So this review was not on my schedule…it wasn’t submitted to me as a request, nor was it generally even on my radar. Quite frankly I had absolutely no idea who the fuck these were, however, a good friend of mine Rob De Boer lovingly forwarded them to me. I’ve known Rob a few years now through mutual friends and a mutual love of HIM, and all things Jackass related, and the last time I saw him properly was when we saw CKY at Manchester. Fun night…Matt Deis got lost in the venue he was playing, and I think there was a stabbing…good gig though.

I digress…Rob has recently started up his own podcast called SETTING THE TONE, where he takes a moment to go over his thoughts and opinions of various new singles from up and coming artists, and generally discuss relevant topics in the music industry; openly sharing his views and is worthy of your support. He was sent this EP to check out and do a piece on, and wanted to know what I thought of them myself.  Now I don’t know Rob’s final thoughts on the artist, we’re a little different in our approach…but those of you who are regular readers can probably guess where this is going…

The band in question, are FIGHT THE TORNADO and I immediately hope their influences include Matt Hardy 1.0. Consisting of members Jonny Young on vocals and multi-instrumentation, and Lindzi North on vocals and…sanity maintenance? Both of whom were former members of the symphonic metal band CURSE OF DAWN (Part of me wonders if they were fired…harsh you say? Patience you must have my young Padawan) though we find them gearing up for the release of their debut EP “Maelstrom Of Thought” on June 26th. With that tornado in mind, are they going to blow us away or simply just suck? Let’s find out…

The EP begins with “Mercurial Inventions” and truth be told, the intro is actually promising…it’s got a light, bubbly electronic aura and sounds like it’s about to delve into some nostalgic synth pop…but without the slightest hint of transition we’re thrust into a barrage of progressive nu metal riffage and it’s like, where the actual fuck did this come from? You know that meme with the dog sat in a room on fire, stating that this is fine? This is the soundtrack to that image. It’s so off-kilter and jarring you can’t help but wonder if this really was intentional, and that’s before we even get to the vocals. Fleeting between snarling and angelic, though neither of them hit the mark; it’s like, I would have PERSONALLY paid for the use of autotune for you to save myself the grief of hearing this.

We follow this with EP highlight “Comfort Zone” and yes I actually said highlight there…we start off in a similar fashion combining pulsing electronica with metallic riffs but here it’s all blended noticeably better, as in, it’s actually blended. Vocally then, I want to point out that the snarls in ways remind me of NEW PROJECT and the aggressive aspects of this work, but when we get to the cleaner, melodic vocals it’s an actual dumpster fire. The chorus manages to hold a note, an albeit incredibly flat and lifeless one, but that is an achievement, trust me. The same issues arise during “Sensory Deprivation” and the title is more than fitting as I would sooner be deprived of my own sense of hearing than deal with this. How bad can this unconventionally tuned singing be I hear you ask? Well…here are just SOME ways to categorise this; a mute yodeller with a sore throat,  a wok full of spoons falling down the up-escalator like some painfully cacophonous slinky, the shared harmony of two stray cats shagging in the back lane. Not convinced? How about Wes Scantlin covering NIRVANA?

Sadly my friends, we aren’t done…the title track is an instrumental that to its credit, delivers conceptually, I’ll give it that. It goes from progressive rock and metal riffs, including a decent solo with more subtle synth work…before we introduce PAN PIPES out of nowhere, only to be followed up with alternating death metal blast beats and ambient reggaeton. I honestly can’t say ‘what the ever loving fuck’, with the adequate level of conviction here…seriously that was like a non-invasive lobotomy. If that wasn’t enough, “Atlas” kicks in with some goddamn BTEC “Tubular Bells” and I’m like, nope. I’m done. I’m out. Fight The Tornado? I would sooner gamble my genitals in a Dyson V10 Cyclone…and I can guarantee my cries of pain would hold better notes.  [2]

The last time we caught up with DEMOCRATUS, the South Wales metal conglomerate (Consisting of vocalist Steve Jenkins, guitarists Joey Watkins and Rich Rees, bassist Stu Rake and drummer Zak Skane) had just released their 2018 debut EP “Starting Again”…and it was in all fairness rather apropos. Having formed out of the ashes of their previous collective bands such as COUNTERHOLD and CANNIBAL GOD, the five-piece really were starting again, and truth be told it did them the world of good, as 2018 saw them off to a frankly superb start.

Not only was the EP received well but they managed to bag themselves a slot at Bloodstock Festival courtesy of their coveted Metal To The Masses competition, cementing their status as one’s to watch on the unsigned metal scene (Aided by some determined self-promotion). With their profile rising and with the band finding themselves expanding their live audience venue by venue, it’s perfect timing for them to drop their 2nd EP “Damnation”, to really strike while the iron is hot. The band recently asked me to check it out ahead of its release this December, and I’ll be damned if I don’t!

The EP opens up with “Is This Fear” and immediately we’re swept up in this surging yet harmonious, grand cinematic instrumental intro; we’re literally seconds in and already we find the band’s sound has evolved as they experiment with their approach. It doesn’t take long however before the metal kicks in and once again you can hear a diverse array of influences in their style, ranging from classic melodic metal, to thrash to death-infused, polyrhythmic brutality. It yo-yo’s between the calm and almost carnivorous quite well and the song is well-balanced, kicking this EP off nicely.

Follow up track “BTK” however slows things RIGHT down and the transition is almost jarring. The subdued plucking of guitar strings and restrained percussion is almost creepy as it sets a foreboding tone, until the track comes to life with a more regimented style of death metal. The riffs are semi-sluggish as they chug along with a doom-like sensibility, while the vocal delivery is almost bullet pointed. A totally different approach to our opener but while not as entertaining, it does highlight that diversity in their influences all the more. The title track returns to a more traditional metal approach instrumentally, though retaining a distinct heaviness, while the bulk of the vocals stick to guttural growling, chorus aside (Especially that impressive note Steve hits at the tracks climax), and you can hear the bands admiration for the likes of AMON AMARTH and INSOMNIUM. Finally then, closing track “Dead Without Dying” rounds things up with another weighted, borderline somnolent display of riffs that’s sadly more than a little anti-climactic.

