As the old adage goes; if it ain't broke, don't fix it...usually applied to the arts, be it a successful writer with a certain knack for language or, a director with a certain style, getting the best out of their acting team...and yes, of course, musicians and bands come into it too. For example, LESS THAN JAKE formed all the way back in 1992 in Gainesville, Florida and for over twenty years now they have peddled their brand of bouncy, brass-infused punk rock and rarely if ever strayed far from that path. On occasion artists can become stale without experimenting and evolving but sometimes, when you are renowned for something and do it so well, you become your own gimmick in a sense and you carry that shtick throughout your career. 2017 see's them release their brand new EP "Sound The Alarm"; their first for PURE NOISE RECORDS...can they still go far with the ska?

We open up with "Call To Arms" and after a brief bass-driven intro we quickly burst into the typically up-beat punk rock sound that LTJ have made their own. The chorus has more of a pop influence at heart and the key change towards the end of the song backs this up, this is very easy on the ears and starts the EP rather nicely. By contrast "Whatever The Weather" slows things right down and put's more emphasis on the use of trumpets and to some degree it sounds almost Caribbean-inspired. While still very much LTJ and easy on the ears, the change in tempo gives off a more mature approach to what they typically do.

"Welcome To My Life" proves this further with another slow-jam of a track that would easily appeal to fans of say, UB40 and in it's own way it has some of the innocent indie-pop charms and aspects of THE 1975 in it's delivery, but they haven't forgotten how to have fun, not at all, EP highlight "Bomb Drop" explodes with a flurry of punk rock with no less energy than these veterans had two decades ago, no doubt a great inclusion in future live sets, while first single and closing track "Things Change" ends things with more of their classic feisty ska-punk.

Whereas LTJ have put out a strong EP here, they are at that point in their career now where it's unlikely they'll break new ground. Fans will love this is without fail as it ticks all the usual boxes but at the same time it IS pretty much more of the same. There are some good tracks on offer here but if you aren't particularly impressed by ska-punk then this probably wont change your mind too much. Maybe you're more into rusty trombones...I dunno. [7]

When it comes to extreme music, the first thing that typically comes to mind is speed, aggression...how hard and loudly you can pummel the listener into submission, but that's not the be-all and end-all; let me introduce you to EMPTINESS. Formed in Brussels, Belgium back in 1998, this quartet of the dark arts (consisting of vocalist/bassist Jeremie Bezier, guitarist/synth programmer Olve Lamer, guitarist Peter Verwimp and drummer Jonas Sanders) take all that's bleak and horrifying, turning it into some of the most ambient yet haunting music you could imagine in alternative gothic music. Having recently signed to SEASON OF MIST, they've just dropped their new album "Not For Music"...let's find out why...

We get underway with "Meat Heart" and it's all seemingly very chilled, very peaceful with it's gentle synths, but the rumblings soon begin and Jeremie's hushed, husky vocal leads us with intrigue right towards the gates of hell, sounding somewhere between the likes of Carl McCoy of FIELDS OF THE NEPHILIM and Trevor Bamford of MIDNIGHT CONFIGURATION, with his whispered sand-paper laced growl, coupled with the despairing drone of the guitars, it really is the stuff of nightmares.

"It Might Be", again, might be very soft on first impression but it's not long before we have more of the same dreary tones engulfing the listener in a rising tide of hypnotic misery, and although while "Circle Girl" is still to a degree mellow, you can hear the black metal influence clear as night. At their most accessible, "Ever" musically at least channels the darkest electronic vibes of say KILLING JOKE and DEPECHE MODE and as the only track under five minutes, would make a great choice for a single, before "Let It Fall" closes the album with some up-tempo, frenetic progressive metal, acting as a crescendo to a collective body of music, as oppose to generically being just, the last song, giving the record a sense of closure.

