Last Avenue - Integration Protocol

#FOR FANS OF: Industrial, Rammstein

The last French industrial metal band I listened to were dreary, sloppy and boring. Without naming names (*cough*Voron*cough*), I will admit that said band at least had the decency to pump their latest album full of meaty riffs to distract from the general dullness. This time round, however, it is a different French industrial metal band - Orlean's Last Avenue - who have the task of gracing my ears. Fortunately, these guys have also decided to insert many hefty riffs into the heart of their newest record, 'Integration Protocol'. But, even more fortunately, there is more than just the one aspect that makes this effort so rewarding to listen to... Firstly (and quite unusually for an industrial metal band), this album is injected with a youthful vibrancy that boosts the energy up and prevents it from dragging along at a snail's pace (you listening, Voron?). There is plentiful variety of tempos throughout 'Integration Protocol', making the whole affair sound like Pitchshifter on steroids. The tracks, "Wireless Ghost" and "Pieces of Metal Planet", are masterclasses in energy. They contrast satisfyingly with the mid-tempo stompers like "Fear To Stay" and "Spying From The Future". The band names their primary metal influence as Rammstein - and nothing else is made more obvious! The ball-crushing riffs pound away exactly like Lindemann & co. and the electronic backbeats add another brilliant dimension to the music. This is an area where many industrial bands have failed, but Last Avenue appear to shine. The synthesized keyboard effects are always present; either carrying a discernible melody, or providing the wonderfully mechanical atmosphere. They never feel irrelevant or segregated. The vocals are also impressively diverse. Déj's distant wailing is always tuneful and atmospheric, whilst his screams are fully-rounded and downwright pissed off. The digitized vocals in "The Factory" and "This is Personal" are also surprisingly effective! Usually this technique is innately annoying, but Last Avenue pull it off in a remarkably Kraftwerk-esque way. The only disappointment in this area is that the vocals are few and far between. Quite often, minutes can fly by with no voice and this only forces the riffs to try and hold the focus. Luckily, the riffs are the highlight of 'Integration Protocol'. From the chromatic ascendancy of "Self Made Drone", to the chunky chugging of "Kill The Past" - every riff is packed with energy, variety and 100% headbangability! The opening riff of track 2, "Wait", is quite possibly my new riff of the year - and the breakdown of the previously mentioned "Kill The Past" is a close runner up! There are even guitar solos on this album, and impressive ones at that! Are you listening, every industrial metal band ever? It CAN work! Some of the song titles and lyrical themes may be a little too clichéd towards the 'factory/mechanical/futuristic' concepts, and the whole effort may be a song or two too long. But all in all, this is my industrial hit of the year, and any fan of Combichrist, Kaos Krew or Pitchshifter should get with the sound laid down by Last Avenue. (Larry Best)

(Self - 2015)

Score: 75

https://www.facebook.com/Lastavenueofficiel

Voron - Propaganda

#FOR FANS OF: Death/Industrial, Rammstein

"Industrial melodic death metal? You mean Obsidian style? Or more like early Fear Factory? Oh wait - industrial melodic death metal from France?! Okay Voron, you have my attention. After all, your artwork is pretty striking and your moniker is taken from a Russian special operations group highly trained in infiltration. Let's see what you can do now that you have peaked my curiosity... ...oh right. Fuck all. Metal is a very flexible genre; it can curve and twist to accommodate the inclusion of certain aspects of other musical styles. Unfortunately, the electronic effects and synthesizers in 'Propaganda' come across as being completely detached from the rest of the band. It could be down to the inadequacy of the mix, or because the keyboards never carry any substantial melody, but they simply do not fuse well. This is a great shame, especially when you consider that this fusion is what crafted the success of bands like Static-X (though I have to admit, the sitar solo in "Justice" is intriguing to the say the least!). This failure to integrate the authentic with the digital creates a very frustrating atmosphere for an industrial metal band. It never reaches the cold, soulless depths of Crossbreed, but also fails to be as quirky as Kaos Krew. This results in a bland timbre which is unsuccessful in its attempt to grab the attention of the listener. In one ear - out the other. This is certainly not aided by the dreadful production quality, which seems to mask the drums in favour of emphasizing the hideous vocals. Atmosphere and production quality notwithstanding, the absolute worst thing about 'Propaganda' is the ghastly voice of ... hmm, what's his name? Oh! He calls himself 'Voron'! Let's say nothing about egos here then! Voron's voice is akin to that of the Cookie Monster trying to burp the alphabet. Coincidentally, there are many guest vocalists on this album, who contribute absolutely nothing to proceedings. Is Voron knowingly ashamed of his dreadful belching? Perhaps he has future plans to abandon vocal duties and concentrate on his guitar-work. That's right! There are guitars on this record! Annoyingly, the riffs are the single best aspect of 'Propaganda' - almost Rammstein-esque in their gravitas. The songs that are lacking in riffage ("Willingly" and "I Dreamt"especially) are the total drek that should be skipped without question. The opening of "Fall of the Risen" is a total groove-fest, the 2:48 mark in "Kill This Day" reeks of old-school death metal goodness, and the chunky, chromatic riff in "Is Suicide My Fate?" is the highlight of the whole affair. I'm really struggling to think of this as 'industrial melodic death metal'. The atmosphere is drab, the tempo never clambers above snail-trail, the mix has the consistency of lumpy porridge, and the song structures are unmemorable to say the least. ...but damn, those riffs!" (Larry Best)

(Self - 2015)

