ALBUM REVIEW: Harlott huff and puff but get there in the end on Proliferation

THRASH has been undergoing something of a revival of late, with both the old guard and newer band releasing material and touring. But has it all got a bit stale?

Unless you are an unremitting devotee of all thrash there seems to be a lot of ‘same-ness’ about a lot of releases; and on first listen to Aussie thrashers Harlott’s latest release, ‘Proliferation’, it came across as a bit ‘so what?’

But as with all albums there is a general need to give them a few spins to get hold of what the totality of the sound is.

From the off this is a straightforward, heads down thrash release, which has a wee bit of huffing and puffing before getting some tunes that make you listen that bit closer such as ‘Restless’. All of which makes the slightly predictable ‘The Fading Light’ that bit more disappointing.

There is nothing per se wrong with the song, but the attempt to mix Slayer, Exodus and time changes makes it sound like a thrash mélange.

In contrast ‘Lord of War’ has more identity –heads down riffs, severe pace and no fuss, despite the typical lyrical thrash theme about the end of the world.

Where some bands pull this off, too often it is a well worn path; but then again while there are moments to smile at few can equal the humour of Gama Bomb in thrash.

Overall it would have been easy to brush this Metal Blade release, but it works on two levels: it is an album for both classic and new thrash fans; and given the ‘proliferation’ of genres and sub-genres this is an ‘honest’ metal release.

The twin guitar attack of Hudson (vocalist) and Butler works well, especially on ‘Hellbent’ and ‘Legion’, but it is Richards (bass) and Joyce (drums) who really drive this release. Set aside the speed and the time changes they play with a sense of purpose. ‘Hellbent’ showcases that you can play fast and furious and still have rhythmic intensity.

Leaving aside some of the more mundane elements Harlott have produced an enjoyable thrash release, deserving more than a passing listen.

Review by Jonny

Harlott release Proliferation on Metal Blade 18^th September and join Annihilator on their European tour

Expanding the horizons - Belfast Metal show on Belfast Underground TV/Radio

WE'RE always up for new things - as some of you may know our head hitter (a.k.a editor) Jonny contributes to other sites (including RockradioNI and Devils Gate Media) as well as writing other 'stuff'


As if he hasn't enough to do, he's now signed up to Belfast Underground TV/Radio to present a regular two-hour slot playing rock and metal to the unwashed around the world.


Broadcast from a specially built studio within Belfast Underground Records (which has an impressive array of metal vinyl so far!) there are cameras dotted around the studio so you have the dubious pleasure of seeing our editor act the proverbial eejit (which will come as no surprise to most of you!).


On Saturday last there was a 15-minute for the launch; coming after a soft jazz deejay we're not sure what listeners made of WASP, Sinocence and The Black Dhalia Murder...


This coming Saturday there will be a two-hour Belfast Metal set, starting at noon. Tune in and be prepared for an eclectic mix of local, national and international rock and metal madness.


Local bands who specifically want to have tracks aired can hit Jonny up on with PMs to his Facebook page, or DMs on his Twitter feed.


There are further plans in development, and he assures us his commitment to this site, RockradioNI, Devils Gate Media remain undiminished even if his colleagues who contribute to this site have warned him that the 28-hour day and eight day week exist in his mind not in reality...


After all this week sees Gunzo, WASP, and Danko Jones with support from The Amorettes too...

LIVE REVIEW: Frank Iero greets his adoroing Belfast fans...our reviewer may be one of those fans too!

 WHEN former My Chemical Romance guitarist Frank Iero announced a UK headline tour last year with his latest project Frnkiero andthe Cellabration there was a collective squeal of excitement from his UK fans, and a whimper of disappointment from those on this side of the Irish Sea.

Happily, on the back of his appearance at Reading and Leeds Festivals this year he set that wrong to right by setting aside time to visit Belfast and Dublin. With the first Belfast date selling out in minutes, a second date was inevitable, with Iero graciously giving up his day off to accommodate.

And so, September 1^{st, 2015 – forever known as 'Frank Iero Day' to his adoring fans in Belfast – dawned bright and, rather astonishingly, dry, as said fans gathered in Castlecourt shopping centre to watch as Iero and two of his band played a hastily arranged acoustic set in Head Records, with some queueing since the centre opened at 9am} 

Joining the queue we soon found ourselves in the novel position of talking to some Scottish fans who had travelled over for all three gigs – it's usually the other way around for Belfast music fans, right?!

At (sort of) 3 o'clock the shutters finally went up and the 150 or so people lucky enough to get a ticket squeezed into the tiny shop, to be met with an unforgettable if slightly incongruous sight: the man himself squished into the display window of Head, eventually standing so more people could see him.

It seemed to come as quite a surprise to him that the place was so packed, judging by the widened eyes and "holy shit!" that fell from his lips when he turned around. Playing a jaunty cover of The Ramones 'Rockaway Beach' to warm up really piqued the fans' excitement – they got a round of applause for simply tuning their instruments!

Finally turning to address the crowd, Iero greets everyone, confesses that the guitars are rented (!) and tells us that there's no microphones ("so don't talk haha"), before dedicating first song 'She's the Prettiest Girl At the Party, and She Can Prove It With a Solid Right Hook' to loved ones. The song itself sounds unexpectedly tender and yearning in acoustic form, with Iero singing in a higher key to match the softer style.

He plays standing side on with his eyes closed in a manner that long time fans have come to recognise. It's the only time he seems in any was bashful, however; when speaking to the audience he is warm, kind and even playful. This is a far more relaxed Frank Iero than in the dying days of MCR.

'Tragician' is next, which has a rather folky, troubadour vibe to it in this format – it's almost like watching a really talented busker at times. Before the last song he asks if everyone is going to the gig tonight, and expresses his sorrow to a girl at the front who missed out on a ticket. But wait! Another girl further back has a spare ticket, so they arrange to meet up to pass it on. It's a lovely moment which has Iero beaming with approval.

He wraps up with clear crowd favourite 'Joyriding', with its intriguing mix of jaunty music and deeply personal lyrics. The mainly young girls in the crowd partly overcome their shyness to participate in a rather timid singalong, which is rather sweet. And then it's all over bar the queueing (again), this time for an autograph. Iero is gracious and friendly, staying until every last fan has received a hello and a coveted signature, even though time is creeping rapidly towards his gig at Bar Sub. A true gentleman.

Seven pm, and essentially the same crowd as earlier is out the front of Bar Sub in Queen's student union. Most were here last night, several will travel to Dublin for the last show of this Irish tour.