Emptiness here, despite what their name suggests, flood your senses with sonic ephialtes; the soundscapes are vast and foreboding, often leaving the listener in a hellish trance, with the mere 7-track album sounding as though the nightmare never ends...but not in a boring way, for it's been produced well. If you like your alternative, gothic-tinged metal this bleak, give it a listen but ultimately, not for music? Not really for everyone in general... [4]

Italy; home of delicious pasta, the Mafia, Ferrari's and of course, one of the most devout catholic populations in Europe...so where better, to start a band with the sole intent of playing old school brutal death metal, with satanic lyrics? Well that's precisely what LECTERN thought when they formed in Rome back in 1999. Inspired by the likes of OBITUARY and DEICIDE in the Tampa Bay area, founding member Fabio Bava went through several musicians and line-up's trying to get Lectern off the ground, but it took some doing, as labels and promoters weren't overly keen on their chosen genre...it didn't dissuade him however, as they have recently released their latest album "Precept Of Delator". After nearly twenty years can Fabio & co breathe their brand of death new life? Let's find out...

We hit track one "Gergal Profaner" like a bull at a gate and without any warming up we're immediately immersed in wave after wave of thrash-inspired death metal, vocally it's unforgiving and brutal, channelling the influence of the likes of previously mentioned artists like Deicide, but utilises other elements, such as the somewhat SLAYER inspired solo mid-song, resulting in a truly heavy introduction. "Palpation Of Sacramentarian" continues with the guttural vocals but over the course of it's run time it dabbles in slight key and tempo changes, showcasing more progressive elements to their song-writing approach.

"Distil Shambles" benefits from a far quicker, more aggressive tempo for the most part, but also touches on some classic, old-school metal heritage with some heavy, chunky riffs and while "Fluent Bilocation" does the same, it chugs along in an almost mediocre manner at times, lyrically it's almost bullet-pointed and is probably one of the records weaker offerings, before the title-track and finally closing number "Discorporation With Feral" round off just over half an hours worth of hellish musical barbarity just like we started; relentlessly. Lectern may not be a household name in what is admittedly an already underground genre but after two decades they still preach their darkness with 110% and for that they are to be applauded. They may not be everyone's cup of tea but fuck it, some like black coffee. [5]

Bands operate in cycles, you know the drill; announcement > promotion > single > hype > album > tour > break > repeat...it's a pretty standard formula and let's be honest, it works! Every few years you find yourself thinking "So and so are due an album...". Some fans it has to be said wait longer than others; no one will forget the debacle that was THAT underwhelming GUNS 'N' ROSES travesty "Chinese Democracy" (seriously, that was the musical equivalent of the Gobbeldy Gooker at WWE's 1990 Survivor Series...by the time it happened all you could say was, why?) but luckily, most artists are pretty consistent. Cue AFI...Davey Havok and co hinted at activity with last years return of BLAQK AUDIO, so it's no surprise that a fire inside ignites once more for the first time since 2013's "Burials". Are they still burning brightly on "The Blood Album"? Let's get warmed up shall we...

We welcome them back as "Dark Snow" gets the album underway and it's a wonderfully paced, rich, bassy electronic number...the band have clearly retained the soft-goth core sound that they fully embraced for "Decemberunderground" and it's essentially a gentle reintroduction, Havok's vocal complimenting the melancholy of their music ever so sweetly and it's a nice start. "Still A Stranger" briefly starts with some jolly acoustic guitar but soon becomes trademark AFI; bold chorus, up-beat rhythm and momentum carrying a genuinely catchy piece of modern alt.-rock. Havok's vocal touches on aggressive towards to climax but a far cry from their punk-rock past, but it still adds texture.

Album highlight "Get Hurt" is a quaintly vexed little offering sounding not unlike something you'd get from R.E.M. for example but, obviously with the modern, emo twist that AFI have perfected over the last decade, while other highlights include the intense, angst-driven "Dumb Kids", here harking back to the aforementioned punk-rock origins with a short but sweet stab of adrenaline, and by contrast, "Feed From The Floor" channels subtle nods to THE CURE before closing track "The Wind That Carries Me Away" blends blues tones with dramatic, pop-hooks for a powerful climax.