Score: 40

https://www.facebook.com/voronmusicstudio

Ossiyan - Hardrada

#FOR FANS OF: Heavy Doom

Receiving a pile of promo CDs to review is always a messy affair - lots of plastic sleeves strewn with prototype logos and not much else. However, in my most recent bundle, one beautifully packaged CD juts out from the rest. The artwork is utterly stunning, the band's logo is proudly adorned in a noble font, and the track-titles all sound elegant and grandiose. London's Ossiyan mean business, and their debut LP 'Hardrada' is nothing if not grandiose...and heavy as fuck. Describing themselves as 'valiant doom' was a smart move. Bearing this description in mind, and gazing at the truly fantastic cover art, will prepare the atmosphere appropriately for these up-and-coming doomsters to crush your skull. In a nutshell, the music on 'Hardrada' can be described as the Melvins receiving an informative lecture on vikings, led by Crowbar. The menacing whispers and dynamics of the former fuse happily with the down-tuned crushing sludge of the latter. Vocalist A. Wisbey even bears resemblance to King Buzzo at certain points; mainly during the quieter spoken sections - but even more so in the first verse of "Parting of the Seas". The concept behind this album is certainly unique, especially for an English band. Focusing on one particular historical event: the invasion of Stamford bridge by the vikings, led by Hardrada, who were crushed by the English - thus ending the reign of the vikings. The storytelling aspect of the music is well-executed through their use of contrasting dynamics and suitable lyrics. The introductory title-track is the perfect gateway to the rest of the album. Its gradual crescendo is expertly handled. The climax, where it finally explodes into pure doom metal goodness, is so satisfying! "Parting of the Seas" is a masterpiece, plain and simple. A. Wisbey's guttural, yet semi-melodic, growls are truly viking-esque, especially when his screams become desperate and emotive - magic stuff! O. Isaac's guitar tone is fat and meaty, and he certainly has no shortage of riffs! The opening riff to "Parting of the Seas" is grand and regal, and the closing riff of "War Weary" is my riff of the year so far - 'heavy' is too mild a word for it! J. Butler's bass carries some serious weight and is a delight to listen to. Unfortunately, M. Shankey's drums deflate the sound a little - the snare is far too dry and the whole kit is lacking reverb. A shame, considering his performance is more than admirable. Although the album tends to lose a sense of direction at its heart, the whole endeavour is refreshingly brief - letting it tell what it needs to and move on before any stagnation takes hold. The finale of "...And To Valhalla We Ride" is simultaneously melancholic and bombastic. Its closing chords seem to pound away with a sense of triumphant valour and mournful sorrow. I greatly anticipate more material from these newcomers, for if 'Hardrada' is any sign of things to come - it could signal the start of an English doom metal uprising. Much like Winterfylleth and their black metal cohorts. Make it happen, lads! (Larry Best)

(Self - 2015)

Score: 85

https://www.facebook.com/OssyianDoomed?_rdr=p

Deer Blood - Devolution

#FOR FANS OF Thrash Groove, Overkill

Heralding in the debut full-length from this self-described 'groove/thrash metal' band is one minute of clean, bluesy guitar licks. Unexpected, but certainly appropriate for the atmosphere this album is about to set in stone. Looking for exploratory, progressive thrash a la Heathen? Nope. Looking for speed-obsessed toxic thrash metal in the vein of Nuclear Assault or Carnivore? Sorry! What the listener is treated to here is a modern version of the oft-maligned mid-90s groove/thrash hybrid. Familiar with Overkill's 1993 opus "I Hear Black"? Well Deer Blood's 'Devolution' bears a strong similarity. For the most part, this bodes well and the album can really rollick along! However, there are a few bumps along the road... The first obstacle standing between this album and 100% enjoyability is the production job. 'Devolution' isn't raw in the pleasing, early-80s Megadeth kind of way. Its mix is just incredibly uneven. The drums are far too tinny and quiet, the guitar possesses too much treble, the bass is non-existent, and Alexandre Bourret's unimpressive voice is FAR too loud! Alright, so thrash metal vocals aren't supposed to be up to Fabio Lione standard, but there are many points where a pseudo-tough narration simply won't do. Either employ some attitude-filled barks like Tom Araya, or back off and let the riffs take charge. The riffs are where the band really shine. Not only are they memorable, but some of them are truly unique and are formed using scales and keys not often found within this sub-genre. The opening riff to "Trapped Inside" is notable for this characteristic. Sure, there's a lot of blues-scale raping, but they're played with so much gusto and enthusiasm that songs like the title-track become an absolute triumph. As well as proving his credentials as a competent riff-crafter, guitarist Julien Doucin isn't afraid to simplify when necessary, in order to enhance the rhythmic power (see the 1:57 mark in "Born Strong, Live Young, Die Hard, Born Again"). As a whole, the album is structured interestingly, with two lengthy thrash epics bookending the endeavour. These two tracks ("Bushmaster" and "Scared to the Bone"respectively) unfortunately don't shine anywhere near as much as the rest. The band's songwriting talent proves itself when the tracks are more structurally compact and concise. The occasional gang-shouts are indeed welcome, and remind me even more of Overkill's mid-90s phase. Whilst the artwork and imagery is nothing to celebrate, the band name is admittedly brilliant - and I hope they continue under this moniker. In a nutshell, what we have here is a pleasing fusion of Sanctity and mid-90s Overkill. As a whole, the vocals let down an otherwise fascinating, enjoyable and headbang-able first release. I look forward to a slightly bigger budget in the future - allowing for a cleaner production quality, more structural concision, and a vocalist who doesn't sound like an angry 14-year-old who lost his favourite Star Wars poster. (Larry Best)