By the time local noisemakers Axis Of hit the stage at 7.45pm, the bijou room is pretty damn full and almost unbearably hot. Such is the fervour of the audience that they welcome the band with teen-screamy appreciation and palpable excitement.

They play a half hour set of perky, upbeat rock, with guitarist Niall and bassist Ewen trading lead vocal duties and harmonising breezily. It's infectious and toe-tapping stuff, with jaunty guitar solos and multiple hand-clappy segments. Ewen in particular holds the crowd in the palm of hand effortlessly, with some witty crowd interaction.

Set highlight is the singalong monster 'All My Bones', a real stomper of a number with 'crowd pleaser' written all over it. They have a quirky vibe to them, reminiscent of Biffy Clyro or Twin Atlantic, and like those bands they sing in their local accent, which is refreshing and instantly likeable.

With the crowd nicely warmed up there's an impatient 45 minute wait until 9pm, when the house lights suddenly dim and a thrilled scream goes up. The Cellabration appear onstage, followed by Iero. He steps up to the mike, utters the words "hello friends" - and the place explodes as they launch into 'All I Want Is Nothing', to which the crowd sings along ecstatically.

The entire set is crammed with bounce, verve and energy; this is the exuberant Frank from the early days of MCR and even Pencey Prep. Apart from his ingrained habit of singing with his eyes closed, he is warm and enthusiastic, addressing the crowd often and delighting them all by saying how glad he is to finally be in Belfast.

Roaring through tracks from the band's debut album '.stomachaches.', he dedicates 'Joyriding' to the fans and whips out Leathermouth's 'Sunsets Are For Muggings', as well as a rambunctious cover of The Ramones 'Rockaway Beach' (definitely not acoustic this time!), and the band's first ever song they wrote (an instrumental) to commemorate them hitting their first anniversary a few days prior.

This is Frank Iero at his punk rock best: screaming, flailing about the stage melded to his guitar, uttering searingly personal lyrics with fire and passion. The audience simply lap it up, singing along with almost evangelical devotion and leaping around like they're on pogo sticks. The bulk of them know every last word and nuance of the often awkward yet effortlessly catchy songs. Iero acknowledges their support, urging everyone to "stay real" and looking genuinely chuffed at the response he's getting.

Highlights? Too many to mention, but the rough and tumble of 'Weighted' gets the crowd really bouncing, whilst heartfelt final number 'Stage 4 Fear Of Trying', featuring Iero standing onstage with just his guitar, had several girls weeping quietly at the maudlin beauty of it. Sigh...

And so 'Frank Iero Day' ended in Belfast, leaving behind a trail of streaked eyeliner and sweaty, contented fans in its wake. Based on the ecstatic response to this visit, it's not unreasonable to hope that Mr Iero comes back soon in the form of whichever project that this prolific and talented musician chooses. That truly would be cause for 'Cellabration'...

Review by Melanie Brehaut
SETLIST

All I Want Is Nothing

This Song Is a Curse

Blood Infections

Joyriding

Old Intro

Sunsets Are For Muggings (Leathermouth song)

Rockaway Beach (Ramones cover)

She's the Prettiest Girl At the Party, and She Can Prove It With a Solid Right Hook

Smoke Rings

Tragician

Stitches

New Intro/Guilttripping

Neverenders

Weighted

Where Do We Belong? Anywhere But Here

Stage 4 Fear of Trying

INTERVIEW: Frank Iero sits down to recap on his post-MCR

FORMER My Chemical Romance guitarist Frank Iero's latest project FrnkIero andthe Cellabration has proven highly popular with both old fans and new. His decision to bring the band to Belfast was met with jubilance amongst those fans, who have been waiting a long time to see him back on Northern Irish soil.

Melanie Brehaut sat down with Iero just prior to his sold out gig in Bar Sub to chat about our fair city, endings and beginnings, and his constant need to create music.

Welcome to Belfast!
Thank you!

I believe this is your first time here since 2007?
Wow! Really???

2007 was The Black Parade, in November.
Alright. I know we – it probably wasn't Belfast – we played a festival but I think it was in Dublin. That was the last Irish shows that I remember doing. And that was probably...2011 maybe, something like that. Jeez. It's been too long!

Uh huh! Have you had a chance to look around at all?
Last night's show was amazing. We had a little bit of time to look around today: a friend of mine from Axis Of, his father is an artist an he has a a gallery opening across the street which was beautiful, so I got to see that. And I walked around town a little bit. It's weird; originally we were to do Reading and Leeds and then our day off was supposed to be here, yesterday, and we were supposed to see all the sights and then play tonight and tomorrow (in Dublin). But the show sold out so quickly, it was like "add another, add another".

So much for days off!
Yeah! (laughs).

Does it make a difference when you travel with a smaller entourage? Do you get more spare time?
(Laughs) Um, I think it's about the same. We like to keep it kinda, y'know, just family (laughs) which is nice! Eddie likes to have a bit more help (gestures to musicians sitting behind us), but...(laughs).

What was the thinking behind just coming over for Irish dates this time?
The idea behind that was, basically we had wanted to do it on our headline run (last year). But the start date of the tour was I think, like, two days after my son's birthday. So in order to add that – it's like you have to add at least a week, basically, with set up and travel time. And we were on tour before that and then we were supposed to have, like, ten days off. It whittled down to five, and then to do that (add Irish dates) it would have just meant we had nothing. So I was like, "well, we just can't do it". And so when we got asked to do Reading and Leeds it was just perfect – it was like, now we can finally do the Irish shows.

Let's talk about 'stomachaches' for just a minute. There's some quite personal lyrics on the album. Did you ever think you'd be singing them to people, or was it more of a private, cathartic thing?
(Laughs) Never! Oh man. Yeah, no, never. That was never the intent; the intent was just to write these songs for myself – it was very selfish. I wanted to document the time that I was writing them and just hold onto it forever, kinda thing, and maybe show my friends or kids somewhere down the line. But then before I knew it, my friend asked me to play it for him, or asked what I had been up to and I played it for him, and then he convinced me to play it for other people...and now it's crazy. I mean some of those lines...oh man, y'know? (laughs). And it's weird to have those sung back to you, when they were written in the most private of times. It's nice, though, it really is. It was nerve-racking right before the release, and every night it's still a bit nerve-racking. But I think it's going to be a strange process to do another record because now I know people are going to hear it. So I wonder what that's going to be like – if I'm going to edit.

A different frame of mind?
Yeah, y'know? My world's a lot different now too, so regardless, I think it's going to be a different process and outcome. But I don't know what the editing process is going to be like. I hope I don't ruin it (laughs).

