Although heavy metal is extremely popular in Europe in places such as Greece, Germany and the Scandinavian countries, I don’t know many metal bands that hail from France. Then along toddles Existance and I am thinking to myself WHY have I never heard of these guys before?

Originating in Clermont, Picardy in France, Existance is the 2008 creation of Julian Izard, a singer who wanted to create the metal spirit of the 1980’s alive and with the help of his fellow band members he has done just that.

If the name Izard is familiar to you, he is none other than the son of French speed metal band H-Bomb’s vocalist, Didier Izard and musical talent obviously runs in the family.

Being the third full length album released by the Frenchmen, Breaking the Rock is an absolute must for fans of bands such as Priest, Maiden, Saxon, Riot and Accept, the band obviously drawing on these giants as their influence, and I knew just three songs in that this was going to be a corker!

Opening with “Heavy Metal Fury”, an energetic opener packed full of 80’s inspired metal, the album just gets better and better with not a bad track on it, but that’s not surprising seeing as it was remastered in Los Angeles by Maor Appelbaum, who has previously worked with the likes of Halford, Malmsteen, Dokken, Anvil and Sepultura.

This is “one hell of an ass-kicking album that proves true metal is steel alive.” Packed with strong riffs, catchy rhythms and lyrics and memorable solos, this is an album that commemorates for many the glory days of heavy metal.

It has the twin guitar harmonies favorited by bands such as Judas Priest, thrilling solos that hit you right in the stomach and send your ears into aural overload, a clean, melodic vocal arrangement and a strong rhythm section that can change speed at the drop of a hat.

Two elements of metal music I absolutely love are crunching, galloping guitar riffs and double-kicking bass drums…..and luckily for me, this album has both! It’s hard to believe these guys haven’t been around since the heady days of the 1980’s as any band can play songs that sound like they have come from a by-gone age, but not everyone can play them to the standard these guys do.

The tracks are all great compositions with lots of variety, ranging from the thumping opening track previously mentioned to the more ballady “Sinner of Love” to the chanting lyrics of “Honest” (and I just love the way they pronounce the H every time they shout honest!) These are young guys who know how to write catchy songs and obviously have a love of the era they are trying to emulate.

Many people say why try to recreate a sound that happened three decades ago when there are years of musical technology and development to take advantage of? Well, my reply to that is……why the hell not?

The 1980’s was a great period for metal music and if a band as a great as these can play to the same standard that we were used to back then, then I’m all for a bit of nostalgia. It’s a great trip down memory and works wonders in making you feel young again!

I absolutely loved, loved, loved this album and the only downside to actually writing this review is I now have to take the album out of my car to make way for the next review.

If you love Riot and Accept, go out and get this album, and everything else they have ever done (I am certainly on the lookout for their back catalogue), and take a trip back in time! I guarantee you will love it as much as I did.

TRACKLISTING:
1. Heavy Metal Fury
2. Honest
3. We Are Restless
4. All Is on Fire
5. Deserve Your Love
6. Sinner of Love
7. Marilyn (Icon of Desire)
8. In the Name of Revenge
9. Pain in Paradise
10. Breaking the Rock

LINE-UP:
Julian Izard – vocals/guitars
Antoine Poiret – guitars
Nicolas Martineau – drums
Julien Robilliard – bass

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Ever Metal

When Rick and I started out on this little reviewing venture of ours we decided that we didn’t want to be one of those sites that concentrated on just the genres that we (personally) liked. We wanted to cater for all types of rock and metal and that means we can (both) get exposure to stuff we wouldn’t normally listen to. The Darkhorse fall under that category.

Hailing from the lower depths of Northamptonshire, this is a 4 piece metal band with the heart of doom and sludge and the lungs of a hardcore band. Formed in 2014, their self-released 6 track debut EP “A Badge of Dishonour and Discomfort” (recorded at Neil Hudson’s (Krysthla) ‘Initiate Audio and Media Studio’) was issued shortly afterwards.