(Self - 2015)

Score: 65

https://www.facebook.com/DeerBloodOfficial

Harmorage - Psychico Corrosif

#FOR FANS OF: Heavy Metal

Having never heard these Frenchmen's debut full-length - perhaps I am not at liberty to make comparisons. But one thing I can be certain of, is that the production MUST have been better than this! On my third spin through their sophomore release 'Psychico Corrosif'; all that seems to have sunken in is that I can't hear the drums at all, the guitars are far too mellow and safe, the bass has a sound weird enough to make D.D. Verni blush, and the vocals...well, we'll get to them later. That being accepted, Harmorage are a low-budget, underground heavy metal band - so I'll disregard mixing issues in favour of some quality songwriting prowess...which also seems to be severely lacking. Oh deary me indeed. I would struggle to label this European quartet as 'heavy metal' at all. Far from the icons such as Raven or Saxon who helped shape the genre - Harmorage are akin more to a garage rock band trying their first hand at original material after spending 5 years playing Judas Priest covers. No song has any discernible structure to keep things memorable, but neither does any song have any progressive development to push it to the other extreme. Each track is just, sort of, there. Daniel Chalon's voice really doesn't lend any favours to the sound! There is no catchy melodic vocal line, no gritty punk-esque bark, nor any deep death-like growls. Just a mildly disgruntled Frenchman rambling into a microphone with his best 'tough-guy' attitude, and completely indecipherable lyrics (and my French is pretty good!). At his best, he completely drains the energy out of sections that might have held some potential, such as the chorus in "Scarifié". But at his worst, he sounds utterly hilarious and totally misplaced (see the pre-chorus in "Mon Anarchie"). It's obvious the band tried to inject some atmosphere into this mess with some ambient introductions, such as on "Reveillons Nous!" - but they simply seem like awkward genre mash-ups and, as a result, fall flat. Some of the playing is downright lazy. The drumming on faster tracks like "Je Condamne et J'accuse" is inexcusable by metal standards; and the main riff on "Droit Et Fier" is SO dull in its attempt to be pseudo-thrash, it's embarrassing. Even Merciless Death could do better. These lapses are a great shame, considering how awesome some of the guitar solos can be. Seriously, when he tries, Nicholas Chalon really shreds! Despite some fun gang-shouting sections and the occasional blazing guitar solo - these French wannabes simply aren't worth your time. 'Psychico Corrosif' is messy, unmemorable, and leaves no lasting impact. You're better off baking some funny-shaped bread and occupying your time with its warm, fluffy goodness. I guess I should now apologize for the awful French stereotypes. (Larry Best)

(Self - 2015)
Score: 40

https://www.facebook.com/harmorage

Tezza F. - The Guardian Rises, Part 1

#FOR FANS OF: Power/Prog Metal

Rummaging through underground power metal acts is like treading on thin ice. You may discover a hidden gem such as I have with the likes of Fogalord and Dragon Guardian - or you may end up subjecting yourself to 45 minutes of dull and badly-produced drek like Skylark. Fortunately, Italy's one-man band, Tezza F, is one of the latter. Though having never heard his first full-length album, the quality of metal on show for this EP is nothing if not promising. Yes, you heard! A one-man power metal band! This minimal form definitely benefits the outcome of this release. It's clear that Fil Tezza, its sole member, is playing things by his own rules, whilst totally relishing and savouring every note. This is a man who loves what he does - and what he does best is worship the Falconers and Vision Divines that went before him; using these influences to create his own brand of melodic power metal. The production is admittedly superb. It's hard to fathom how major mainstream acts like Metallica are still struggling to secure a decent sound quality when humble artists such as Tezza can achieve such a crystal clear timbre on their meagre budget. The drums are crisp, the guitars are full and rounded, the leads are clear and the vocals sit comfortably at the forefront. Tezza understands how an EP should be structured. There is no wasted space here, just a well thought-out tracklist consisting of original material. Even the 2-minute introductory title-track feels necessary and substantial - its declamatory tones paving the way for the bombast to follow. "The Sign of the Holy Cross" may not have been the best choice of opener considering its march-like tempo. The soaring hymn "Jolly Roger", or the galloping "Wildfire" would fare better. But the brevity of this EP allows all tracks to be highlighted in their own right. With the addition of some quirky compositional devices (the growled vocals in particular were a lovely additional element) Tezza F has proved that he has major potential in the Italian power metal scene. 'The Guardian Rises, Part 1' is the correct way to push your band's name forward whilst remaining stylistically loyal. Well done, sir! (Larry Best)

(Heart of Steel Records - 2015)