At 14 tracks long however there a couple of weaker moments, "Above The Bridge" for example suffers from repetition and "She Speaks The Language" while tense for the most part is let down by a fairly flat, unimaginative chorus. Overall though, AFI have delivered a strong and consistent album here...it may not have any immediate hits that leap out at you that previous records have produced but from start to finish it's a good listen. You can water down a record for a fast buck and a cheap shot at the charts but as they've proven here, blood is thicker than water and collectively, the fire inside still burns on. [8]

"...We ALL know, that one of the main elements of attack...is the element of surprise! So, what could be more surprising, than the first battalion transvestite brigade?! The airborne wing, parachuting into dangerous areas with FANTASTIC make-up...and a fantastic gun...and the opposing forces going 'Fucking hell look at these guys...they've got guns! They've got guns! Jesus they've got guns!...I was so surprised, were you surprised? I was surprised'..."

I know what you're thinking, "Gav...what the fuck are you on about?"...well let me elaborate. In this excerpt from "Dressed To Kill" by EDDIE IZZARD, he perfectly sums up my overall reception of "Peace In Chaos", the brand new EP by Reading-based rockers THE FINAL CLAUSE OF TACITUS. It just rolls off the tongue doesn't it (-_-) Seeing a name like that, your first impression is maybe they are a prog-metal inspired outfit? Or something incredibly heavy and conceptual, given the figure of Tacitus, a notable historian and political philosopher in Roman history...but no...far from it. Let me explain...

We open up with some pretty straightforward guitar riff on "7 Years" and it sounds as though we'll be heading into some classic-inspired, old-school rock and roll territory, but the bass, courtesy of Flea, sorry, Andy, turns everything on it's head...this is some funked-up shit! Coupled with vocalist Matt's best Anthony Kiedis impression you could easily be forgiven for thinking this is some unearthed early-era RED HOT CHILI PEPPERS demo. The is a segment where the forced, shouted vocals literally make you wince with their blunt delivery and it tarnishes an otherwise decent track; an interesting start...

First single "Give Them Blood" initially slows things down considerably, taking a more serious tone and a slightly more aggressive chorus has shades of RAGE AGAINST THE MACHINE etched into it's core sound, though retaining the funk-driven elements, there is some interesting guitar experimentation but the repetitive chorus does fall flat quite quickly. "Snake Town" adds further influence from the likes of FAITH NO MORE and as a whole this record could of easily been released in the early to mid nineties, when rock was in the middle of a transitional period and finding it's feet again, combining various elements to reinvent itself and this track acts as a perfect throwback to that period, before we eventually finish up on title track of sorts "Hidden Patterns", further utilising all of the aforementioned styles. I guess in a way their name represents their musical mindset very well, as Tacitus (history lesson alert) was renowned for his questioning of establishment and not wholeheartedly agreeing with the principles of his emperors, voicing his opinions clearly and going against the grain so to speak. As a band, TFCOT have done this by not falling into any current trend or style. They've looked at the current scene in UK music and have made a bold statement by sounding completely different to the vast majority of bands emerging right now. Original? Far from it, but right now it's refreshing. If you are of that era, this might be your new favourite band! [6]

"Peace In Chaos" is released on February 24th
The single "Give Them Blood" is out January 27th

​"All of this began with a scrap of paper, which we've now come to call 'The Plan'"...and that is how ALTER EDEN were born. Yes, back in 2015 everything seemed like a good idea, that little scrap of paper full of scribbles was the blueprint to what eventually became the debut EP "Fearless"; showcasing the alt.rock / metal potential these lads from Stoke-On-Trent had within them...now, fast forward two years and the band (consisting of vocalist Nick Pilgrim, guitarist Alex Coleman, bassist Aled Roberts and drummer Simon Whitney) is back. Older and therefore wiser, they have put everything into their new record; creatively, practically and figuratively and the end result? The new EP "Tigers & Lambs"....Will they roar like tigers or like little lost lambs are they bleating their way through life? Let's find out...