So is writing a necessary thing for you? Sort of a compulsion?
Yeah. I create because I need to create, as opposed to thinking about what, down the line, the aftermath's going to be. I hardly ever do that. I probably should start thinking less shortsightedly, but I just need to keep making things. A couple of years ago I thought "my creative side and my real life side are two different things". And I found out that they were so intertwined that it wasn't even funny. In order to be the person I want to be – happy, keeping that keel, that level – I need to be creatively satisfied.

If I could ask you briefly about your former band (My Chemical Romance)?

Yep!

What was your overriding emotion whenever you split? Did it tend more towards relief or sadness?
I think the immediate feeling is sadness, you get that mourning period right? And then you start to realise that "Oh no! This is for the best because it HAS to be". And you look back and realise that it is a relief. So you go back and forth, I think. But it's like everything: it's hard to see chapters come to an end until you realise that it's so that other windows can open, or just that it needs to be done.

Did you start creating music straight away, or was there a bit of down time for you?
No, it was so seamless. I think even while My Chem were still together we were doing Deathspells stuff (another project of Iero's). It just keeps going and going and going.

Is it strange to go back to the start again? Smaller venues, smaller crowds?
No, no!

Is that more your comfort zone?
Yeah, I think...I've done so many projects, even simultaneously, that it's a continuation of what I do. So that just feels natural. I think it felt unnatural to be in bigger venues. That's the only time I felt like I didn't belong.

Is there anything you miss about being in MCR?
No. It would be different if it wasn't such a large chunk of your life. We did so much, y'know? Things that I never even knew that I wanted to do! So I feel...complete on it. I don't miss anything.

So what was the first music that you heard that you really connected with; that there was that 'click' in your head?
Jeez, um...I've been around music for so long – my dad played, my grandfather played – it was just always there. So I feel like there was different connections, there was stuff I really liked. But I didn't find that kinship until I heard punk rock. That really opened the door where it was like "oh! I can do this too!" kinda thing. Before it was always I loved the blues, I love old rock n roll like Sixties soul and stuff like that, but that didn't feel tangible to me. It was stuff that my dad played, and stuff that I really enjoyed, but he was...it's weird. He was a musician and my grandfather was a musician, and they went out and and gigged and played with all these different people. But I always wanted to just be in bands. I didn't see myself jumping from project to project or just showing up and being like "we're just going to play the standards tonight". That never felt like the life for me. But when I heard kids playing music for kids, and playing in VFW halls and things like that, that blew my mind – I was like "now I get it! I can do this, and I can do this with my friends, and I can do it on my terms".

Last question: do you have any plans for your musical future, or are you more of a 'wing it' kinda guy?
(Laughs) I feel like if I had plans I would be disappointed when they didn't come true, to what I see in my head. I have ideas: I have a lot of songs in my head – I'd like to get them out; I feel very crowded right now and I'm having a hard time concentrating on one single thing! But I know that I need to go home in order to finish it. I can start many things, and I can say 'yes' to many things while I'm on the road, but I cant see them through until I'm actually home. So there's ideas, but I don't know if there's plans.

Alright, well thank you!
Oh it was my pleasure, thank you!



　

ALBUM REVIEW: Thundermother remind us all that rock'n'roll is meant to be fun on Road Fever

REMEMBER the days when you went to a hard rock show and had fun? Not just the beer-fuelled variety, but full-on, jaws wide open in a smile, nodding head type fun.

No pretensions, no bull shit - just riffs, hooks, melodies to singalong to, solos and fists punching the air. Thundermother deliver that type of fun on their second release 'Road Fever'.

This five-piece rock sisterhood serve up all the ingredients that make hard rock such a fun genre, all the while acknowledging their predecessors. This release draws on the halcyon days of AC/DC, Motorhead as Claire Cunningham delivers a vocal that has Joan Jett and Lita Ford forced to re-assess their place in the female vocalist pantheon.

The fact that they are all ladies in this band is beside the point, as is best epitomised on the album opener 'It's Just A Tease' on which lead guitarist Filippa Nässil lets rip throughout. But the line that sums up the attitude of Thundermother is on the track. It says: "just because I'm wearing a skirt doesn't mean I want more than a flirt".

Yes, the band know that the majority of their audience is male, and appreciate that the less-evolved of the gender will ogle rather than listen. Those that listen, really listen will be well-rewarded by this unity of purpose; as the album closer 'Rock 'n' Roll Sisterhood' epitomises.

This is a release chock full of hard rockin' tracks that will simply leave you grinning from ear-to-ear.

Giorgia Carteria's rhythm guitar rolls along in a riff tornado of tempos such as on the ode to tattooing 'Thunder Machine'.

Anchoring the entire album are Linda Ström (bass) and Tilda Stenqvist (drums), as on display on the mid-paced 'Vagabond'.

Throughout 'Road Fever' Thundermother lay down the rock gospel with style and substance that would shame many of their contemporaries.

'FFWF', 'Deal With The Devil', 'Roadkill' etcetera, etcetera, the tunes keep coming and the grin keeps getting wider with every listen.

This is a party recorded for your listening delight -  an album that will have you cracking open a beer and singing along - no matter what your gender.

Review by Jonny

ALBUM REVIEW: Pop punk swerve mars Backyard Babies sound return on ‘Four By Four’

 THEY’VE had a break for just five years, and now Backyard Babies are back with the proverbial curate’s egg of a release on ‘Four By Four’ on Gain Music – good in parts and mystifying in others.

Releasing any album after a lengthy break is always a risk, especially with a fan base that looks back to previous songs. And, the Backyard Babies have six albums worth of material to live up to.

Not that those albums were consistently good, but the Swedish four-piece had enough of a back catalogue of excellent hard rock tunes to have a fist pumping crowd gather when they played.

On Four By Four they strive to rekindle those fires and mostly achieve that, but the curious duo of songs, ‘Piracy’ and ‘Never Finish Anything’ sound like out-takes from some middle-America pop punk wannabes.

Thankfully the rest of the album is more palatable for those who like their hard rock on the raucous side. Opener, a lead single ‘Th1rt3en or Nothing’ kicks things into high gear, followed by the not-so-modest ‘I’m On My To Save Your Rock ‘n’Roll’.

The promise of a return to the halcyon says of Peder Carlsson, Johan Blomquist, Dregen and Nicke Borg seems fulfilled, until the saccharine schamltz of ‘Bloody Tears’ serves as a warning before the pop punk flavoured duo mentioned above.

Where that incorporation of pop punk elements does work is on ‘Wasted Years’ which has the hooks of the better bands of that justly maligned genre.