What’s clear is that the band are unafraid to try to concoct their own brand of melodic death metal, still dabbling in an array of genres, still finding room to experiment a little more. The trouble however in doing that is Democratus are still seemingly trying to find their identity. There ARE more signs here that they are in fact heading more down the route of heavier, death-inspired metal; this EP seems angrier in presentation and delivery, but they aren’t 100% there yet. As with their debut, the weakest aspects really are the cleaner vocals and to be fair they’ve restricted that aspect of their sound here, with less power metal vocalisation, and really that suits them a lot more. With the bands profile growing show by show, coupled with the bands passion and determination, Democratus are absolutely on the right path and making all the right steps, but this path is a long and winding one, and their journey has only just begun. [6]

What do you get, when you combine a love of classical prog-rock, centuries old medieval mythology and a generous portion of haggis, neeps and tatties? Aside from one incredibly psychedelic episode of Ready Steady Cook, it stereotypically brings us to today’s band; let me introduce you to CULANN. The unsigned five-piece (Consisting of vocalist/guitarist PJ Kelly, drummer Sean Kelly, guitarist Greg Irish, bassist Calum Davies plus Ross McCluskie on the keys) formed in Irvine, Scotland several years ago and made quite the initial impact on the Scottish rock scene! With praise from several regional radio stations following their 2012 self-titled debut, they found themselves winning the ‘Best Rock’ category at the 2013 SAMA’s (Scottish Alternative Music Awards) and have been growing ever since. Appropriately named after an ancient Celtic/Gaelic smithy, it’s fitting that they’ve already forged their anticipated follow-up album “The Great Ecumene”…and the lads have asked me to give it a listen! So let’s crack open the Irn-Bru and check it out!

The album opens up with “Evonium” and once again the band highlights their appreciation and interest in history, stories of old and Celtic heritage, as the word is the name of a purported ancient city, which is said to have stood where Irvine is now. The track itself is initially really quite jovial and up-beat, combining light riffs, subtle poly-rhythms and a bright, bubbly piano lead, while vocally PJ harbours a clean, emotive indie-rock tone. The swift key-changes and solo flurry emphasise the bands love of prog however, and it all combines to create one genuinely interesting track. “Event Without Experience” follows up and while continuing with the up-tempo approach they’ve opted for a more guitar-driven track here; it’s sounding that much grittier and ever so slightly more chaotic, though it’s not heavy.

The first real album highlight however comes courtesy of “Brewing Of Ale” (Of course I like the track that in some way shape or form involves alcohol)…starting life as a sweet little acoustic number it soon evolves into a fully-fledged folk-rock ballad, and although still housing those prog-elements it’s the folk qualities that shine through, especially with the prominence of the Scottish accent here; it’s delivered wonderfully. “All Reverie” continues the feel-good factor with a more simplified, melodic pop-rock number and it’s just an enjoyable, easy-listening effort, which can also be said for “Aegis”. Generally more of the same; but ever so slightly more pop-punk in tone, giving it that ever so subtle edge…it’s another stand-out track.

There are some solid funk-elements incorporated into “Man Alive” adding extra flavour to their fundamentally prog-approach but that, along with the solo and the seven minute plus run time, means this one does come across as a little indulgent in places. The title track practically echoes its own name; essentially describing the entire known inhabited land mass, meaning Ecumene sadly seems to go on forever, sounding mostly sluggish throughout, before we eventually finish up doing a bit of shopping back in Cardiff. I jest; “Queen Street” closes proceedings with another folk-inspired acoustic-led ballad…quaint but anti-climactic. Overall mind you, it’s easy to see why Culann hit the ground running following their formation; with a knack for a clean melody, lyrical storytelling and well-executed instrumentation, it certainly seems unjust that they’re still currently unsigned.  Prog-rock IS more of an acquired taste, just like the aforementioned haggis, but it’s certainly worth a try…[6]

Lansing, Michigan; the very heart of Michigan State and a pivotal player in the US educational sector, housing a plethora of universities, law schools, medical schools and more…but what are they like with metal? That’s where today’s band comes in…let me introduce you to HEARTSICK. Having formed nearly 20 years ago, through a love of progressive metalcore and amidst the NWOAHM boom, the four-piece (Consisting of vocalist Alfonso Civile, guitarist Jerred Pruneau, bassist Waylon Fox and drummer Justin Robinson) have over time built a strong following stateside with their intense, unforgiving live shows, supporting big-hitters such as FEAR FACTORY and HATEBREED. As they unleash their newest album “Sleep Cycles”, we have to ask, can the lads from Lansing school US on the metal? Let’s find out…

The album opens up like Corey Graves’ wife with a track called “Affair” and it’s not long before we’re met with Alfonso’s visceral snarls, curling themselves around some deep riffs; the metalcore style prominent, as it switches up between subtle gang-vocal melody for the chorus and being instrumentally itching for the imminent breakdown. It ends abruptly but generally it’s a fairly standard though enjoyable metal track; a decent start. “Hate Anthem” keeps up the momentum with its primarily more thrash metal inspired sound; the tempo and intensity are all turned up a notch and in ways this harks back to early SLIPKNOT in its delivery; a proper head banger of a track this.

Given the quartets admiration for metalcore however it’s not always a swift smack in the mush as they are more than capable of incorporating ample melody within their instrumentation, especially on the latter half of the album. “Slave Labor” in particular with its hushed atmospherics, whispered vocal delivery and soaring, emotive chorus, almost combining anthemic indie rock with chilling metal aesthetics; it’s quite hypnotic. “Her Heart” is another and again, with the soaring clean vocals it adds diversity to their audible assault, while single “Love Letter” embraces a more sombre, chilled out post-rock approach, appealing to your inner emo with their own take on a heartfelt rock ballad; a genuinely touching track.

​Ultimately “Sleep Cycles” is a fitting title as one minute it’s crushing and aggressively vibrant; wide awake and alert, but they know how to reel it back and soothe you too without managing to make you dose of completely, and they’ve balanced this out really well over the course of the thirteen tracks. Currently unsigned but, it’s hard to see why quite frankly (Unless it’s by choice of course), Heartsick know how to make you feel the feels and this is a solid record all in all…[7]

Despite the gimmicky premise of this blog, I sadly don’t cover a great deal of Gothic artists within these pages. The odd black gem, or, lump of coal if you prefer, will pop up, like A PALE HORSE NAMED DEATH earlier this year for instance, but Goth bands that I DO come across, new ones at least, are few and far between. Luckily however, as it happens, while covering a compilation piece for DEWAR PR just recently, I stumbled across today’s band; let me introduce you to HER DESPAIR.

The five-piece (Consisting of vocalist J, guitarists Dan and Jord, bassist Vikki and drummer Lee) hail from Berkshire, and have been building a name for themselves on the UK alt. rock circuit since their 2015 debut album “Hymns For The Hopeless”. With their penchant for mixing modern melancholia with traditional post-punk aesthetics they’ve quickly grown an impressive underground following. Just last year they released the much anticipated follow up to their debut; a new EP by the brilliant name of “Mournography”…let’s see if we get a kick out of this cadaver…

The EP opens up with “Blaspheme With Me” and right away we’re greeted with a blend of melodic guitar and surging yet sensual riffage…vocally J has a depth to his drawl but it doesn’t go as far as complete baritone like other Gothic rock and metal artists. The two aspects combine well and in ways it can be said it combines the likes of ENTWINE and THE CRUXSHADOWS… a lengthy opener at five minutes but it’s still a great start. “Valentine’s Mourning” continues along the same vein but is a touch more up-tempo and has more of a pop aesthetic with its hooks and overall rhythm. Lyrically steeped in sadness and loss but musically it’s such an uplifting track, a typical yet welcome oxymoron, really fun track this.