We open up with the title track and there's already a sense of improved production quality second time around and it's not surprising, as it's been mastered by the guys behind BRING ME THE HORIZON and LED ZEPPELIN no less! The track itself is a multi-layered sonic offering, the urgency of the guitars in parts is full of emotion, the riffs adding weight while balancing a bass-driven roller-coaster of softer rock and off-kilter metal, giving this introduction character.

EP highlight "Colourless" kicks in immediately afterwards with it's frenetic desire to get the listener pumped up; the rhythm flows well and the gang-vocal lead chorus ensures great sing-along qualities, a great catchy track overall, while "Resent / Relent / Repent" touches on the bands influences such as LETLIVE. and DEFTONES, with a rough around the edges core sound, in places channelling the likes of Jimmy Page through production. The nods don't stop there either, as "Count Your Sins" and closing track "We've Had Enough" utilise the early post-rock emo days of REUBEN and THRICE for more melodic offerings, ending the EP pleasantly.

​The question was, are they the tigers, or are the lambs? Well frustratingly we find them somewhere in the middle...where as they have shown they have the calibre to improve, (its a strong step up from their debut in terms of sound) they aren't quite top predators yet in the food chain that is a thriving UK music scene, but, they are far from being lambs either as they've offered up some solid material here. It's worth noting that they have addressed these obstacles with this EP's title in a way, and it'll be interesting to see where they go from here, as they are on the right track. [5]

Every so often, every once in a while, it's refreshing for a band to emerge that ignores scenes and trends, that has no gimmicks and just delivers some straight up quality rock 'n' fucking metal...and in 2016, such a band did just that. Formed by vocalist Austin Dickinson out of the ashes of his former band RISE TO REMAIN, he ditched the metalcore, polished everything up and returned with AS LIONS. Completed by members Connor O'Keefe and Will Homer on guitar, bassist Steffan Whiting and drummer Dave Fee, they dropped one of the hottest  if not THE hottest EP of the year by the name of "Aftermath" and it showed signs of something truly special. Coupled with blistering sets at Camden Rocks and a huge support slot touring with SIXX: A.M. no less to round of the year, we eagerly anticipate their debut full length. Luckily the wait is not long...does January 2017 offer us an early contender for the album of the year?! Let's see if they deliver on "Selfish Age"...

We open up on familiar territory as "Aftermath" gets us going in style and, greeted like an old friend it sounds just as fresh as it did on the EP. Austin immediately showing his worth with some very clean and melodic yet, simultaneously powerful vocals, switching between the styles from verse to chorus. As proven on the live stage he is a great front-man and he's backed up with some quality hard rock here, the track flows effortlessly and it acts as a quality reminder. The rest of the EP is included too, making up around a third of the album, but lead single "White Flags" is still a truly phenomenal modern rock anthem in every sense of the word that still gives you goosebumps with every listen, and "World On Fire" showing a sense of tenderness many bands wished they could tap into and still sound so hench.

It's the new songs however that are the real test for the London-based 5-piece as everything we've heard before, we know is good, we just want to know if they can keep it up...and believe me they do. The title track is another example of slick, melodic rock mastery. Just like they've shown on the EP we're treated to an incredibly catchy chorus, the rhythm is solid while the balance between soft and angst-driven is perfect. "The Suffering" utilises some genuinely meaty riffs and pummelling drumming, with a more restrained, subdued chorus, flipping the formula without losing any edge, while "The Fall" is again, powerful and hypnotic, almost sensual hard rock, just close your eyes and you will fall...in love with this song...no...this band.