But album closer is the validation for all that has gone before. ‘Walls’ has the slowed down swagger of Duff McKagan’s Loaded at its best; driven along by a bass line, and a well balanced arrangement and a storming mid-section.

The band certainly sound confident about this release

"We really feel that our time out will end up being a win-win situation for both the band and our fans," said Nicke Borg. "The break has developed us individually as songwriters and musicians, and we’ve come up with what we feel is our strongest material to date.
"For the first time, we’ve had the chance to look back on our catalogue and get a firm grip on why our audience – and ourselves, for that matter – loves Backyard Babies so fucking much! So it's been a mixture of personal development and finding our way back to the band’s essence, its energies..."


Reading quotations like this on the PR blurb that accompanies releases always gives one time to pause and reflect on a release. Despite the reservations there is sufficient weight on display to suggest that Backyard Babies can further develop. The closing riffs on ‘Walls’ suggest they can find their way back to the armies wanting to save rock 'n' roll.

Review by Jonny

ALBUM REVIEW: Where black metal and folk collide as Myrkur unveil surprises on 'M'

RELAPSE Records are one of those labels that never cease to amaze, and how they always pick a winner is anyone’s guess. Last year they surprised us all with the signing of Danish one-woman project Myrkur, a black metal project that emerged from the shadows with a self-titled EP, shrouded in a veil mystery.

Who is it they said? It wouldn’t be long before the veil would fall and Myrkur was exposed as New York based artist Amalie Bruun of indie-pop duo Ex-Cops and Danish modeling fame. Well, you can imagine what happened, the pitchforks and torches came out. But on the other side, you found more people intrigued… what can Amalie Bruun offer?

Looking back at the EP it was an ok release at best; production being a major issue, but it left promise and was endorsed by genre icons such as Kristoffer Rygg of Ulver who would later produce the debut Myrkur full length and bring her sound to the fore. Just under a year on we’re now looking at that release, entitled simply as M.

 

The multi-intrumentalist has finally revealed her vision with M, with the help of Kristoffer Rygg, (or should we say Garm)… and Mayhem’s Teloch who filled in on bass/guitar and Nidingr drummer Øyvind Myrvoll. The album was recorded at a series of studios in and around Oslo and partly in the famous mausoleum of Norwegian artist Emanuel Vigeland.

The result is an elegant mix of black metal and Nordic folk music. An album littered with disparate contrasts, from old school black metal to shoegaze, post-rock to atmospheric vocal harmonies and choirs, but it’s structured so well and its nuances make it so fluent with absolutely no discord or jarring. ‘Onde Børn’ being a classic example.

What is most impressive about this album is the journey. It can be natural instinct to revolt against black metal… the sounds… and that’s where most of us fail. Let it take you, let it overwhelm you and then, and only then, does one begin to understand.

With this album it’s much easier to fall into the album, it’s not black metal, as in the traditional sense; you travel through various soundscapes and all these disparate contrasts make a truly mesmerising experience. There’s a fire here, a fire that blazes and settles, blazes and settles.

This album won’t appease the traditional spikes and corpse paint black metal fans, or the traditional folk fans. It’s not like that. What’s here is something much more ethereal. What Amalie Bruun has created here is something truly special and Myrkur will no doubt be one of the most talked about artists for some time to come.

 

Review by Andrew Pennington

ALBUM REVIEW: Lynch Mob stand proud on the latest release from a rebel with a Cause...

GEORGE Lynch must be the busiest man in rock at the minute. Less than a year after the last Lynch Mob album, Sun Red Sun, and following on the back of the excellent collaboration with Michael Sweet comes 'The Rebel'.

The quick turnaround may suggest quantity rather than quality but that's not an accusation that can be levelled at this album. Back in Tandem with singer Oni Logan and with old mate Jeff Pilson on bass and Brian Tichy on the skins (is there any album he doesn't drum on?), this promised much. Chris 'The Wizard' Collier handling the production only served to enforce that and boy does it deliver.

As per the press release, Logan expands his lyrical scope beyond matters of the heart and mind to include his views on social and economic injustice on songs like 'Dirty Money', 'Kingdom of Slaves' and 'Sanctuary'

'Sanctuary' in particular is a fine example of this. A commentary on Modern day USA's shift from its original principles on which the country was built on to a more right wing agenda. No longer a refuge from pursuit, persecution or other danger. More a case of just what has gone wrong?

The album opens in good fashion with the groove laden 'Automatic Fix'. A mid tempo rocker about the love of music and how it can move you and is followed by 'Between the truth and Lies', a song about catching a cheating lover and not being bothered as the truth, is indeed, found in the lies.

Next up is the spiritual 'Testify'. A song which has a  strong Southern Rock Groove with a touch of Gospel thrown in.  Standout song so far with a slow, heavy beat to it and great vocals. Amen Oni!!

Next up is the aforementioned Sanctuary before the mood is lightened by the next two tracks, 'Pine Tree Avenue' and 'Jelly Roll'.
'Pine Tree' sees Logan reminiscing about his youth whereas Jelly Roll (according to the Urban dictionary) is about, err, sex!
Both songs are good fun before the mood gets serious again with 'Dirty Money'
This is a swipe at rich bankers and how they can gamble with people's money yet get protected by the system.

'Hollow Queen' darkens the mood with its slightly psychodelic stoner rock riff to open with and then develops into a haunting song inspired by Logans vocal delivery.

'The Ledge' is next. A ballad of sorts but with more dark subject matter than usual. A study of self sacrifice, it's very well written.
The album finishes with two more songs with serious intent in 'Kingdom of Slaves' and 'War'
Kingdom is another social commentary on modern day America and War is fairly self-explanatory.

What stands out on this album is Logan's growing songwriting ability and as usual Lynch's outstanding guitar work. Melodic at worst, damn well mesmeric at best, the riffs and overall composition are excellent.

For guitar solo freaks check out 'Automatic Fix' with its extended solo as well as 'Testify', 'Sanctuary', 'Pine tree Avenue' and 'Kingdom of Slaves'. No such thing as a bad George Lynch lead break but these, based on personal preference, these stand out.

Overall an excellent hard rock album that deserves your attention.

Review by Andy Gillen

BLOODSTOCK: By Any Means, Overoth, Dead Label and many more at one of the best fests

BLOODSTOCK'S joy, beer and searing heat (yes, the sun shone for all four days of a UK festival!) still resonates in the memory.

It was not our intention at any stage to work at this festival - we were there to relax. But somewhere along the way some of our colleagues managed to con us into interviewing a few bands and giving an overview of the fest.