We slow things down next for “Within Tragedy” and it takes on a far more elegant tone; the sweeping orchestral elements of the synths really set the mood here while the rock aspects of the track chug along casually, giving it weight and carrying the track forward. If you are all about the slow burn and the melancholy then look no further than closing track “In The Arms Of A Sadist”…at seven minutes plus it embraces a clear doom influence from the likes of MY DYING BRIDE and simply oozes despair, which is very fitting given their name it has to be said, though it’s countered by the previous track “Damnation Tonight” which incorporates more harmonious keys and more groove-heavy goth ‘n’ roll, balancing out the EP perfectly.

Essentially what Her Despair do here is bridge eras in Gothic music; sounding crisp and fresh with their song writing and production, while also channeling the original bleak charm and quality of the likes of Goth godfathers  SISTERS OF MERCY and BAUHAUS. This, alongside their debut confirm that they are one of the brightest (Or should that be darkest?) rising talents on the Goth scene. If you’ve been wanting some quality Goth, stock up on the Kleenex because you’ll be getting off to “Mournography”. [8]

As February 8th 2019 was officially Dydd Miwsig Cymru, or, Welsh Language Music Day for those of you requiring English...I thought that I'd go local for this next installment of My Wreckord Collection. Today we catch up with one Mr Zac Mather, drummer of Pontypridd-based alternative rockers CHROMA. The currently unsigned trio have been making a name for themselves in and around Wales' live music scene since their debut self-titled EP, and continue to come on leaps and bounds through their work with Horizons, even garnering accolades at the Cardiff Music Awards. Here, Zac gives us a quick run down of five albums that helped shaped him as a person and a musician today....

​The music industry is an ever evolving beast…sure there are noticeable changes that we can all see, such as the progression from vinyl, to cassette, to laserdisc and CD and then back to vinyl like some sort of, musical ‘Rock / Paper / Scissors’…but there are changes behind the scenes too that the average consumer may not see or not be so aware of. Record labels are changing the way they operate and ultimately handle bands; streaming became a massive thing (Dividing opinions in the process) fan-direct services sprouted such as Go Fund Me and Pledge campaigns…and essentially it’s becoming easier for people to not only access music, but create and share music too. The question is though, with all this ease of access for bands to work more and more independently, where does that leave the industry middle-men? Philip Marsden asks; are booking agents being replaced by robots?
 
“From switching on your heating, to self-service checkouts, more and more day-to-day jobs are being replaced or at least aided by technology. With Sound Finder’s latest feature, a virtual booking agent tool, is this the latest role to be superseded by tech? GLOBAL SOUND GROUP founded the peer-to-peer website, SOUND FINDER, in late 2018, with an aim to put musicians directly in touch with professional music and sound services around the world. Musicians can contact providers (Including sound engineers, graphic designers, video editors, songwriters and more!) directly and purchase their services for their latest projects without leaving the site.
 
The latest feature to be added to the site is the ground breaking virtual booking agent. This new tool will put musicians in direct contact with over 20,000 venues and promoters from all corners of the globe, allowing them to submit their music directly for consideration. This saves artists from having to compile lists of local venues and send out hundreds of emails in hope of landing gigs. It also cuts out the middleman (and fees) for independent artists who are using a booking agent to secure their next gig.  Of course, the service could also be used by booking agents themselves as a one-stop shop for all of the connections they need!”

While for any up-and-coming band, artist, or whichever position you find yourself in, an easier option is often the most appealing option. If you can potentially save time, money and resources then of course you’re going to check something out, especially if the service directly affects you and your finances, but the other question has to be, are these services reputable? Essentially acting as the music industries answer to LINKEDIN, it could prove to be incredibly resourceful, but will it have any knock-on effects regarding small PR companies and booking agencies? Only time will tell…for more information, follow the link below and check out Sound Finder for yourself!

 CELTIC MOSH is a long-running alternative metal promotion run by Merthyr Tydfil based booking agent Scott Meredith, and over the past couple of years he's put on some absolutely blistering live metal shows promoting the South Wales metal scene. What started out in Merthyr's local Celtic Bar as a monthly club / gig night slowly spread across South Wales, moving up into Merthyr's bigger venues like The Redhouse town hall, eventually setting up in other venues such as the EVI in Ebbw Vale and even FUEL Rock Bar, Cardiff's premier rock club.

Saturday November 24th see's the Celtic Mosh crew set up at the Green Rooms in Treforest for their annual festival celebrating underground UK metal, and they've got a tasty line-up confirmed! Headlining the all-dayer are Manchester's most promising prog-metal outfit COLLIBUS, who have not only experienced playing Europe's Big 4 metal festivals (WACKEN, BLOODSTOCK, GRASSPOP and DOWNLOAD) but they can also lay claim to being the first ever metal band to have played the House Of Commons! With Their newest album "Trusting The Illusion" having dropped earlier this year they'll certainly bring a little manc madness to the mosh!

The main support slot for the festival this year goes to URSUS...the Swindon based boys maybe new kids on the block only having fully formed in 2017 but their blistering blend of metalcore and nu-metal is proving effective as they've been making both a name for themselves and all the right noises, earning them this support slot. Check them out and their brand new singles "Self-Affliction" and "Purity" on the day!