Voto: 85

https://www.facebook.com/tezzaf

Yonder Realm - The Older Ways

#FOR FANS OF: Folk Metal, Eluveitie, Finntroll

From the bowels of New York - the home of many thrash metal legends - comes a ... folk metal band? I was taken aback to learn that these Eluveitie-sound-a-likes hail not from Scandinavia or Eastern Europe, like so many peers of their style - but from the good ol' United States! Yonder Realm, having released demos/EPs/singles etc. throughout their 6-year existence, finally managed to release their debut full-length album in August 2014. This quintet play absolutely nothing original or innovative - but have joyfully nailed the niche folk metal sound. Folk metal is a difficult sub-genre in which to be distinctive. But the production quality of 'The Old Ways' doesn't adhere to the usual demands of a folk metal album. The authentic folk instruments, as beautifully played as they are, are slightly kept behind in the mix. This gives them an eerie, mystical quality - separating this band from the silly jig-along bands like Beer Bear and Slartibartfass. The rhythm section is the most prominent here. The double-strum rhythm guitar playing fuses with the bass and drums to provide a weighty backdrop to the anthemic melodies that gloss over the top. This shows that their style evolved through the more melo-death-influenced area of folk metal, rather than the black metal characteristics of bands like Equilibrium or Moonsorrow. Jesse McGunnigle's vocals are what help to highlight this melo-death influence. He sounds remarkably similar to Chrigel Glanzmann from Eluveitie, and this is no insult! His growls helps push the songs forward in an almost percussive manner - and he becomes truly expressive in tracks such as "Sea of Cosmos" and "Pillars of Creation". As a bonus, there is the occasional use of melodic backing vocals, adding yet another magical layer to this tour de folk! 'The Old Ways' is perfectly structured. The artwork lends its atmosphere most appropriately, the tracks are properly ordered - containing a beautiful interlude and ending on the epic finale of "Moonbeam Road", and the use of unconventional instruments is truly inspiring. Listen closely and you'll hear flutes, violins, marimbas, accordions...the whole lot! Such a diverse timbre allows for maximum replay value. It's hard to pick highlights from this incredibly consistent record. "A Devil's Unweaving"doesn't let go of your melted face for its entirety, "Sacrifice to the Old Stone Gods" is the epitome of a folk metal anthem, and "The Frugivores" is almost Gojira-esque with its primal percussion and gang chanting. Not one track space is wasted - even the mystical interlude, "The Grove", plays an essential part in this shimmering tower of excellence. More focused than Finntroll, less pompous than Adavant, and providing an atmosphere similar to that of Cruachan, 'The Old Ways' is sure to whet the appetite of any folk metal fan from Poland to Pennsylvania. (Larry Best)

(Maple Metal Records - 2015)

Score: 90

https://www.facebook.com/yonderrealm

Bio-Cancer - Tormenting the Innocent

#FOR FANS OF: Black/Thrash, Dark Angels, Sadus

What's this? Bio-Cancer? A biohazard symbol in the logo? Artwork by Ed Repka depicting a chained up mutated humanoid? We know what we're all thinking - and in some ways, you're right to think pessimistically. However, if you begin to write these Greek speedsters off as another pseudo-crossover failure like Fueled By Fire or Thrash or Die(*shudder*!), then you are missing out on some incredibly tight and entertaining genuine thrash metal, written for the 21st century audience. 'Entertaining' really is the key word here. Bio-Cancer seem to fill every nook and cranny of their sound with subtle compositional devices which make a huge difference to the overall effect. A bass lick here, a drum fill there - it all adds up to a unique and memorable experience (the 0:53 mark in opening track "Obligated To Incest", Lefteris' primal grunt, is a prime example). Speaking of vocalist Lefteris; he puts on one hell of a performance here. Completely balls-to-the-wall insane shrieks and a vitriolic lyrical delivery are the norm for this madman. His supporting cast are also en point throughout "Tormenting The Innocent". Original riffage, tuneful solos, a range of dynamics, and most importantly, a variation in pace. This is best exemplified in the middle section of "F(r)iends or Fiends" where the rhythm section truly prove that they can hold their audience's interest without the need for a simplistic verse-chorus-verse-chorus structure. Think Mastery, but with a seriously impressive vocalist at the helm. The production quality is stellar: the guitars and bass work together as one well-oiled machine, Tomek's blast-beats are always highlighted superbly and the gang-shouts become an integral part of the compositions due to the gravitas given to them. In fact, if there's any fault with this album at all, it's that Lefteris' English pronunciation is far from accurate, but that just adds to the mad hilarity of this release! Who gives a shit about lyrics anyway? "Tormenting The Innocent" flows with surprising fluidity; each track leading to the next with an almost narrative through-line - climaxing on the one-two deathlike punch of"Haters Gonna...Suffer!" and "Life Is Tough (So Am I)". The songs all have something that will make you want to come back and hear it again and again. Be it the mesmerizing melodic middle-eight of "Boxed Out" or the relentless chanting of "Think!", you'll find yourself becoming enthralled by a detail you missed on previous listens. It's clear that these Greeks have placed themselves on a plinth of thrash metal godliness. Along with the Finns in Lost Society and the more established Brits in Evile, let us hope their toxicity develops and infects us all! (Larry Best)

(Candlelight Records - 2015)