Before getting down to the interviews it's fair to say that with more than 100 bands playing some of the most extreme forms of metal it was still one of the friendliest festivals we have ever attended.

Headliners apart the music was intense across all four days, and Northern Ireland and Irish did themselves proud.

Just days away you'll have the chance to see Dead Label support Gojira in Limelight1. They put in a great set on the Sophie Lancaster Stage before talking to us about forthcoming plans.

Representing Northern Ireland By Any Means and Overoth ripped apart the New Blood Stage. Overoth gave a death metal masterclass, while BAM brought their own unique brand of hardcore mayhem (even attracting Ben Ward from Orange Goblin down for half their set).

By Any Means interview


To sum up Bloostock is almost impossible. More than 100 bands across four stages - from the Ronnie James Stage, through the Sophie Lancaster Stage, the Unsigned Stage and the Jagermeister Stage (basically a bar with a stage attached) there were more bands to see than even the most determined fan could catch up with.

Overoth interview


Of the many bands who appeared there were several stand-out sets. Armored Saint, Belphegor, Sabaton, the uncommunicative Black Label Society, Onslaught were among those that shone.

Dead Label Society interview


What was unanimous amongst those at their first Bloodstock was that they will be back each and every year - no matter that the headliners weren't the stars they could have been the vibe, the totality of the musical experience and the madness in Camp Midgard....[See below]

Foul Body Autopsy Interview
[Parental notice - sweary bits within!]


Footnote - Camp Midgard was were we pitched our tents (with your editor experiencing some issues on that task) and it was the scene of the madness only metalheads can generate....bin jousting, metal wrestling, a parade with a Slayer flag and a 'Christ on a Stick' and a bon homie few can match...

Words by Jonny

WINNERS! Winners for Megadeth, Lamb of God, CoB and Sylosis drawn

A HUGE, huge thank you to those who entered our competition to win tickets to see Megadeth, Lamb of God, Children of Bodom and Sylosis in Dublin on November 9th.

The Belfastmetalheadsreunited/RockradioNI competition was thanks due to our friends at MCD, and you entered in your droves!

Literally there were hundreds of entries, and it took an exhaustive process over several cups of coffee to open each one, check that they had the really, really difficult question (yes, it was the Golden Gods!) correct.

Then numbers were allocated at random and the proverbial random number generator did its work.

After all that the winners of a pair of tickets each are: Adele and Terry!

Given the line up we would have loved to give you all tickets! Instead you'll just have to shell out to see this sterling metal line-up.

And don't forget that LoG drummer, Adler, is playing both for his own band and for Megadeth...now that's dedication!

ALBUM REVIEW: Kataklysm crush humanity's delusions on Of Ghosts and Gods

WITH 13 years of existence under their belts Kataklysm continue to cast a jaundiced eye on humanity's sad delusions, with their 12th album, 'of Ghosts and Gods'.

Their track record is indisputable - with nary a bad release and always maintaining musical and lyrical integrity.

That integrity means the Canuck four-piece can be relied upon to deliver extreme metal at its finest, defying conventions and producing, on this release, an outstanding 10 tracks that sneer and snarl.

Maurizio Iacono's vocals come across as bile-filled as he rails and rants at the state of the populace of this planet. But it would all come to naught if the musical tapestry was vacuous. Instead JF Degenais's guitar crunches in a succession of riffs that roll like thunder and trundle along like an unstoppable tsunami - tracks like 'Shattered' and 'Carrying Crosses' have serious intent from the axeman.

The drums of Oli Beaudoin and bass of Stephane Barbe are a revelatory rhythm rock, perhaps the best on record that Kataklysm have produced to date.

The interchange between Oli, Stephane and JF on album closer 'The World Is A Dying Insect' is well thought out and delivered, enabling Maurizio to deliver lines such as "paradise for parasites" with justifiable cause.

Religion, cults, believers and ministers all come under lyrical assault; perhaps the mantle once held by punk as the sceptical voice amidst conservative conformity has now been taken by extreme metal and hardcore. Certainly, on the evidence here Kataklysm have the musical muscle and lyrical intelligence to be one of then finest voices of the disenfranchised.

Of Ghosts and Gods is out now on Nuclear Blast

Review by Jonny

ALBUM REVIEW: Battlecross defy genre conventions to deliver contemporary metal excellence as they 'Rise to Power'

GENRES  - they're designed to pigeonhole bands, shuffle them into easily defined cubbyholes, where fans can sit down in some sort of comfortable haze, with no real need to think about what the act's intent was when sitting down to write and record music.


And, over the many years of reviewing and interviewing hard rock and metal acts they almost universally don't recognize the category they are allocated by lazy journos and internet trolls.

Sure, they might acknowledge influences, tip a nod to such and such form of metal, but they seem non-plussed when some writer puts them within a genre with nary a thought to what that actually means.

It also leads to the most awful form of metal snobbery, where narrow-minded dweebs leap to label bands 'sell-outs' should they dare deviate from their allocated metal cupboard.

That is why it is so refreshing to come across an act that crosses genres, admits their influences and says to hell with pre-conceptions.

Such is the case with Battlecross as they smash down any labels that may have been appended to their sound following 2013's 'War of Will'.

This month's release of 'Rise to Power' sees them record an album that they wanted to hear, not to a template someone else might expect them to record.

"Going into this record we had more freedom in the sense that we were able to say well, people like what we write, so let's just write what we like," said bassist Don Slater. "We never really want to do the same thing twice.

"We want to play the riffs that we want to hear, and we just want to keep building on our experience and raising the bar," adds guitarist Tony Asta. "No one is handing us anything. We've always been about putting the work in, and we couldn't be prouder of what we've achieved with Rise To Power."

Have they pulled that off? Yes, in  bucketloads. Yes, their thrash roots are clear, there are death metal influences, there is even a brief flirtation in the lead work with jazz/funk. In other words they seem to have said "fuck convention, let's have some fun".

It works on many levels: musically there is a variety of approaches to songs, solos, structure and arrangements; lyrically there is a sense of realism, a sense that the words mean more than just posing and posturing, something

And, that's something Kyle "Gumby" Gunther is clear about - the personal element in writing words to accompany the aggression on display.

"I firmly believe you can overcome any obstacles you want to, but that doesn't mean it's going to be easy," he said. "I wrote the song 'Absence' about my son, because he's four years old and I've been away on tour for literally half of his life, and when he won't talk to me on the phone it's worse than any of the crappy things I've been called in my life, but this is the life I chose.