Joining them are an array of Wales' finest underground / local-scene alternative metal outfits including Celtic Mosh regulars EPIC FAIL, Port Talbot's own I AM GRAVITY and Cardiff up-and-comers UPON THE DYING who will be promoting their newest album "Delusions". You'll also get to witness scorching set's from the likes of VOID CALLER and GOOD MORNING VIETNAM. Doors open at 12pm and the music kicks off at 1pm, with ticket prices set at £12 OTD. Tickets are also available to order via See Tickets for £10 advance. Order your tickets via the link below and we'll see you in the pit \m/

Local music scenes; you know, grassroots level…all bands start here as it’s where you hone your craft, you learn, you play to 5 people in a little bar, you make mistakes and you gain experience…it’s a long and difficult road for many. Some bands strike it lucky and get a break, some fizzle out…but the good thing about music at this level is that in a way it’s like Lego. Nothing is truly established at this level so often you’ll see mergers with bands, members swapping around like some sort of musical swingers club until the little pieces click together in the right place for whatever it is you’re trying to make…and this is what happened with today’s band. Let me introduce you to DEMOCRATUS. The Cwmbran based outfit (Consisting of vocalist Steve Jenkins, guitarists Kerrin Beckwith and Joey Watkins, bassist Stu Rake and drummer Zak Skane) comprise of former members of COUNTERHOLD, CANNIBAL GOD and ALIVE IN SALEM and together they’ve recently dropped their debut EP appropriately titled “Starting Again”…being a democrat myself it’s only fair I give them a chance…

The EP opens up with the title track and immediately we’re met with a classic metal vibe within the guitar licks, the riffs and overall vocal tone…structurally the track takes influence from several genres to create an honest, heavy onslaught of down to business metal…there are thrash elements, there are touches of black metal, subtle nods to power metal in the clean vocals but the bulk of the track has its roots in melodic death and it works really very well…truth be told the clean power vocals are probably the weakest part of this, they lack an assertiveness felt within the rest of the track but it’s a strong start nevertheless.  EP highlight “Life For A Life” follows up and it’s a politically charged battle cry about the gulf in living standards and social equality, aimed at our current wealthy Conservative clique...it’s got some decent riffs and chord progression and the solo is a lovely touch too, and it all combines to create a very powerful and more importantly relevant track.

“The Furious Horde” returns to a more thrash influenced sound, it’s raw, fast paced and hard with some shredding guitar and a slightly fuzzy overall tone, imagine a sound somewhere between SLAYER and GWAR musically, before “Endless Prophecy” again then takes it up a notch and implements more of their death metal influences in a short, sharp two-minute barrage a la DEATH and finally then, the closing track “Deity”. Probably the weakest track of the EP, it struggles to properly get going and despite some crunching riffs here and there the track itself is pretty sluggish overall, dragging itself across the finish line in the end and ending the EP pretty abruptly with a sense of “Oh?”…although to its credit it’s a nice little atheist anthem, there’s not enough of them if you ask me. Ultimately the EP is a decent one and by starting again per se they’ve allowed themselves the time as musicians to regroup. A change in direction from some of their past efforts elsewhere but the fresh start has done them good, there’s some solid metal on offer here and some heartfelt song-writing…if you like it heavy, then do the right thing…vote for Democratus; metal for the many, not the few. [6]

There’s an old saying; if at first you don’t succeed…you’re not Chuck Norris…but, all jokes aside, the idea is that if you want to become good at something or, achieve something, you’re going to need to practice. There are steps to take and it doesn’t matter who or where you are in the world, everyone starts at the bottom. For bands this can be incredibly testing; some get a lucky break with a hit single or grab the right attention through consistent local gigs (word of mouth is still a powerful thing!), some take years to get recognised and some just fizzle out before ever getting noticed, because this way of life is so competitive and demanding, not everyone can do it. If you’ve got the passion and the desire however, time is merely an obstacle…and BLIND DIVIDE make this point brilliantly. The heavy metal outfit (consisting of vocalist James Birkett, guitarists Adam Duffield and James Ponsford, bassist Dellan McCabe and drummer Anthony Ellis) formed in Cardiff back in 2007 and, over the past ten years, they’ve been in and out of the local scene, releasing low-fi home demos and generally finding their feet, finding where they belong in the world and finally, now in 2017, we find them releasing their official debut self-titled EP. Shall we follow blindly or shall opinions be divided? Let’s find out…

We open up with “Heaven’s Gallows” and good god they don’t waste any time whatsoever! We’re greeted with pummeling ferocity within nanoseconds! The riffs and percussion are intense and unrelenting, while James’ vocals are nothing short of brutal…the sheer unforgiving onslaught showing the band are done with waiting, this is a statement of intent, this is Blind Divide and you will pay attention…a blistering start this. The same too can be said for “Scourge Of Humanity”; the sinister tone of the guitar work coupled with certain thrash-metal elements entwined within the texture of the track allowing for a rich listening experience, the influence of bands such as LAMB OF GOD can be heard here too, providing a solid groove, which can also be said for EP highlight “Pathfinder”…its very “The Sacrament” era and despite it’s obvious heaviness there’s more melody and an overall smoothness to proceedings here; it’s very well balanced but loses absolutely nothing in terms of its lack of forgiveness.

If there are any faults here at all however, it would have to be “Source” and even then they’re minor…with a track under three minutes long, you’d expect them to really hammer home the aggression and take no prisoners with a really intense thrash-inspired piece, something pacey; something hungry…but instead the track feels longer than its run time. There are stripped down segments that make the track feel drawn out unnecessarily and it loses some of its bite as a result. However, in the grand scheme of things, Blind Divide have finally delivered and this can easily make a huge impact on the Welsh underground metal scene…with the likes of CHAOS TRIGGER growing and growing and events such as Eradication and Celtic Mosh both highlighting and championing artists such as this then going forward, they have all the promise in the world to make a name for themselves…uninitiated? Allow the blind to lead the blind…[7]

Tequila, vegetables and…glitter? No, this isn’t one of those random-ass lists from Keenan & Kel, this is actually (or apparently, I should say) a winning formula for PRETTY LITTLE ENEMY. The self-proclaimed “Metal ABBA” (I wish I was joking when I typed that, I really do) formed in Somerset back in 2015 and are looking to steadily grow and gain momentum with their blend of riff-heavy pop-rock. Consisting of vocalist Louise Body, guitarist Georgia Bell, bassist Jason Coles and drummer Ben Dean, the four-piece (who have already shared stages with the likes of THE LOUNGE KITTENS and CRAZYTOWN) are looking to follow up last years “Bitch Please!” with their brand new EP “Second Load”, scheduled for release on September 15th…let’s take a second to check it out…

We open up with lead single “Get A Grip” and right away we’re met with some meaty, hard-rock riffs and generic crunchy guitars; there’s nothing overly complicated here, pretty straightforward to be honest but it’s got some weight, before Louise kicks in with her impassioned vocals…and it’s a rather annoyingly 50/50 offering. While there are glimmers of promise as she proves she can both hold and hit some pleasant notes, while most importantly showing emotion in her delivery, sometimes she comes across as just a tad rough and shouty…and sadly, the song descends into a poor case of repetition, becoming rather methodical and plodding as it drags along, struggling to retain real interest as lines are repeated. Second single “Collide” is substantially better it has to be said…continuing with a core hard-rock sound but with a lot more enjoyable melody; it flows a lot easier with a far more appealing rhythm…it’s got it’s pop elements with certain catchy hooks, key changes, layers of subtle acoustics and it works well, but…that breakdown? Really…that breakdown…it benefits nothing. It really does feel dragged out; an unnecessary pause, no diversity, it feels like mid-song filler and ultimately spoils the track…a track which really didn’t need an attempt at a heavy breakdown, we get enough of that in metalcore, don’t go jumping on the bandwagon guys and gals…