I have said it once before when I reviewed the single for NOIZZE and I'll say it again, Austin does his daddy proud here (yes, he is the son of IRON MAIDEN legend Bruce Dickinson) and really it's no surprise that his showmanship has rubbed off on young Austin. With a powerful, authoritative vocal and a band equally adept, collectively they can do nothing but succeed. "Selfish Age"? It would be selfish of me to not share As Lions with you...if you love great rock music with no frills, no bullshit...then these are the band for you. [9]

During the tail end of 2016, over the Christmas period, I was busy selecting my Top 10 Albums of the year, my Top 5 EP's, Worst 5 Albums...making my annual Spotify compilation, so I wasn't really doing much actual reviewing, however, I was still getting requests and one of them, came from a gentleman by the name of Lewis Wright. He is the vocalist for a Liverpool based band called MATCHSTICKMEN and, credit to him, he personally asked if I could give their new record a review. Entitled "From Our Own Ashes", here are my somewhat slightly delayed thoughts...

Firstly, I have to address with the clusterfuck of a press kit from HOLIER THAN THOU records...it starts off by stating that the band appear ready, willing and able to add another exciting chapter to their hometown's noble rock history...OK so you're following in the footsteps of THE BEATLES...no harm there, one of the biggest bands in the history of music...it also states they've shared stages with the likes of THE QUIREBOYS and ELECTRIC SIX, well respected touring bands...again, no harm there...experience is good...but then it turns around and goes "oh by the way, Iain? The bassist? Yeah he buggered off, oh, and we're changing our name soon to ATTIC THEORY, and oh, this new album is essentially our 4 best old songs after 12 years together plus some new stuff..." Also, according to this, the primary genre here is POP!? (0_0) If I may channel my inner AVGN; WHAT WERE THEY THINKING?! Honesty is good don't get me wrong but sell me the artist! Nevertheless...

We open up with "Wake Up Call" and Lewis' somewhat threatening introductory shout of "This is your wake up call!". For the most part there's a touch of HURT-inspired hard rock mixed with an ever so subtle southern groove and it's far from pop-driven, it chuggs along relatively generically however and, there's an awkward transition pre-chorus too that doesn't quite seem to flow. The guitar solo is pleasant mind you...before "Cheap Little Thrill" takes that southern rock, blues tone even further. It starts off well and it really nails the vibe and characteristics of the genre, but the chorus again...specifically Lewis here, he aims for some high notes that do neither him nor the song justice.

"Wrong Side Of 30" has an up-tempo sense of swagger to it and in ways you could say that this has elements of BUCKCHERRY, it's got more attitude and is one of the albums better cuts, guitarist Peter Donnelly really shining here being allowed to indulge, while by contrast "Different Paths", a far slower offering, despite being rich in harmony, it's sweetly saturnine, sounding like one of BON JOVI's saddest efforts, before album highlight "Hit By Chance" embraces a heavier approach to good effect while retaining the bands clear love for groove-rock. It's meatier and again, it's Donnelly who shines, before "Numb" ends things as we began, with more Hurt-esque hard rock. 

So, what can said about Matchstickmen? They certainly don't sound like a British rock band that's for sure, there's more Louisiana than Liverpool in these guys. I honestly do feel that, there are aspects of this album that will see them do a lot better stateside, than they could do on home soil, from a marketing standpoint at least, not that I'm telling them to piss off to another country by any means...not at all. With the name change coming and a potential complete refresh, I'll wait to see how they evolve as a band...as far as this album goes however, acting as a closing chapter for this stage of their  career, it's pretty run of the mill. Matchstickmen better come back in 3D. [5]

Being a Manchester United supporter I nearly didn't review this record on principle, but I was asked nicely by the lovely people over at AREASONICA to check out the new album by MAN CITY SIRENS. When I first saw the name I envisioned a painfully tone deaf choir clad in horrendous blue football kits but luckily, I was wrong. They are in fact an Australian throwback indie-rock 4-piece, situated in Melbourne and are promoting their latest album; "Avalanche Of Debutantes". Will it catch us off-guard and engulf us in its raw power? Newly signed to the Italian label, let's check it out...

We open up with "A Girl, A Picture, A Wall" and it starts off quite up-beat, with it's semi-acoustic guitar driven build up; it's generally very positive in tone, the harmonious backing vocals give the track a softness, while lead vocalist Walter Musolino in places takes on (no pun intended) a slight, Morten Harket of A-HA vibe, and while it's not a striking introduction it's cheerful none the less. "Will I Ever...Never" by stark contrast is a deeply melancholic song about lost love...the piano, coupled with the tortured, wailing guitars sound deeply sad, it's repetitive but deeply emotive, capturing the uncertainty of oneself post-heartbreak.