He also takes on those who pose as victims and attempt to manipulate others on 'Not Your Slave', and on "Despised" he faces his "fuck ups" head on, acknowledging that mistakes have been made but refusing to let them destroy him, and it matters to him that he speaks from a place of truth.

 "You have to be accountable for what you say, and now people are listening to what I say, so I have a social obligation to say something that's worthwhile.

"If I didn't believe 100% in what I put out there or if I felt that maybe I was full of shit then I'd be the first to say that you shouldn't buy our album, you shouldn't buy our shirts or come to our shows."

But, this release shows that Battlecross have harnessed hard won experiences, turned them into positive musical expressions - 'Not Your Slave' and 'Spoiled' are brimful of boulder sized bombast, with no sense of pretentiousness.

Tony Asta and Hiran Deraniyagala turn in some tightly focused lead and rhythm work between them - layering sounds in an all-out assault, such as on the breakneck 'The Climb' which is more 'death' than thrash, all aided by new sticksman Alex Bent.

Producer Jason Suecof (The Black Dahlia Murderer, Job For A Cowboy) seems to have pushed the band to perform at the highest level - he even adds a solo of his own to 'The Path'.

Throughout this release is evidence that Battlecross have stepped up to the next level in their progression - the power and passion on display is compelling and creative.

But what of the genre? Throughout this review it's hard not to ascribe a tune as having death elements, or thrash elements - even the band themselves are happy with the title 'blue collar thrash'.

However, take the release as a whole and there's not one single term to describe it. Suffice to say then we shall leave it to be described as damn fine modern metal.

Rise to Power is out now on Metal Blade Records

Review by Jonny

COMIN' ATCHA! !5 years, 21 bands The Distortion Project rolls out the Ormeau Avenue Red Carpet for birthday celebrations

THE Distortion Project is about to celebrate its 15th Birthday -  and Mr Loveday is making sure they do it in style with a 21-band line-up on the 17th October.


Dubbed 'From Hell To The Unknown' the celebration will see the entire Limelight Entertainment Complex taken over by metal - bands will be playing in Limelight1, Limelight2 and Katy's from noon until late.


Headline acts are Xentrix, Acid Reign and Shrapnel.


A further 18 acts are to be announced...yes, you read that right -  a total of 21 acts in one day.


And it's all for the measly sum of £20! Tickets are on sale this coming Friday from all the usual outlets, and once the full line-up is confirmed local metalheads will sit down with a full itinerary and try to work out which stage to visit and when.


We were happy with Mr Loveday's announcements of WASP, Paradise Lost, Jex Thoth, Raven, Enforcer, the DeathCrusher Tour, Fear Factory, Sabaton etc and he still manages to pull this one out of the bag.


A feast full of metal...it's going to need one big birthday cake!

INTERVIEW: Goodbye Million$Reload hello Blackwater Conspiracy

OUR colleagues on our sister site www.rockradioni.co.uk took the time to mark the demise of Million$Reload and their re-birth as Blackwater Conspiracy...Nigel and Nik got down to some serious interrogation with singer and guitarist Phil Conalane...read on and learn!

_{As a fan of Million Dollar Reload for many years, I was delighted to get the opportunity to talk to singer Phil Conalane in The Empire, Belfast on 15th August just a few hours before he went on stage to play the last gig as Million Dollar Reload and first as Blackwater Conspiracy. So the interview is effectively the last with Million Dollar Reload and first with Blackwater Conspiracy.}

_{Million Dollar Reload released two successful studio albums and a live album, toured across Europe and the USA and played Download on three occasions. They had been signed to Classic Rock’s Powerage record label and later to Frontiers Records at various times. Last year they started to move in a new direction and those plans came to fruition on 15th August when the band announced their new name mid-set and released a new four track EP as Blackwater Conspiracy.}

_{Three tracks from that EP can be heard on the Friday NI Rocks Show on 21st August at 9pm along with the interview with Phil. That Show is available now from the On Demand Player – http://www.rockradioni.co.uk/hosts/ni-rocks-friday-rock-show.html - the show uploaded on 17th August. The interview has been transcribed and published below.}

_{Blackwater Conspiracy are Phil Conalane on vocals / guitar, Brian “BAM” Mallon on lead guitar, Kie McMurray on bass, Fionn O’Haigan on drums and Kevin Brennan on piano/keyboard.}

_{NI ROCKS – Hi Phil, thanks for taking some time to talk to Rock Radio NI. We’ve talked about recording an interview for some time and it’s ironic that we get around to doing it tonight. You’re going on stage in a few hours for the last time as Million Dollar Reload and by the time this show is uploaded you’ll have revealed a new name and new EP. Are there mixed emotions there or is it all about moving forward?}

_{PHIL – Absolutely about moving forward. There are no regrets; it couldn’t have come quick enough for us. We’re ready for this, we’re happy that it’s over and we’re ready to move on. We should have done it a while ago but circumstances prevented us from doing that, contractual stuff, blah blah blah, but that’s all done now and we’re ready to move. Can’t wait.}

_{NI ROCKS – The new band name. Tell us what it is and why you picked it?}

_{PHIL – Blackwater Conspiracy. We specifically went for that name because we all live pretty much on the River Blackwater in Tyrone and the other two guys from Co Derry / Londonderry, the Blackwater stretches that far as well. We just wanted something that was a little bit more authentic and the Conspiracy thing is just the best match for us..}

_{NI ROCKS – And it sounds very rock n roll!}

_{PHIL – Well it sounds rock n roll, but unfortunately it means something else in America, but we’re not too concerned about that for the moment. So it’s Blackwater Conspiracy.}

_{NI ROCKS – Have you the new website and social media sites ready to go?}

_{PHIL – It’s all ready to go and as soon as the show is over it’ll all be uploaded and ready to go. http://blackwaterconspiracy.com/}

_{NI ROCKS – Is the old Million Dollar Reload page transforming or is it being left behind?}

_{PHIL – The Facebook page will be left for a little while. The dot com page will be left until it expires organically. All the new pages are ready to go.}

_{NI ROCKS – Tonight you’re also launching a new EP. Are those some of the tracks that you recorded at Rockfield Studios in Wales earlier this year? It’s a studio with a lot of history. What was it like recording there compared to here in N Ireland?}

_{PHIL – The reason we went to Rockfield is because a friend of ours works in Rockfield from time to time. He’d been following us and when we played in London the last time we had a conversation in The Crow Bar about three o’clock in the morning he suggested that we should go somewhere else rather than Northern Ireland. There’s nothing wrong with the studios in Northern Ireland whatsoever, but the only problem with them is that there are no studios in the North that you can actually set up as a full band and record in a live situation. There are studios in the UK where you can do that and Rockfield, obviously of course you can. He got us into Rockfield and we thought we’ll take a chance and go over and do it. We went over and recorded a lot of songs and we’ve selected a few to put out on an EP just for starters.}