​“Play By The Rules” utilises a start/stop approach for the most part, with the guitar work breaking intermittently for Louise’s vocals, which again, do hit some encouraging notes and she can carry a song well, there’s enough depth there, enough diversity through here to break the song up nicely, whether she’s releasing pent up frustration or hitting powerful notes, or even with her hushed segments, she’s the main focus however musically it’s really rather generic…and the, solo? Is it a solo? It’s one of two things…they forgot to cut it from the master tape or Georgia fucking panicked during recording because honestly, they can’t be happy with that? Listen to it…you tell me, before finally we finish on “It’s All Just A Show” and honestly they’ve saved the best until last. It’s got that extra swagger, that extra dash of attitude within the pop-hooks and melodic qualities; this here is the foot tapper you’ve been waiting for, there’s another breakdown but a little more lively than the previous one so, there’s improvement there, it has to be said. Ultimately PLE have a solid template and some steady foundations to go forward from here in the near future…they’ve got a capable vocalist in Louise and musically their aim is fine but right now they are just short of the mark, a little polishing is all they need and maybe tone down the riffs and the breakdowns…as daft as it sounds, you call yourselves the metal ABBA, I’m sorry I just want to hear more ABBA! Use that inspiration! One of the most iconic pop groups of all time, embrace that, don’t shy away from it, I’d pick a smooth melody with a great hook over a generic breakdown any day of the week…there’s promise here, but they’re not up there with THE DIRTY YOUTH and SKARLETT RIOT yet. [4]

​"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]

If you’re a supporter of your local scene, it’s always heart-warming to see with your own eyes,  a band develop over time, and back in June, I wrote a piece on a young band by the name of GLASS GIANTS. Having steadily risen in popularity as a reliable live band, as proven by a recent sell-out show at the iconic CLWB IFOR BACH, the Welsh quintet are back with their 2nd EP; “Cocktails & Bikinis”. Aided by the trusty hands of producer Romesh Dodangoda, how far have these Welsh lads come?

Opening track and lead single “D.A.N.C.E.” see’s the boys continue down the path of fun, light hearted pop-rock which they’ve undoubtedly mastered. It’s easy on the ears, catchy and simplistic, drawing you into the EP with its mildly hypnotic tones.  “Seeing Is Believing” and “Once Bitten, Twice Shy” keep things running along smoothly; the production is slick allowing you to take everything in with crystal clear quality. Ross Dixon’s vocals are powerful and melodic whilst also managing not to drown anything out, given the almost laid back, somewhat gentle style of indie inspired rock the band plays.

“Dirty Knees” despite being an EP highlight, an undeniably enjoyable track, with a great chorus, for some reason, seems to come across as just a little bit, too...innocent? A song such as this, about cheap women and such…you’d expect from STEEL PANTHER, and done with no remorse for that matter too…the track’s been done well but it’s all a bit polite if you ask me, before we finish up on “Love.Live.Laugh”. It starts off with some nice solid guitar work, before plodding along with more of the expected clean vocals and radio friendly rock.

Whilst Glass Giants have earned a name for themselves as live performers, and are clearly good song writers, there hasn’t been a great deal of progression since their ironically titled first EP; “Define Progress”. The sound is still great, it’s enjoyable, but, ultimately, it is essentially more of the same, if not just more polished. Once the cocktails have run out and the bikinis are off, there’s only so much you’ll have before you eventually want to go home. A short burst of fun this one. [6]

Facebook: https://www.facebook.com/GlassGiants

iTunes: https://itunes.apple.com/gb/album/cocktails-bikinis-ep/id897196227

Having only been together little over a year, Cardiff based post-hard core pop-punk 5-piece, LED BY LIONS, aim to tackle the current music scene head on, by jumping in at the deep end with the debut EP; “A Long Time Coming”. Inspired by the likes of FUNERAL FOR A FRIEND and NEW FOUND GLORY, they've delivered us five original tracks…let’s see if they were worth the wait…

For starters, naming your opening track “So What Do We Do Now?” isn't particularly encouraging…have they taken on too much too soon? Apparently not, bluff very well called indeed. It’s an instrumental intro but the infectious guitar playing draws you in once it’s allowed to build up over its brief length, before first track proper, “Just Close Your Eyes And Think Of MacGyver” kicks in with some hefty vocals. It’s in your face, tearing stuff…that is until lead vocalist Scott settles things down with some simple melodic singing. As a whole it’s an enjoyable song with some nice harmonies, good start.

“Song For A Hero” and “Fall Of A Giant” both utilise strong pop-infused melodies in the form of their catchy, up-beat guitar driven punk, especially the latter, probably the stand-out track of the EP. The inclusion of some brief breakdowns and some more of the heavy vocals ensure things don’t get completely lost within a soft, pop-rock niche, giving the tracks an ample amount of bite, before we finish up on “So Far Away”. The chorus here alone is worth owning the EP for, definitely one that’ll get stuck in your head and is assured to incite great reactions at live shows.

For a first foray into original recording, so early on for a new band, Led By Lions have certainly not disappointed or let anyone down. For anyone thinking this was instead going to be a wild goose chase in the quest for promised quality, they’d be wrong. This is certainly a capable band, with so much ahead of them; let’s just hope they’re not led astray. [6]


The EP, "A Long Time Coming" is available on iTunes: https://itunes.apple.com/gb/album/a-long-time-coming-ep/id905316545

Formed in Nottingham in 2012, ENORMITY FALLS are, despite their lack of experience in years, one of the most promising alternative heavy metal acts to emerge from the UK unsigned scene. Influenced by well-respected heavy hitters such as TRIVIUM and KILLSWITCH ENGAGE, and with an interestingly set up tri-vocal onslaught, EF are looking to make a name for themselves outside of their local live scene where already they are garnering praise. With their début EP; “Voices” they aim to do just that…but should be listen?

The initial answer is yes, with regards to opening track “See The Noise”. It’s a brilliantly melodic guitar driven intro and draws you in immediately, the recording is great quality, thanks to work at Philbraham Audio Studios, and it’s actually really catchy metal. Having three vocalists adds a certain dynamic to the band too, with the different ranges and levels of ferocity giving the song extra depth, with the heaviest vocals being in control here.

“Legacy” is another slab of finely played melodic riffery, no more, no less, before EP highlight “Z Is For Xenomorph” gets down and dirty, focussing more on the rough vocals. The Trivium influence of Matt Heafy is clear as day for the most part mid-verse and it’s a great piece of metal, before we finish up on “This Is All I Have”. It’s got a slow intro but picks up over the course of the track; we’d be fools to assume we’d end on a dull note…well done indeed.

