV last week and if you missed it we can tell you that you are in for a treat.

Take a few hours to recover on Friday, because you’ll need it on Saturday. You’ll have some time to compose yourself between noon and 2pm as the Belfast Metal show is back on Belfast Underground TV with local, national and international artists to bring metal to the children and the unwashed...

Come Saturday evening the Limelight throws open its doors to a duo of acts on the one bill well worth watching. Making their third visit to NI in a year are The Amorettes. If you caught them previously you’ll know it’s worth getting down early for this three-piece.

Once you’ve been suitably warmed up then Canuck guitar legend Danko Jones will hit the stage with a show guaranteed to be chock full of riffs, hooks and humour.

That’s the next few days sorted out then!

ALBUM REVIEW: It might be called Abysmal but The Black Dahlia Murder are anything but

THEY are amongst the most revered of extreme metal acts, and they have delivered consistently since they formed and in 2013 The Black Dahlia Murder released the outstanding 'Everblack', an album of fierce intent and outstanding ferocity. Now, in 2015 can they top that?

Sit down, source your inner metal demon and listen to 'Abysmal' - one of the most ferocious, yet balanced extreme metal albums in a long, long time. Raw, angry and perfect to rip up lifetimes of pretentious shit you have had to put up with.

The title track alone will induce neck ache as you impulsively bang your head and cause jaw ache as you try to comprehend what The Black Dahlia Murder have achieved here.

"Once the record started to come together we knew it was going to be something special," said vocalist Trevor Strnad.

"It's more urgent, it has more dynamics, it's a more emotive record, and it has a more raw, angry sound to it. It's still million mile-per-hour death metal, but when you invest so much thought and emotion into what you're creating you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work."
This really is 100% melodic death metal, ferocity married with a sense of what can be achieved through arrangements and balanced guitar and rhythm work. But that is not to say that the band has remained shackled by past glories.

"I still love Everblack and everything we achieved when touring it, and in fact going into that record we faced a massive challenge in following up Ritual (2011), which had also been huge for us," said Strnad.  "Having two records in a row connect with fans in such a way was amazing, but definitely piled on the pressure going into this new one, because we don't want to let them down, and we don't want to let ourselves down. But we learned a lot in making those two records, and we brought that into Abysmal.

"We know we can take people's heads off playing super fast, but that doesn't always give listeners something to really chew on. We've learned to focus on creating some drama, interesting dynamics, and most importantly really investing time in thinking about how different parts of songs will make you feel." 

We have to confess when we read the PR blurb and quotations like those above our initial response was that cynical Northern Ireland "Aye, dead on!" In this case we were wrong, because this is an album that has sheer brutality in every aspect of its songs.

The likes of 'The Fog' and 'Threat Level Number Three' show case the type of metal that needs - yes needs - a wider listenership.

Drummer Alan Cassidy, who joined the band in 2013 combines with Max Lavelle (bass) to give it a live vibe that some had doubted the band could ever achieve again.

Brian (Eschbach, guitar) performs at a level that TBDM have always promised and taken that to the next level in combination with Ryan Knight's six string heroics. The level of riffing is at times extraordinary. Check out the opening of 'Asylum' and pick your jaw off the floor.

What makes Knight's work all the more impressive is that for every shred there is subtlety that harkens back to the NWOBHM.

Just as Everblack tested the boundaries of blasphemy this time out lyrically they challenge perceptions of an afterlife - and the current age - by exploring hell on literal and metaphorical terms. In this sanatised society which other genre would tackle the topic of the issues facing a rapist/molester -  chemically castrated - talking to his inner demons as he tries to assimilate back into the real world. This is uncomfortable listening, but it is a societal issue that the 'talking heads' chatter about while the tabloids pontificate about.

Hell is not a one-dimensional Biblical story here - hell is a complicated personal journey and a phantasmagorical fantasy landscape. 'Vlad, Son Of The Dragon' touches on the Stoker tale of Dracula, while recalling the brutal history of Vlad The Impaler.

But, amidst this controversial back drop there is a defiance, a fuck you attitude, a stand that says we are who we are. Closer 'That Cannot Die Which Eternally Is Dead' is a single finger salute to the doubters: it's a declaration that this band are going to keep on delivering and keep on the metal path.

What impresses more is the very sound - no sampling, no over dubs, no post-production pissing about. This is metal as it should be - people playing metal and playing it with an intensity that deserves listening to.

At this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will "die happy a hundred times over". However, this does not mean there is anything even vaguely resembling an end in sight. "We're still young at heart and I feel like the evolution of the band still has a long way to go. I don't see a ceiling on what we can do, and there will be no end. It's just going to be a constant ongoing fight to make better music and be a better band, and it's always going to be time to kick ass."

If this is what The Black Dahlia Murder can achieve in 2015 we cannot wait until the next 10 years of this band.

 

Review by Jonny

 

The Black Dahlia Murder release Abysmal on Metal Blade Records on 18th September