_{NI ROCKS – How many are on the EP?}

_{PHIL – There are four songs on the EP.}

_{NI ROCKS – We’re going to play three during the show then. We’ll play one now. Which one would you like to play first?}

_{PHIL – “Penny For Your Dirty Mind”}

_{NI ROCKS – It’s been around for a wee while. Tell us about it.}

_{PHIL – It’s been around for a while, but we recorded it in demo fashion at home. When we got to Rockfield we re-arranged it and}

_{NI ROCKS – I think most people who knew the band knew that the announcement of the end of Million Dollar Reload wouldn’t be the end of the band, although there were a few distressed fans on Facebook etc. There have been a couple of interviews with yourself or Brian and it is clear the change reflects a new musical direction and the desire to make a fresh start. How easy a decision was that?}

_{PHIL – Really easy. Decision is nearly the wrong word. It was kind of organic the way it happened. There was no pre-meditated “oh, let’s go this way”; it’s just the way the songs were going. As you know we lost a guitar player a while ago and we had tried to go in this direction, but it wasn’t really his bag as such, so when circumstances prevailed that he was gone from the band it was really, really easy to jump into what we wanted to do. Don’t get me wrong, Million Dollar Reload for the past seven or eight years is exactly what we wanted to do. There are no regrets about anything at all. Every song was recorded the way we wanted and written the way we wanted. It’s just that we’ve moved on. It’s as simple as that. There’s no scientific reason behind it.}

_{NI ROCKS – Which brings me on nicely to my next question. As you know one of my favourite Million Dollar Reload tracks has been “President Joe” which never appeared on an album. Was that track an early indication of the path the band was taking?}

_{PHIL – Absolutely. You could say “President Joe” was the first indication of the direction that we should have went a while ago and it’s probably the first track that I wrote that was an indication of where we were going to go. It was a laid back more bluesy song.}

_{NI ROCKS – As you know I love it. I’ve videoed it being played twice but never published the videos as we agreed I wouldn’t.}

_{PHIL – Yeah, it has evolved a little bit more actually with the piano in it. The song was recorded for the “A Sinner’s Saint” album but it didn’t make the album because I just wasn’t happy with it at that point. It was missing something and now it’s ready. It’ll be on the album whenever we decide to put it out.}

_{NI ROCKS – We’ve been joined by Nik who tells me she has seen you one more time that I have, thou I’m not convinced.}

_{NIK – I have. He’ll have seen you 50 times tonight and I’ll have seen you 51 times.}

_{PHIL – What!! You’ve seen us 50 times! Holy shit! Where was the first time you saw us?}

_{NIK – I told him the first time he was going to see you - “you’re gonna like these guys”. I saw you here in The Empire.}

_{PHIL – I thought the first time I saw you was in The Nerve Centre when we had an American band over (The Black Mollys in October 2008) and your hair was a lot longer at that time.}

_{NIK – No he was with me in The Nerve Centre, I was on my own the first time.}

_{(NI ROCKS - For the record my first time seeing Million Dollar Reload was on 27th Oct 2007 when they supported Kiss tribute Hotter Than Hell in The Empire – the show in The Nerve Centre was my second time.)}

_{PHIL – You’re playing Blackberry Smoke! (on the sound system in The Empire).}

_{NIK – Yes, I know you like them.}

_{PHIL – Keep an eye out for what’s happening with them.}

_{NI ROCKS – Yes, tonight is my fiftieth and last time seeing you. A nice number to end on! There are more tracks recorded at Rockfield presumably ready for a new album. When are we going to see that and what form is it going to take?}

_{PHIL – There was an album’s worth recorded at Rockfield. It’s going to take a little while for the Blackwater Conspiracy thing to get a bit of momentum. There’s no point putting it out straight away if people don’t know who we are. It’s kinda like starting from scratch again, but in a different way. Insofar as we’re not kids anymore, we know how the business works; we know what we need to do to get to a point where we’re ready to put it out.}

_{NIK – You’re saying it’s more mature music then? (laughs)}

_{PHIL – (Laughs) No, it’s not more mature at all. It’s just what it is. Age appropriate! (All laugh).}

_{NI ROCKS – Million Dollar Reload of course had a history of successful tours and performances including America and Download on three occasions. I’m sure that you have a lot of the contacts from then so when are we likely to see the band out on the road?}

_{PHIL – Well, we’re actually in the middle of sorting a new tour out at the minute, so if it all works out we’ll be on a UK and European tour in November and December. If not, we’ll definitely be on tour later on in the year. It’s going to take a little while for everybody to say this is Blackwater Conspiracy blah, blah, blah. We’re under no pressure this time. Every other time we were doing things we were committed to a label where we were committed to do certain things or an agent where we committed to certain things. We’ve still the same manager, we’re going to keep that guy. But everything is a lot more chilled, so we don’t feel any pressure to do anything. We’re just going to do it and whatever happens will happen.}

_{NI ROCKS – We’ll play another track from the new EP now. Again, I’ll let you pick one and tell us about it.}

_{PHIL – This is a song called “Roll The Dice”. It’s basically a tune that was a real sticker from the start because we wanted to write a song that says alright we’re going to take a chance here, if it works it works, if it doesn’t it doesn’t; but this is what we’re doing. “Roll The Dice” is taking that chance.}

 

_{NI ROCKS – Acknowledging that a lot of the Million Dollar Reload tracks didn’t  sit well with the newer material and new sound, do you think there will ever be the temptation to play some of the others live, or is that it, after tonight they’re gone.}

_{PHIL – If you’ve noticed because you’ve been to a few of the shows over the past year we have been slowly wheeling out a lot of the Million Dollar songs and introducing newer songs that are slated for Blackwater Conspiracy. There are one or two tunes that we will retain because I want to retain them. We’ve reworked them slightly with Kev on piano and keyboards. There are one or two tunes that will be a stable part of the set. I don’t think it’ll take much of a guess to say which one that would definitely be because it has been our biggest song ever. It’s helped us along the way and we’re just going to keep it, because we want to. It’s as simple as that. Everybody in the bad agreed that we wanted to keep that song, so we’re going to keep it.}

_{NI ROCKS – Have you been writing more tracks since returning from Rockfield and has the writing process changed at all with the addition of Kevin on keyboards?}