For a two year old unsigned band, writing and recording music of this quality shows natural talent and clear passion for what they do; there are no half measures here. Having three lead vocalists is an interesting aspect when you consider how they must perform on the live stage. As a band they must be tight which is even more promising as it’s on stage where this kind of music counts. The songs on this EP must sound incredible live, and as the band grows I genuinely hope to hear more and more people from outside of their Nottingham scene talking about them. [7]


The EP "Voices" is available on iTunes: https://itunes.apple.com/gb/album/voices-ep/id895062658 

Enormity Falls on Facebook: https://www.facebook.com/EnormityFalls

Classic rock or metal aren't just genres, like pop-punk or nu-metal, it’s called classic for a reason, the songs and artists have stood the test of time, foundations were laid, benchmarks were set and legends were born. Even now in 2014, you will see bands forming around the world that cite their influences as say, METALLICA or IRON MAIDEN, for example, hoping to emulate their heroes or, “defend the faith” as popular monthly metal magazine METAL HAMMER would say…and one of these such bands comes from Dorset, England. That band is called ETERNAL ENDEAVOUR and they’re about to drop their début EP; “Out Of Ashes”.

The 4-track EP kicks off with “Fallen Angel” and straight away we’re greeted by the galloping bass-driven influence of Iron Maiden, there’s some decent riff-work on offer here from the fresh faced metallers, and given that it’s all been recorded in drummer Chris Ewan’s home studio, it’s quite respectable, however for an opening track, it does go on a bit.

The title track starts off relatively hushed, a well worked build up, leading on to some slick guitar work, there’s a great vibe about the track as a whole, musically, with that classic style they aimed for easily recognisable, flowing through your speakers, while “Give It All” is a relatively slow burner and plods along harmlessly, before we finish up on “Road To Nowhere”. This sounds like we’re going to end up on a high note. There’s a sense of intensity and hunger, and it’s one of the more traditionally heavy sounding tracks on offer here with this EP, a solid ending.

Musically, or to the point instrumentally, the EP is a decent effort, you can hear the influence, the style is clear, the tracks are well played, but, when you think of all the big classic rock and metal bands, what stands out? Vocalists...name them; Bruce Dickinson, Rob Halford, Dio…all of them in a league of their own, each of them making their band THAT much better. Sadly, for Eternal Endeavour, Jon Belfield is not of that calibre…and while he gives it his all, credit to him, you can hear in places his voice just isn't powerful enough for this kind of music, based on these recordings at least anyway. For now though, I say give benefit of the doubt, allow them time to grow, maybe record with an established producer, and see where they can take it. The key word here is endeavour, after all. [5]


Eternal Endeavour on Facebook: https://www.facebook.com/EternalEndeavour 
Eternal Endeavour on Twitter: https://twitter.com/EEndeavour

Tonteg, a quiet little village in south Wales, not far from Pontypridd, nothing particularly spectacular…nobody of any notable fame has ever come from this neck of the woods, so why am I rambling on about it? GLASS GIANTS…that’s why. This fresh unsigned 5-piece maybe merely starting off on their journey as a band, but with enough charisma to win over just about anyone, and not to mention having a support slot for McBUSTED already under their belts, Tonteg may very well be the next hotbed of a seemingly endless abundance of Welsh talent. With their début EP entitled “Define Progress”; let’s see how they do just that…

Opening up with “Pilgrim”, we’re greeted with a catchy blend of light rock and bouncy pop melody. At its liveliest it’s a really energetic foot tapper of a song, simple chorus and simply a joy to listen to, but at its most tender it’s a thing of beauty. Ross Dixon with an impressive set of vocals; the charming young lad that he is… “Runaway” focusses more so on the rockier side of things; it’s a far more guitar driven number with a more assertive tone to it. In places it’s got an ever so slight resemblance to fellow Welsh rockers 4th STREET TRAFFIC in its big, bold production allowing for a huge positive sounding song, a flurry of noise and an emotional climax, it’s an EP highlight.

“Phoenix” returns to the happy-go-lucky style of the EP’s opener, at its peak leaning more towards a fun pop-punk style, another top tune, before we finish up on “Young And Free”. It doesn't stray far from the path and gives the listener another dose of simple but more importantly, enjoyable pop inspired indie rock, rounding things off nicely. Glass Giants haven’t defined progress purely for themselves here, what they have done is inadvertently spoken on behalf of the whole south Wales music scene. With more and more bands getting inspired to pick up instruments and write music, more and more bands have to up their game to get anywhere in life, and progress as musicians in an already flooded industry. Glass Giants haven’t cared about sounding a particular way to fit in, or used breakdowns because their popular, or this, or that, they've just written quality songs and play them well, that’s all you need to stand out sometimes. Expect to hear these boys on the radio sooner rather than later. [7]


The EP "Define Progress" is available now on iTunes: https://itunes.apple.com/gb/album/define-progress-ep/id720956895

“With a vivid range of both influences and sound, A WORLD DEFINED offer originality in what is an otherwise heavily diluted scene”; an arrogant statement some would say, but this ambient, alternative rock 5-piece from Derby are full of self-assurance and exude complete confidence and pride in their craft. Having recently released a brand new EP; “In Absence”, does it define the originality stated, or is the very originality they claim altogether absent?

Kicking off with “June”, we’re met with some light guitar work and some gentle reverberated percussion before we burst into the song proper; the song is thrust forward and it’s a lively introduction to the band, it’s a great track. The title track is a gentler affair but no less passionate, the vocals on display are hard to pin down, there’s a certain warble to front man Liam Reeves that’s unique yet recognisable at the same time, just as with “The Void”…on first listen picking up hints of JEFF BUCKLEY but with the angst and frustration akin to the likes of Brock Lindow of 36 CRAZYFISTS for example, in places (minus the intense screaming), it makes for an interesting and captivating listen.

“Gild The Lilly” starts off as more of an acoustic, bluesy number, before descending into a torrent of gang vocals and an increasingly intense sensory journey, before “Brothers” takes us back to square one with a really up-beat rocking number. A clear EP highlight, it’s a heartfelt indie rock anthem in the making, multi-textured, it would make for an ideal climax had it not been for “Outro”, which really just ends things awkwardly really. The idea is nice, but it adds nothing to the EP, leaving you with a feeling of “oh?” instead of “wow”.