Influenced by the likes of Sabbath, Superjoint Ritual, The Chariot, Crowbar, Eyehate God, RSJ, Raging Speedhorn, Iron Monkey, Down and The Deftones, The Darkhorse have played both Bloodstock in 2014, after being spotted by Simon Hall at their M2TM final, and Mammothfest in 2015 and have also supported the likes of Raging Speeedhorn, Heart of a Coward, Mage, Stormringer, Garanjua, Brutai and many more. They also received the award for the Best Live Band of 2014 in the Hopp Awards.

24th February 2017 saw the release of their debut full length album “The Carcass of the Sun will Sleep” which features eight tracks, six brand new songs with the addition of ‘March of the Infected’ and ‘Dead Crows’ being revamped and re-edited for the album. The band had returned to Neil’s studio to record the material and it was produced, mixed and mastered by Neil himself.

So what of the album? As I have previously mentioned this is not the type of genre I would normally listen to BUT that does not mean that I cannot review this just as I would any other album. One thing I will say though to start with is that if you like your metal raw and downright dirty then this is the album for you.

The album opens with the track ‘Dying is the only Cure’ and this shows what is to be expected from the rest of the album. From the first note of the first track to the last note of the last, this is a rollercoaster of an album that hits you right in the gut from the get-go. There is no let-up as this is NOT the type of band to produce a ballad (although this would be kind of interesting to hear!) and from start to finish is a total metal onslaught meant to make your ears bleed (in a good way!)

It is a doom laden, sludge driven album packed full of big dirty riffs and leads, crushing rhythms and guttural vocals.

But this in no way means that it is an album of just noise with no substance or structure. Although gruff and throaty, the vocals are still comprehensible and not just a screaming mess, and the musicians are obviously very talented (I don’t think you can make this type of metal WITHOUT some form of talent!)

There is form to the tracks and the tempo changes could also place them somewhat into the progressive metal genre.

The album ends with the thunderous ‘Congratulations You’ve Survived the Human Cull’ which I think is just the band’s way of saying ‘well done you’ve survived the album’.

This is not for the faint hearted, it is heavy and it is loud. I love the name of the band and I love the name of the album and I can honestly say this might have opened my eyes to a style of metal I might otherwise have stayed away from.

So buckle up and enjoy the ride!!

TRACKLISTING:
1. Dying Is the Only Cure
2. 741
3. March of the Infected
4. Hecatomb
5. nemA
6. Dead Crows
7. We Fear None but Our Own
8. Congratulations You’ve Survived the Human Cull

LINE-UP:
Mat Ward – Drums
Barry Groome – Guitars, Vocals
Jamie Darnell – Guitars
Daniel Groome – Bass, Vocals

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Originally posted on Ever Metal

Described on their own biography notes as “raw, powerful and uncompromising thrash metal with thundering, artillery-like riffs and energetic choruses that leave you no choice but to mosh and bang your head” Mortal Strike are a thrash metal band from Austria, and they have described themselves perfectly!

Formed in the autumn of 2009, these are five guys from three different countries, Austria, Denmark and Germany, who all have the same one goal, to make the music that they all love.

Having won the W.O.A Metal Battle Austria in 2011, performing at Wacken Open Air, the world’s greatest metal festival, gained the band a high profile. Countless shows with some of thrash’s most legendary bands such as Warbringer, Darkness, Tankard and Destruction, as well as performances at festivals such as Wacken, Kaltenbach Open Air, Out ‘n’ Loud Festival and The Black ‘n’ Thrash Inferno followed, culminating with the release of their first full length album “For the Loud and the Aggressive” in 2014.

Influenced by many of the old school thrash bands such as Sodom and Kreator, as well as faster speed influences from the likes of Stormwarrior and pure old school heavy metal finding its way into Mortal Strike’s music, listeners should take heed of the title. If you like your metal loud and aggressive then this is the album for you.

Playing generic old school riffs with crushing guitar work and pounding rhythmic drumming, this album is a serious thrash assault from start to finish that could easily hold its own with some of the thrash greats. With songs predominantly about war and violence, the tempo NEVER slows down, the result being just under forty seven minutes of in your face metal.