_{PHIL – The writing process has changed insofar as, if I’m writing a particular tune, I’m writing it with in mind that there’s a piano,  keyboard, humming organ or whatever to be integrated into the sound. It leaves a lot more variety, as far as I’d be concerned. There have been certain songs, for instance off “A Sinner’s Saint” there was “Broken” and off “Anthems of a Degeneration” there was “Travel” and there was piano on both of those tunes, but to incorporate it live was always difficult. Now it won’t be difficult. So songs of that genre will be easier. I’m not saying we’re going to write a lot of ballads, because we’re not, but the keyboard gives us a lot more flexibility. And the sound has changed. It’s not just as in-your-face heavy anymore, that’s just not what we’re about anymore. That’s just the way it is.}

_{NI ROCKS – Looking forward, where would you hope to be with the new band and what would you have hoped to have achieved by this time next year?}

_{PHIL – As far as looking forward and achievements as such, there are no real targets to set. We’re just going to do what we do and see where it goes and then at that point if something happens we can maybe capitalise on it. At the moment we’re just kinda finding our feet with the new sound and the new songs. We’re going to play the gigs we’ve done in the past; if we get a few tours and festivals here and there that’s great, but there is no real plan as such.}

_{NI ROCKS – Rock music fans can be an opinionated and critical bunch and social media is what it is. How much attention do you pay to what you read on-line?}

_{PHIL – We see everything that is written on-line and any band that says they don’t read it are lying. Whether you take personal offence to it is another thing. For us there can be times you say “that guy doesn’t know what he’s talking about” but at the end of the day if anybody who writes anything or says anything has an opinion and it’s invalidated, it’s up to them. As long as we’re comfortable with what we’re doing it’s fine. Anybody can say what they want. If you’re thick skinned it’s fine, if you’re thin skinned and take everything to heart you’re going nowhere. The thing about it is, and every band will tell you, they only ever remember the bad reviews or someone saying something bad about them and they never remember the good things. I could tell you now all the bad reviews and I can’t remember the good reviews.}

_{NI ROCKS – I’m sure there weren’t that many bad ones.}

_{PHIL – Oh there was. There were a few.}

_{NI ROCKS – Finally, what music are you listening to yourself these days and is there anything out there that influences your own writing?}

_{PHIL – What I’m listening too and what influences me are completely different. I can’t really speak for Brian. It’s usually me and Brian get together to knock out a new tune or whatever, and Kie maybe from time to time. I can’t really speak for what Brian listens too, but at the minute I’m listening to the same stuff I’ve always listened to – AC/DC, Aerosmith, Black Crowes etc. That will never change. As far as influencing the songs goes; there’s nothing really that influences me as such, apart from one dude. He sat me down one night in Germany and said “Phil, love what you’re doing, think your music is great, but it’s got a small niche market and there’s only a certain amount of people will listen to it. If you want to expand a little, I advise you to do this”. That was Charlie Starr from Blackberry Smoke. It’s quite obvious that our sound is a little Blackberry Smoke-ish, but it would be unfair to say that we’re completely influenced by those guys, because we’re not.}

_{NI ROCKS – It’s not as country. Blackberry Smoke’s last album was particularly country rock sounding.}

_{PHIL – Yeah, they’re deliberately country rock ‘n’ roll. We’re certainly not. We’re still rock and will always be rock. It’s just a little more laid back and chilled out. We’ve done the whole full-on, in-your-face AC/DC style thing, and with me being on guitar now it’s just not practical or feasible for me to do that anymore. It’s just the way it is.}

_{NI ROCKS – That’s us done with the questions. Thanks for taking the time to talk to us. Good luck tonight and with the new band. We’ll finish off with another new track. Which one shall we play?}

_{PHIL – This song is called “Hanging Tree” and it’s probably one of the first songs that I’ve written lyrically that has a social message in it as such. Everybody has known somebody within their family or whatever who suffers from maybe not the best self-esteem, a little bit of depression and stuff. I’ve had that in my family and my life as well. “Hanging Tree” is about facing your problems head on and trying your best to deal with them without doing anything that would ruin your own life and your family’s lives.}

 

ALBUM REVIEW: Horrific future shock from Factory on Genexus but with hope somewhere within the musical mythos

SCIENTISTS at Harvard University have taken the first step towards a cyborg future after successfully injecting an electrical mesh around the brain of a mouse, enabling commands to be sent and received. 1


Before you switch off thinking you've accidentally stumbled upon a tech blog, fear not, because it is more than relevant when sitting down with the new Fear Factory release 'Genexus'.


Cyborgs are a theme that Fear Factory have been obsessed with for some time, and with the Harvard research combined with news that scientists have created a robotic system that evolves one has to wonder what the 'Terminator' future is for our children and grandchildren.


The band are not the most optimistic about that future...not so much as a dystopian future; something far more bleak with contradictions, robotic/human identity crisis all against a backdrop that makes Skynet's plans to destroy mankind seem a cheery little story.


However, on the first couple of spins it seemed a little 'samey' in places, as if the band had dialed in some of the songs. That was until on further spins it dawned that it was so much that the tracks were dialed in, but that the band have re-captured some of what could be said is a classic FF sound.


Opener 'Autonomous Combat System' sets the not-so-cheery tone with a full-on classic merging of Cazares' guitar and Bell's at times pained vocals, with choppy drum and bass lines. The template doesn't change much throughout, and that is not such a bad thing as with it there is a sense of a band emboldened within familiar territory.


'Protomech' and 'Regenerate' stand out amidst the bleakness, but the closing duo of tracks  - 'Battle for Utopia' and 'Expiration Date' tie up musical and lyrical themes.


'...Utopia' sets the climactic scene, with a pell mell assault on the senses, laying a path for the melancholy closer.


Yes, Fear Factory, revel in the sci-fi terror environment, but many miss the allegory within much of the content: that is the struggle for identity in out technologically obsessed present. 'Expiration Date' hits that point in a harrowing, slowed down poem to what death means, and a spoken word close that contains the haunting metaphor that our memories, upon death, will disappear "like tears in the rain".


And, with that closing dirge of despair lies the missing links that so many overlook when it comes to Fear Factory. Yes, the sound never varies too much, but it is a musical expression of intelligence that reaches back through the history of extreme metal and looks forward to the evolution of 'industrial metal' and the evolution of a human existence caught up in the technological seeking of solutions where no problems exist. 42 anyone?


1 - Source BBC Focus Magazine - August 2015

Genexus is out now on Nuclear Blast
Fear Factory play Belfast's Limelight1 on December 11th - be there!

Review by Jonny