Score: 90

https://www.facebook.com/BioCancerOfficial

Sonic Prophecy - Apocalyptic Promenade

#FOR FANS OF: Heavy/Power, early Primal Fear

More tales of warriors, kings, legends and dragons? Yes please! Sonic Prophecy, a sextet of Americans, are forging their path through our beloved genre in their own way. Nothing they're doing may be considered particularly innovative or original, but then what is these days? However, some of their techniques and compositional devices are somewhat quirky, especially considering their nationality. One thing's for sure, their entry for 2015 is nothing if not huge! At a whopping 1 hour 13 minutes, Sonic Prophecy are making sure there is quality stashed somewhere in that quantity. The production isn't quite spectacular - the guitar tone is a bit mellow, and a little engulfed by the bass (that's a first!). But fortunately, the folk instruments and Shane Provtgaard's mid-pitched vocals are well mixed. These two aspects are probably the stars of"Apocalyptic Promenade". Provtgaard has a warm, welcoming voice - and is able to portray a sense of storytelling through the fantastical lyrics. The folk instrumentation is a sheer delight, acting as the multi-coloured sprinkles on this cake of power metal. Regarding their debut album, "A Divine Act Of War", this new effort has slightly dampened the conventions they had previously established; lacking such energetic hymns as "Call To Battle" or the crunching headbangers like "Heavy Artillery". On "Apocalyptic Promenade", the youthful vibrancy is missing and songs feel dragged out to far longer than they're worth. Circa 2011, you could confuse this band for a young Primal Fear, but circa 2015, they seem more like latter day Judas Priest. This is by no means a negative remark, but it does sap a little of the energy out of their songwriting. There are plenty of positives scattered about this album though. Choosing to open your album with a 13-minute epic is a risky move, but "Oracle of the Damned/The Fist of God"is such a well-composed, structurally sound piece of metal, it proved a totally worthwhile decision. This helps set up the narrative characteristic of the album which, thankfully, holds steadfast throughout. The majority of tracks on "Apocalyptic Promenade" are mid-tempo and average around 6:30 each. The swaying waltz of "Legendary" and the brooding melodies of "The Warrior's Heart" are definitely the stand-outs that thrive in this structure. Rather than an up-tempo gallop through a fantasmic land of dragons and warriors, this feels more like a calm amble across a meadow of long grass. A ... promenade, if you will? Nothing about it is unpleasant or outright bad - there are plenty of sweeping melodies and grandiose ideas. It would just be a refreshing change if they were to return to the celestial ways of their debut. (Larry Best)

(Maple Metal Records - 2015)

Score: 55

https://www.facebook.com/sonicprophecy

Orden Ogan - Ravenhead

#FOR FANS OF: Heavy/Power, Grave Digger, Running Wild

Along with the likes of Sabaton, Mystic Prophecy, Blind Guardian, Firewind et al. German powerhouses Orden Ogan have been leading the march of European power metal acts who shun the uber-melodic methods of more light-hearted bands like Freedom Call or Power Quest. Instead, they favour a more direct kick-to-the-throat barrage of heavy riffage within their huge timbre. Orden Ogan have been gradually darkening and beefing up their sound throughout their first 4 albums (previous effort 'To The End' being an apparent peak), but the Teutonic quartet may have hit a creative pinnacle with the epic 'Ravenhead'. I may have fibbed slightly up there; Orden Ogan don't really 'shun' melodic methods. In fact, the melodies woven throughout 'Ravenhead' are some of the finest the genre has ever produced. Each chorus will implant itself in your head after only one listen, and in some cases, chill your spine with the sheer beauty of the intervals between each note (the chorus of "The Lake" being particularly noteworthy). However, they differ from the typical euro-power Helloween clones by employing their arsenal of hefty, grinding riffs which are, at some points, heavier than cannonfire. The middle section of "F.E.V.E.R." and the first twenty seconds of previously-mentioned "The Lake" are enough to snap your neck. The key essence that makes this album so addictive, is the epic male choir which is never underused or ignored. This has been an essential characteristic of Orden Ogan since their very first album, and it has only gotten more impressive and majestic. It turns every chorus into an absolute highlight, as opposed to a repetitive refrain. The production contributes to this element, bringing the choirs to the forefront of the mix, whilst backing it up with a rumbling and colossal bass/drum combination. This album revels in a dark mood and depressing atmosphere, despite the triumphant tone of the choruses. This could be due to the lyrics, the grim but brilliant artwork, or maybe the ever-improving broody vocals of Seeb. But certainly, the closing track "Too Soon" is sure to wash over you with a beautiful sense of melancholy. I think it's important to immerse yourself in the bleak atmosphere 'Ravenhead' emanates, using the powerful melodies and heroic choruses as lamps in the darkness. The only moderately minor qualm about this new release, is that they didn't quite make enough of their name's sake. The intro, as it is named after the band itself, should have been huge - though the theme it expresses is repeated in the following title-track, which is a lovely touch. There's no such thing as a less-than-brilliant Orden Ogan album. "Easton Hope" buffed up the heaviness, "To The End" coated their sound in ice, now 'Ravenhead' brings it to a magnificent peak. The twin guitar attacks are mesmerising, the riffs are hard-hitting, the choirs are massive and "The Lake" is power metal song of the month! Germany does it again. "In the light of a midnight sky, I have found one good reason to die. Take me down to the quiet place, In the lake, where she sleeps in grace..." (Larry Best)