"Do, Do, Do It" returns to a quicker tempo, it's a little grittier with more focus on a rock-inspired core sound, musically finding itself meandering somewhere between THE SMITHS and NEW ORDER, while "Strawberry Fields", despite a clear reference to the bands admiration for THE BEATLES in name, isn't a cover which can't help but raise the question; what if they did cover "Strawberry Fields Forever"? Regardless, this is itself a decent track, should you allow it to get going, while "Life Coming Down On You Today" is a song of hope, positivity in the face of adversity, even going full-on Martin Luther King toward the end of the track with an impassioned paraphrased speech. The track is also remixed at the end of the album, and while it is some pleasant, throwback 90's dance, it would act better as a B-side, instead of rounding off the record.

Areasonica have a knack for finding artists with a lot of potential and they've done it again here with MCS; a very well balanced band equally adept in both lamenting and loving life in their song writing. The light nostalgic feel of the early UK indie scene and the softer pop elements make this album ultimately very amiable, if only the vibrant moments were that much bigger, that'd be bonzer mate! [5]

Virginia, USA...the Old Dominion, the Mother of Presidents...yes we head across the pond again today and we find ourselves in the city of Winchester. Famous for the late PATSY CLINE, a pioneer in country/pop crossover music...and...James "Clayster" Eubanks...a professional CALL OF DUTY player? Really? What???? That's a thing? I digress...aside from this, Winchester is also home to THE VOMITING DINOSAURS. No, it's not some twisted circus act, it is in fact the collective name of Ryan Auvil (guitar/vocals), Kyle Patch (bass) and Wyatt Vaught (drums)...a death metal inspired, thrashadelic (yes I had to make that word up) trio who are currently at home on GRIMOIRE RECORDS, who, as it happens, specialise in this sort of thing. They've just dropped their new 9-track mini album "Exoplanets"...fetch the mop...

We start with, or, should that be start on "Earth"...at 28 seconds long it stands as an intro of sorts, sounding like background noise on the USS Enterprise, as if to begin our journey into space...yes we're boldly going where we're not sure our ears should really go with this one but bare with me, the whole album is only 15mins long...and before we know it, we're "Circumbinary". Combining the frantic pace of early grass-roots thrash with vocals heavier than dark matter, we really are orbiting two mass musical entities, while "Ice Giant" at just 01:44 mins is a short and bloody brutal slab of punk-inspired death metal. One can't help but picture JACKASS member Brandon DiCamillo doing the vocals here in full-on GNARKILL mode, it's of that ilk, but it's not necessarily terrible.

Lead single "Waterworld" sadly doesn't have Kevin Costner on vocals in all his oceanic Mad Max splendour but again, at just 01:32 mins it serves as another sharp injection of more thrashy punk metal, finding itself somewhere between the likes of VENOM and KVELERTAK, until we find ourselves on "Lava Planet". This one is heavy, it's crushing and finds itself at the blackened, doomier end of their musical repatoire, in places having a subtle SATYRICON vibe instrumentally, before "Jupiter" ends things more like Uranus...full of shit. Taking this on face value you can see that, while despite being a concept album, it's not entirely an album that's meant to be taken seriously either. The guys can clearly play at this level, or at this musical depth I should say, this is some heavy music when it gets going, but it's also considerably light hearted. If you like your music noisy and have a free quarter of an our, give it a whirl, if not, you're probably better off avoiding this. [3]

Josh Franceschi will happily tell you that, it's been three long years since his band, YOU ME AT SIX released "Cavalier Youth"; a stunning album full of arena sized alt.pop indie rock anthems that really established the Surrey based five-piece as one of the UK's finest in a generation. The album shot straight to number 1 in the charts and it was rightfully deserved. Their finest work to date, it showed they had it in them to take that next step and become world beaters, teasing at an incredibly exciting future. Today is that future, three years later, and we find them releasing the much anticipated follow up; "Night People". Have they gone all Carpe Noctem, or is it way past their bed time? Let's find out...