A World Defined claim to be original, but really, the concept of originality is quite the myth in this modern day and age, especially in music. It’s so very hard for an artist of any genre to break the mould and appear to be brand new and unique, and in all honesty, A World Defined don’t quite do this, but, they have coloured outside the lines just enough to stand out from the generic indie scene. The band is currently still unsigned and in a way, that benefits them musically. There’s a raw passion that carries through the music that otherwise might be lost elsewhere, and it’s this combination of passion and complete freedom that allows for EP’s like this one to see the light of day. The only thing absent from “In Absence” is a record label’s backing…but quite frankly it doesn't need one. [7]


"In Absence" is available on iTunes for just £4.74: https://itunes.apple.com/gb/album/in-absence-ep/id819231982

When a band comes along, influenced by the SEX PISTOLS, GREENDAY and ANAL CUNT, describe themselves as “Shitcore”, and has part of their biography that states “Being talentless is no obstacle for this 3 piece South Wales band”…it’s safe to say that either the band don’t take themselves seriously AT ALL, or they are seriously in need of some sort of therapy. Luckily, it’s the former that sums up BREAKDOWN FACE, who have just released their newest album; “Quarter Life Crisis”. Let’s see what’s troubling these Welsh youngsters…

Kicking things off with the album’s title-track, we’re greeted with a lengthy intro of sludgy, heavy guitars, its very doom and gloom, before it picks up and becomes this deep grungy punk number. It’s got some observational lyrical commentary on life, added with the angst fuelled punk style, it’s not original but it’s a relatively decent start.

“I Don’t Wanna Go To School” is a typically rebellious sounding piece you’d expect from young punks, pretty cliché and in all honesty, rather cringe-worthy lyrically. The band may just be primarily tongue-in-cheek but it doesn't mean they've managed to be amusing in the process here. “Kabuteri” and “I’ll Do It Tomorrow” keep up the abrasive slurry of noise, before we finish up on “Victorious”, a five minute, almost epic number. It chugs along, with its uncharacteristically jolly and positive message about friendship and sticking together, a dash of piano, again, unexpected, and the whole thing seems to be, well, happy.

If you have to break down Breakdown Face, there are one or two things that are evident. Despite claiming to be talentless, it’s clear that, should they consider trying, they have the capability of being a decent, old-school grubby punk band. They have the sound; they can play, here it’s almost as if they've dumbed it down. Even though you know they are only doing it half-assed, it’s almost annoying to see because instead of playing around amusing themselves, they could be more. What they've achieved in doing is made an album that’s meant to be pretty much pointless and a bit of a joke, but they've left out anything actually considered funny. The whole thing is a shame really. [4]


If you want to check them out, visit them on Facebook: https://www.facebook.com/BreakdownFaceMusic

Concept albums…these are officially the “Marmite” of the music world; you either love them or hate them. Granted, sometimes they can work really well, just look at “American Idiot” by GREENDAY, other times, they can come across as a little self-indulgent. It takes a confident band to commit to releasing a concept album, or at least an already accomplished band that can afford the gamble, you don’t however normally come across and unsigned band throwing themselves into such an idea for only their second EP.  That is what South Wales youngsters CLEAR THE AUDITORIUM have done with their newest release, “The Final Broadcast”. Set in a post-apocalyptic future, have CTA made it out alive, or have they fallen victim to their own nuclear fallout?

Opening up with “Prologue”, a crackling, poor quality mock-up BBC radio message, harking back to the days of World War 2, warning of an impending nuclear war, time has been taken to ensure it sounds legitimate, drawing you into the EP, wanting to follow the story. First song proper “If We Burn” was chosen as the leading track of the EP, backed with a great music video, it’s about grouping together, surviving against the odds and against those in power. It’s got a great chorus, something CTA have mastered already it would seem, and it’s full of pleasant cross-over rock/electronica.

“Vacant Streets” is full of rich synthesisers and layered, light dub-infused beats, some brilliant soft vocals from front-man Dafydd Richards. It’s almost a pop song really, had it not been for the inclusion of rough vocals too, but it’s definitely an EP highlight. “Ozymandias” is one for the history buffs, named after Ramesses II, the great Egyptian Pharaoh, it’s symbolic in its message that basically one day, even the greatest leaders will fall, there will ultimately be change and there is nothing you can do about it. Nothing lasts forever and in this case, in this post-war landscape, the survivors will reclaim what belongs to them, their homes, and their lives; an interesting means of linking the subject matter, but the sign of a sharp mind when it comes to song writing.

Clear The Auditorium maybe virtually unknown outside the south Wales scene, and that’s not intended as a derogatory remark, this young unsigned band obviously have a passion for their craft and aren't afraid to step up creatively. As concepts go, OK, it may be a somewhat clichéd idea, used many times in films as well as music, but it hasn't stopped them delivering a quality EP. If they keep this level of writing up, they are bound to make an impact over the course of the next year. Let’s just hope this isn't their actual final broadcast… [7]


The EP, released May 8th, is available for pre-order, just follow this link: http://cleartheauditorium.bigcartel.com/product/the-final-broadcast-audio-cd-pre-order

Every now and again, a band pops up in a local scene that completely wipes the slate, that isn't afraid to start afresh and stand out of the crowd, and that’s exactly what Pontypridd’s CLEAR THE AUDITORIUM have done with the South Wales unsigned scene. With an obvious love for artists such as ENTER SHIKARI, this young Welsh group are separating themselves from the usual generic rock band set up and making some genuinely exciting music. Their début “2021 EP” is a fine blend of post-hard core rock with rich, layered electronic samples, and shows this cross-over band aren't short of ambition OR ability.

The EP kicks off with “2021”, a short and somewhat eerie instrumental piece, the synthesizers gradually building up to form what becomes the powerful intro to “Outbreak”. Some intense vocals from Dafydd Richards over a heavy dose of electronica, the Enter Shikari influence very much evident but it’s been done very well, the chorus being a damn catchy sing-along segment if ever there was                                                                    one, a brilliant start.
“Eye For An Eye” pulls no punches either, almost punk-like in nature, it’s full of angst and determination yet maintaining that key listener appeal, it’s managed to sound brutal without sacrificing any melody or hooks, again incorporating a killer chorus. In some ways it’s a really heavy dance song, borrowing influence from the likes of say, THE PRODIGY.

“Not Coming Home” returns to an early Enter Shikari vibe, lots of keys in use here and truly utilises the term “electronicore” in which CTA have labelled themselves. Some slightly pompous guitar work adding to the drama, it’s a decent track all round, before the twist in the story that is “Solitaire” ends proceedings with an unexpected ballad. It’s such a turn-around in style you really can’t help but feel the EP Is breaking up with you, it’s not a sad song, but it retains a subtle melancholy within it’s easy-on-the-ears soft rock appeal, it’s like something you’d expect from REGGIE AND THE FULL EFFECT. A real lighters in the air job all things considered.