(AFM Records - 2015)
Score: 90

https://www.facebook.com/ORDENOGAN

Battle Beast - Unholy Savior

#FOR FANS OF: Heavy/Power, Iron Maiden

Battle Beast have made a mark over the last 4 years, that cannot be denied. But I can't shake the feeling they were living under the shadow of more widely-known bands that they happened to tour with, (Delain, Sabaton, etc.). But now, prepare for the Finnish sextet to totally break free with the release of their third full-length. I'll be the first to admit I wasn't expecting anything special - a few gang-shout choruses here, a few keyboard solos there - but Noora and crew have just completely let loose with one hell of a thrill-ride that simply oozes metal in its purest form. Okay, "purest form" may be bending the truth. 'Unholy Savior' is brimming with an OTT attitude, filling every empty space with bells and whistles. But therein lies the magic of this release; it simply does not let go. From the heralding crash of "Lionheart", right through to their hammering cover of Paul Engemann's Push it to The Limit", this is an all-out, balls-to-the-wall, bombast-athon. That's not to say there isn't plenty of variation. Battle Beast are quite adept at ensuring their audiences never throw the 'one-trick-pony' insult at them. Here you will find up-tempo power metal hymns, mid-tempo stomping rockers, beautiful ballads, and even an 80s-inspired disco-esque tune with "Touch in the Night". Each verse, each chorus, each blazing guitar solo...they're all distinguishable from the last, providing much-desired variety and giving this album 100% replay value. The production is absolutely perfect - so full of power and majesty. Bright keyboards shimmer above a full, rounded guitar tone and a real spiky, piercing drum sound. There are excellent performances all round from this group of talented Finns - especially notable in the duel guitar/keyboard solos which simply glow with both technicality and control. But the star of the show is the magnificent mouth of Noora Louhimo. Often confused as the 'gimmick' of this band, her set of pipes stretches to stratospheric levels on 'Unholy Savior'. She is perfectly capable of sweet, lyrical melody - as exemplified on the gorgeous "Sea of Dreams". But she is best observed employing her rough, edgy, but insanely precise high-pitched screams. Hail, Noora! You are the new queen of metal! Picking out highlights from such a consistently phenomenal album is certainly not easy. But the first three tracks pack so much of a wallop, it digs right into the skin of the listener's face, absolutely forcing him/her to bang their heads like it's 1985! Aside from them, the previously mentioned "Sea of Dreams" lulls the listener into a euphoric haze, before being completely annihilated by the explosive "Speed And Danger" (Hmm, that riff sounds familiar...'Metal Militia' anyone?). I challenge you to find a band who sound more enthusiastic, more energetic, more vibrant, more METAL than Battle Beast right now. Here's hoping that this is a sign of things to come - because if Noora and co. carry on this way, they will be utterly unstoppable. Already on the list of 'best of 2015'? Thought so. "Put your pedal to the metal, It's time to rock and ride! Keep the engine roaring, louder than hell!" (Larry Best)

(Nuclear Blast - 2015)

Score: 90

https://www.facebook.com/battlebeastofficial

Massacre - Back From Beyond

#FOR FAN OF: Death Metal, Morbid Angel, Obituary

I'm not sure I agree with referring to Florida's Massacre as 'legends'. They had one great album in the early 90s, one god-awful pile of shit in the mid 90s, and...pretty much nothing else. While Death, Morbid Angel, Autopsy, Obituary etc. were busy cooking up album after album of superb death metal goodness - Massacre couldn't manage any more than one worth talking about. Legends? Hardly. Yes, 'From Beyond' was a damn fine death metal release. You know why? Because Massacre understood the need for depth within the longer song structures, and for brevity within the entire affair. Their brand new effort, 'Back From Beyond' (yes, they actually called it that), completely misses this point and falls flat on its face. Let's start with the positive: firstly, the absence of Kam Lee might have worried many. Though I never viewed him as much more than a reject from Death's 'Spiritual Healing' era - he did have some nice grunts which enlivened Massacre's debut. However, fear not! Ed Webb is more than capable of filling Lee's murky shoes. In fact, the vocals are the best thing about this record, period. Webb's visceral growls sound so natural and controlled, even when he completely lets loose and treats the listener to a merciless high-pitched scream (see the beginning of "Succumb To Rapture"). He also gains merits in my eyes for being decipherable, helping 'Back From Beyond' to at least succeed in accessibility where it fails in creativity. The production also warrants a round of applause. Tim Vazquez deserves much praise for making 'Back From Beyond' sound up-to-date and glossy, whilst maintaining that classic Flori-Death feeling. Webb's masterful growls still dominate, but the guitars/bass/drums all fuse together as one well-oiled metal machine. Unfortunately - that's really where the positivity ends. The songs themselves are similar to my writing: dull, and appear far longer than they are. I find it almost insulting that they have an ambient intro in the shape of "The Ancient Ones". This implies that they are preparing the listener to delve into a realm full of atmosphere and well-structured schematics. Unfortunately, it only emphasizes the disappointment when you find out that every song is uninspired, devoid of any excitement, and contains as much variety as a Tesco Value biscuit party-pack. Seriously. Every song sounds the fucking same. Not in the hyper-fun Dragonforce way - in a monotonous, bore-you-to-suicide way. This is where the band should have taken a lesson from their superior debut. 'From Beyond' consisted of 9 tracks, mainly between 4 and 6 minutes. This forced each song to have enough substance to be memorable and interesting, encouraging repeated listens. 'Back From Beyond' consists of 14 tracks (!), mainly between 2-3 minutes. This forces each song to end before it ever has a chance to develop any intriguing musical ideas. Even now, after 5 painstaking listens, I cannot distinguish one song from the other. Superb vocals, production, and artwork contrast awkwardly with bland riffs, forgettable 'hooks', and badly-executed solos. I'm not sure I hold out much hope for this band returning with another full-length release, and neither do I care. I'll stick to Cannibal Corpse, Obituary or Gorguts for quality old-school death metal. 'Back From Beyond' is not excruciatingly bad - it just seems irrelevant in today's climate. It would probably make excellent background music though... (Larry Best)

(Century Media - 2014)