We open up with the title-track and it's a slow, groove-laden, almost sultry number, it's a little bluesy with incorporated gang-vocals and with it's pretty uniform approach throughout it's really quite monotonous overall, it works as a warm up just fine but being the albums title track, it raises a few red flags...luckily however, "Plus One" bursts into life immediately afterward and this is more like it. At just over two and a half minutes it's almost a sucker punch; a short dose of more attitude filled rock 'n' roll bringing the album to life, and despite it's brief run-time it builds to an entertaining crescendo, leaving the listener wanting more, and they do get SOME..."Swear" is a simplistically bouncy alt.rock track, quite the foot tapper and a genuinely catchy chorus makes this another enjoyable listen, though not as intense as the aforementioned, before "Can't Hold Back", another album highlight, brings the funk by the bucket load. Here though we have an issue, as good as this is, it's as good as it gets...

"Heavy Soul" and especially "Take On The World" are far softer offerings and while this is in no way a negative (every album needs light and shade) they feel somewhat lacklustre. The latter sounds like it was made in a lab using COLDPLAY and ONE DIRECTION DNA...it's the Indominus Rex (in principle) of ballads...just, no. Likewise, "Spell It Out" and closing track "Give" offer nothing particularly special. Franceschi has a lovely vocal don't get me wrong, there's a sweetness to his voice and he is suited to a pop-fuelled croon, and musically the gentle tracks aren't unpleasant by any means, and there are moments of hope, but this could be so much more. "Night People"? More specifically, Sunday night, when there's nothing on TV, nowhere to go and nothing to to. Compared to "Cavalier..." this is a step back and YMAS have stuttered where they should have sung their hearts out. Disappointing. [5]

If I may quote the late Judy Garland from the classic "The Wizard Of Oz"...there's no place like home...and by that, on this occasion I'm referring to record labels. Just like the place you live, some artists just feel at home or a sense of belonging on certain labels where everything feels just right; where they have the freedom, ability and encourangement to do whats best in their own interests, as oppose to being forced to produce for the labels sake. This is apparently the case for Wisconsin death metal outfit MORTA SKULD, who find themselves returning to PEACEVILLE RECORDS for the first time in twenty years to release their brand new album; "Wounds Deeper Than Time". With a shuffled line-up and their creative juices flowing, let's see what's got them hurting...

We open up with "Breathe In The Black" and immediately we're greeted with slow and sinister riffage of the most menacing calibre. The double kick drums are sharp and overall, musically the track is a wicked blend of technical brutality and hellacious post thrash-metal. The cool-down period at the end of the cut is both welcoming and worrying at the same time, not knowing what the band have planned next but it works and it's allowed for an encouraging introduction.

"My Weakness" and "Against The Origin" continue the onslaught in ferocious fashion, perfectly blending the savagery of the genre with solid and consistant groove, in ways it could be said for death metal this is quite accessible and while purists may scoff at the idea, it allows the genre to reach new audiences. There are all the hallmarks of classic-era death but there are elements of more modern metal production values akin to the likes of say, CHIMAIRA in places, bringing together the two in one moment in time, likewise with album highlight "Scars Within"...a brilliantly paced and unforgiving piece of music; at it's slowest paying homage to early PARADISE LOST while at it's fastest simply shredding your face off, before we eventually finish up on "Becoming One Flesh". The longest track on offer, after more ear-bludgeoning metal it ends with another soothing closing arrangement that allows the listener a period of recovery time after over 40mins of growling and sonic fury.

After 20 years, Morta Skuld find themselves back on their original label with more drive, more hunger and according to vocalist and founding member David Gregor; the strongest lineup of their career...if anything proving time does indeed heal all wounds...it's a very well executed slab of death metal, back where it belongs; on Peaceville...as I said, there's no place like home. [7]