Ultimately, Clear The Auditorium have successfully injected new life into the Welsh unsigned scene, while the sound may not be original, it’s a welcome change and this young band really do deserve your attention if not for their passion alone. They've made the effort to stand out, and credit where credit is due they've released a blinder of an EP here. With more new music coming this May in the form of “The Final Broadcast” EP, you can guarantee this band is going places. [8]


"2021 EP" is available on iTunes: https://itunes.apple.com/gb/album/2021-ep/id623356531

With so many sub-genres of music being crossbred, and rock music generally being bastardized from every conceivable angle, it’s actually refreshing to come across a heavy rock band with traditionalist values. That is exactly what TEN TON TABBY are; with an undeniable love for METALLICA and IRON MAIDEN, coupled with subtle hints of CLUTCH and PANTERA, this London based 4-piece hand you an old-school education in classic rock and metal.

Their new EP, “Stone By Stone”, kicks off with the riff rampant “9-5”, all of their influences evident, with Tom’s vocals sounding somewhat like Neil Fallon’s had he joined a metal band. Everything’s tight and it’s clear they’ve put time into ensuring the sound quality is of a high standard, it’s been produced and recorded very well. Lead guitarist Quinton especially displaying some fine fret work indeed at the tracks peak.

The near eight minute epic that is “Moon Rider” has the bands passion for Iron Maiden plastered all over it, its bass driven galloping intro, a hefty build up with the drums giving it an almost military feel.  For the most part it remains at a rock-steady pace, slightly underwhelming when the vocals start up, you expect a bit more from the track given its dramatic beginning. Relatively safe stuff really, perked up once more by Quinton’s solo playing, clearly a confident player with a real feel for classic metal.

“Rise And Fall” has more of an early Metallica vibe about it, the shortest track of the EP, but TTT sound hungrier than ever here, the harmonic sections balanced nicely with the more up-tempo, crunching pace of the song, the EP’s highlight by far, before we end proceedings with another seven minute plus monster, the title track, “Stone By Stone”. Again, we find a song starting off with such promise, an expectation of something grand, an expectation to be beaten into submission with an onslaught of heavy metal, but instead it plods into your ears rather sluggishly. It lacks an excitement that the track would of provided had it of been relentless from the word go, and, granted the track does pick up, but a minute too late. It’s not necessarily a bad track it’s just longer than it needs to be.

Essentially, it can be said that TTT are undeniably a competent metal band, the feel is there, the sound is there and they’re obviously passionate about what they play. This is middle of the road classic metal, it’s reliable and will always be enjoyed by the traditional metal fan, but whilst sounding good, it doesn’t automatically sound fresh and exciting. They haven’t added anything to the genre here, and if you’re not really into the classic style, TTT aren’t going to change your mind. [6]

You can download the EP for FREE via Bandcamp: http://tentontabby.com/album/stone-by-stone
Ten Ton Tabby are also on Facebook: https://www.facebook.com/tentontabby

Since the release of their debut EP, “Soundtrack Of Your Life”, this Guildford based pop-punk 5-piece have steadily established themselves as one of the UK’s most energetic and promising up-and-coming bands. With a knack for writing big radio friendly anthems, and through labeling themselves as an “easycore” band, listening to Amberline is like the musical equivalent of eating a full bowl of popping candy. Each song a short, sharp sugar rush meant for pure enjoyment.

The new EP, “The Art Of Reinvention”, despite it’s name, doesn't differ a great deal from the debut, other than being more polished in production, but, pop-punk is one of those things that is best left alone. The formula is simple, colorful, lively, catchy-as-hell songs written solely for fun. You know the old saying right? If it ain’t broke, don’t fix it!

Opening track “I’m A Grower, Not A Show-Er” starts things off with a personal message from front man Mark Steggall. Apparently influenced by past professional relationships with music promoters in the early stages of the bands development. It sounds like it owes a lot to bands such as NEW FOUND GLORY and it’s easy to imagine the chorus encouraging a mass sing-along during live shows.

“The Lost And Hopeless” is a brilliant track, starting off nice and gently before guitarists Nick and Rob assert their presence. Vocals are clean and the song is big on hooks, potentially a huge single in waiting. “Here Comes The Colonel” includes a couple of breakdowns here and there but stands firm in it’s pop-rock foundations, before closing track “Fingers Crossed” rounds things off nicely, leaving the listener with that “happily ever after” kind of feeling.

“The Art Of Reinvention” may not be reinventing the wheel, or pop-rock for that matter, but it reminds us what a fine band Amberline truly are. The UK is bustling with fresh talented young bands right now, Amberline being one of them…and if they keep this up, expect big things form these guys in the future. [7]

Facebook: https://www.facebook.com/AmberlineUK

Formed in 2008, Cwmbran based metaller's Counterhold have spent the past couple of years putting together the final pieces of the jigsaw puzzle that's seen them evolve into one of the UK's most respectable, and professional unsigned bands. Welsh International Battle Of The Bands winners, Highway To Hell / TBFM Factor finalists, plus, having played shows supporting the likes of Sepultura and Diamond Head, there is a lot of positive energy surrounding Counterhold right now, so what better time to unleash their debut album; "All Of Them Slain".
First track "Disease" is the sound of a band bursting at the seams with a hunger to play hard and heavy, bearing all in the form of crunching guitars and drums, before front man Steve Jenkins' clear yet gruff vocals carry the song through a bold narrative. It's a solid start and makes for a promising listen.
"Time To Die" is a riff heavy beast reminiscent of early Megadeth and such, with it's blunt delivery and classic sound, where as "Out For Dead" turns to a more melodic approach. A really well written track, an almost punk-rock sing-along chorus and some superb guitar work. An album highlight.
"Hellsgates" is a sharp burst of intensity, the albums shortest track, thrash metal in places and quite in-your-face, a deeply personal creative influence fueling the track, resulting in not only a passionate but brutally honest performance from Jenkins'...which is a stark contrast to the eight minute monster that is "Walk On Water". It's beautifully played acoustic intro and soft vocals are an unexpected change of direction but showing there is more to Counterhold than meets the eye. Epic stuff, building in intensity until the very end.
The rest of the album, despite being an enjoyable listen, almost lives in the shadow of that one track...some top head bang-inducing moments such as "Victim Of A Parasite" but they don't quite live up to the grand scale of "Walk...", however closing track "Inner Scream" revisits the bands tender side to wrap things up nicely.
Counterhold are undoubtedly lovers of metal and that shows throughout this album, they play with pride in the knowledge that this album is the result of a LOT of patience and hard work, their DIY ethic paying off, and have every right to feel proud of this album. It will be interesting to see what the future has in store for this lot, until then, regardless of your genre preference, give this a listen. [7]