Score: 50

http://www.massacremetal.com/

Swashbuckle - We Hate The Sea

#FOR FANS OF: Death/Thrash

New Jersey's favourite thrash metal pirates have always been very hit-or-miss. The review averages for their albums on this very website are indicative of that. Personally, I find them a constant hit - consistently throwing out furious death/thrash assaults every few years, just brutal and hilarious enough to keep fans of both respective genres happy. With their newest EP, the brilliantly titled 'We Hate The Sea', the previously mentioned brutality has been sufficiently boosted, edging far closer to death than thrash metal. Unfortunately, this comes at the price of the expanded song structures previously explored on "Crime Always Pays". As a result, this EP is both a success and a moderate disappointment. The production job is admittedly superb - with the guitars satisfyingly crunching over a ridiculously frenzied drum display. Admiral Nobeard's vocals are wonderfully presented in the mix, and he sounds as energetic as ever, spewing forth a truly snarling performance. 'We Hate The Sea' wastes not one second in clasping the listener's face and thrusting it headlong into a rusty bucket of razor-lined barnacles. The sheer ferocity of the output is indeed a pleasing and satisfying sound - unfortunately, the variation is what suffers as a result. So much so, that the 1-minute mark of "Slaughter on International Waters" feels like a relief from the constant barrage of blast-beats and gang-shouts. The other disappointing aspect of this release is the brevity. I understand that a death/thrash EP from a humorous pirate metal band couldn't possibly extend to "Dark Side of the Moon" length, but reaching just shy of 7 minutes feels like the buyer/downloader has been cheated slightly. As a Swashbuckle fan, this is definitely worth listening through once or twice to understand the direction the band might be headed for. But if you're trying to get into these nautical nutters, start with a full-length album, as this will leave you unfulfilled. Musically, everything is done right. But 'We Hate The Sea' is too short, samey and doesn't let their trademark humour shine through. (Larry Best)

(Get This Right Records - 2014)
Score: 50

https://www.facebook.com/SwashbuckleBand

Zero Down - No Limit to the Evil

#FOR FAN OF: Heavy/Thrash

With four full-length albums under their belt since 2005, you'd think Seattle metallers Zero Down would be on our radars a little more often. But the first few tracks of their brand new effort 'No Limit to the Evil' reveals the issue regarding their popularity... The excellent cover art, by classic metal artist Ed Repka, would imply that this disc would contain 40 minutes of nu-thrash madness. This only heightens the disappointment felt upon first listen. This is heavy metal done pure and simple. For that, I commend them - I respect any band who eliminate unnecessary bells and whistles in order to focus their sound more directly. Unfortunately, Zero Down sound like they really could do with some more bells and whistles to grab the attention of those who have been bored senseless by song after song of generic, mid-tempo stomping. Okay, firstly, the pros: The production on the stringed instruments is an absolute pleasure - a nice rounded bass sound provides ample support for a simple, mellow guitar tone. The drums are definitely far too low in the mix, and the vocals...well, we'll get to them later. The gang-vocals employed by the rest of the band are nothing if not fun, and definitely enliven the blander parts of songs like "Suicide Girl" and "Devil's Thorn". The riffs, whilst mind-numbingly simple, at least contain enough energy to awaken that primal feeling which plagues most metalheads, forcing the listener to rhythmically nod in respect (opening riff to "Steve McQueen" especially). The cons? Hmm. 'Generic' really is the key word here. You are hearing nothing that hasn't already been done infinitely better by the likes of Saxon or Accept or...every NWoBHM band ever. 'No Limit to the Evil' is a collection of meandering, mid-tempo rockers which rarely turn the volume up past 6 or 7. It's not awful! But it's so average, it hurts. Would it really have killed them to quicken the pace a little? Or even slow it down further? Variety is the spice of life, and this about as spicy as cream cheese. Now then, Mark Hawkinson's vocals... It appears that 70% of the time he is perfectly capable, tuneful, and in control. This is majorly let down by those times where he attempts falsetto, and just crosses the border into 'Embarrassment-land'. His lyrics are, to put it bluntly, stupid: "Blah blah blah BEER. Blah blah blah METAL. Blah blah blah WOMEN." Yawn. If you really feel you should persevere with this band - then look into their earlier releases. They are at least packed with far more variety than "No Limit to the Evil". There definitely are highlights, such as the energetic "Phantom Host" and the brilliantly-titled "Two Ton Hammer" - but they are disappointingly eclipsed by the carnival of boredom that surrounds them. Better luck next time, chaps. (Larry Best)

(Minotauro Records - 2014)

Score: 40

https://www.facebook.com/pages/Zero-Down

Manilla Road - Out of the Abyss

#FOR FANS OF: Heavy/Epic/Power

I often rant about the undeserved fame of certain artists, whilst other, more worthy acts are left to fade away into obscurity. Thankfully, Kansas' Manilla Road never really 'faded into obscurity' - they just never received the recognition that they rightfully deserve and, even after 37 years, remain criminally underrated. Their 1988 classic "Out of the Abyss" is getting the remastering treatment soon, and though I don't think it needs any polishing, it may do the band good to boost the acknowledgement of such a phenomenal release. With regards to the remastering; the only aspect of this album which could be improved is the production quality. But remember, this was recorded 26 years ago, and the sound is certainly exemplary for the period. Well, what to say about this beast that hasn't already been said? It's a total all-out power/thrash assault. The epic scope of previous Manilla Road albums had been set aside (though not completely) to make way for a more grimy and evil timbre; the fantastical and ethereal lyrics substituted for a bit more blood and gore; and the music itself less melodic, more direct and definitely more thrash-oriented. Speedy numbers like "Black Cauldron", "Midnight Meat Train" and the title track display characteristics that would make the likes of Carnivore or Heathen blush, whilst showing more musical prowess than anything Slayer ever cranked out. The mid-paced stompers like "Slaughterhouse" and "Rites of Blood" are where the 'Road really shine. Mark Shelton's riffs get a lot more room to breathe and almost force the listener to bang their heads, especially in the former track (at the 2:01 mark). Speaking of Shelton: his vocals still have the vibrato and melodic shine that was so present on "Crystal Logic", but he now employs a far grittier scream where necessary - seriously contributing to the evil atmosphere this album exhibits. The real highlight of this album (which is almost worth the price of the album all by itself) is the utterly insane opener, "Whitechapel". This grotesque tribute to Victorian murderer Jack The Ripper is an 8-minute balls-to-the-wall thrash-fest. Keeping the energy level high, the drum rhythms blazing and the riffs vicious whilst remaining musically interesting for this length, is a feat one simply must behold. It remains utterly unjust how such a prolific band, who have released countless albums over their 37-year-career, can still be so overlooked in the metal community. However, Manilla Road have released quality material in their current state for aeons, so whatever their magic formula is, let's hope it does not waver. Now buy this album, you lowly peasant. (Larry Best)

(Shadow Kingdom Records - 2014)

Score: 90

https://www.facebook.com/ManillaRoadOfficial

Eternal Khan – A Poisoned Psalm

#FOR FANS OF: Black Doom

It is an exciting moment in a reviewer's life when posed with the opportunity to review something previously unheard of. Rhode Island's Eternal Khan are a blackened doom metal band who do exactly what it says on the tin: fuse those two sub-genres together coherently; neither one overshadowing the other. Their debut full-length, "A Poisoned Psalm", carries the lumbering tempos and misanthropic lyrics of doom, and blends them with the harmonic-minor melodies and bleak atmosphere of black metal. Bands such as Woods of Ypres and Forgotten Tomb have already pioneered this genre, so this is nothing original - but Eternal Khan have at least managed to carve their own identity into an already niche market. The albums starts as it means to go on - with a noble, (but nevertheless desolate) oozing riff which gradually crescendos to a satisfying climax. This will become the norm for the remainder of "A Poisoned Psalm", but fear not - it never becomes dull. It simply creates a familiarity with the songs before you've even heard them! Despite the restrictions that such a particular sub-genre would usually hold - Eternal Khan manage to be as varied as they possibly can. In terms of tempo, tone and dynamic range, this is a surprisingly diverse record. For example, opener "Bells on the Black Hour" plods away with satisfying gravitas, whilst "Undermined And Abandoned" accelerates with some impressive blast beats and galloping grooves. But the real selling points are the riffs. Each one is memorable and never tries to hold its own, but compliments the vocals and drum rhythms so well; creating one pleasing and cohesive sound. The production is perfectly executed. N. Wood's nihilistic grunts are at the forefront of the mix, and the intention behind his hateful lyrics is handled with clarity and control. The guitars and bass sound beautifully muffled, whilst D. Murphy's kit clangs away in the background with an almost ambient vigour. This is definitely a band to keep an eye on. For the present, their blend of blackened doom metal is purely satisfying, and nothing special. But "A Poisoned Psalm" shows the early signs of a band who have the potential to expand their sound beyond such confines. Would recommend. (Larry Best)

(Self - 2014)

Score: 80

https://www.facebook.com/EternalKhan

Cross Examination - Dawn of the Dude

#FOR FANS OF: Thrash/Crossover

Thought the thrash revival was over? Well, you're right. Metal is now so diverse that there really is no governing genre at any time. But thrash metal, ruler of the mid/late eighties, enjoyed a welcoming comeback in the mid 00s. However successful or obscure thrash became - its bastard-child, crossover, pioneered by the likes of S.O.D, Suicidal Tendencies and D.R.I, never really went anywhere. It just gradually became more violent, frenzied, and humorous. This is music for those who truly do not give a fuck - and Missouri's Cross Examination epitomize that characteristic in hilarious fashion. These thrasher's debut full-length "Menace II Sobriety" was a furious, yet surprisingly contained, piece of crossover madness, with memorable riffs and clear song-structures. But if their new EP "Dawn of the Dude" is any sign of things to come...then prepare to rip some fucking wallpaper. The riffs have been diluted by a messier production which boosts the volume of the cymbals and the bass. It's VERY sloppy in comparison to previous releases, which provides the perfect atmosphere for this 13-minute mayhemic monster. Fortunately, Kegmaster's vocals have become even more frantic and hysterical - making him the star of the whole affair. Any crossover fan should reap much joy from hearing him shout "WHAT! THE! FUUUUCK?!" in "Opposite Day". Plenty of samples and spoken-word sections make this a self-aware and charming EP which is guaranteed to plant a smile on the most hardened metalhead. The musings of opener "Wake Up Call", the rhythmic gang-shouts of "Hail To The Jeef", and the sheer chaos of "Ritual Snackrifice" contrast wonderfully with full-blown thrash flings like "The Bluntacolypse" and the groovier title-track, resulting in a schizophrenic, yet endearing, chunk of insanity. Considering its brevity, Cross Examination manage to cram a decent amount of variety into "Dawn of the Dude”, as well as the consistency to remain stylistically loyal to the crossover psychopaths they clearly worship. Highly recommended. (Larry Best)

(Organized Crime - 2014)

Score: 80

https://www.facebook.com/crossexamination