There is nothing ground breaking about this album which could lend people to think it’s a bit one-dimensional and “samey” but maybe the band wanted to make something that would simply smash you in the gut and make your ears bleed. If this is the case, then they succeeded.

What is outstanding on this album is the production and the dynamics of the band. Each member of the band works well with the rest just like the cogs of a well-oiled machine. They seem to bring the best out in one another and the result is outstanding.

When I review an album I can usually tell by the end of the second track whether I am going to like it or not. I knew I liked this album by the end of the FIRST. I am a thrash girl at heart and this album was right up my street, a mix of Kreator, Exodus and Onslaught. With galloping guitars, double kicking drums and a singer with a voice that could easily be mistaken for that of Mille Petrozzi from Kreator, Mortal Strike are not just a retro-thrash band (a phrase I have read said of them numerous times!) They are a band who can play the thrash metal popular in the 1980’s as if they were playing in the 1980’s. This is an album that will catapult you back thirty years into the past and that, in my book, is in no way a bad thing!

They can play the music, they absolutely look the part and this album totally kicks arse!!

TRACKLISTING:
1. For the loud and the aggressive
2. Here comes the tank
3. Outburst of fury
4. Against the Wall
5. Mg 42
6. Smash the Tyrants – Storm the Gates
7. Strike
8. One against all
9. The Tides of War Arise #1
10. Unleash the Hounds of War #2
—Bonus (Only on CD-Version)—
11. Zombie Attack (Tankard Cover)

LINE-UP:
Chrir – Guitars (rhythm)
Matthias Gerstl – Vocals (lead)
Max Scheiber – Drums
Etzi – Guitars (lead)
Dominique Heine – Bass

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Ever Metal

Having previously owned just one Evergrey album, 2008’s Torn, getting the chance to review their latest offering was too good to turn down.

Released on AFM Records on 9^th September 2016, The Storm Within is the Swedish quintet’s 10^th studio album and is one of the most progressive records they have produced to date. Inadvertently coinciding with their 20^th year anniversary, The Storm Within, is considered by some to be their strongest album ever.

Formed in Gothenburg, Sweden, in 1995, the band have undergone various personnel changes, their current line-up undoubtedly being their best as 2014 saw the triumphant returns of both Henrik Danhage and Jonas Ekdahl on the album, Hymns For The Broken and The Storm Within picks up where Hymns left off.

In true Evergrey style, the album has a melancholy concept and is one that everyone can relate to. Described by frontman/founder Tom S Englund as the band’s first “love” album, it portrays the processes and emotions of having someone, losing them and having to pick yourself up and move on and incorporates the Evergrey trademark progressive, dark and melancholic elements.

The album is packed with elaborate guitar work, remarkable solos and killer rhythms and the combination of melodies, progressive tendencies and a heaviness only a metal band could produce along with haunting lyrics and vocals, means the band connect with their listeners on both a musical and emotional level. On a personal note, I can relate to the distinctive poignant vocals but with plenty of beefy guitars and galloping heavy riffs, which recently had been pointed out to be a favourite of mine, the album offers a delightful treat for my ears too.

We start with a haunting piano intro that steers us into Distance, the lead single and first video off the album, and the melodically and lyrically stunning Passing Through is set to become a fan favourite. My Allied Ocean is undeniably the heaviest track on the album, and The Impossible is a nice change of pace, with just the main vocal, piano work and some lovely string ambience, the band paying for real stringed instruments. The duet with Floor Jansen from Nightwish on In Orbit is the icing on the cake, the two complimenting each other perfectly and Englund is also joined by his wife Carina on The Paradox of the Flame.

Says Englund of the album: “The Storm Within is a massive album. There are no fillers on it and we’ve never been about that. I think the inspiration speaks for itself.”

I couldn’t have said it any better myself, Mr Englund. A cracking album, and one I will continue to listen to for a good while to come.

TRACKLISTING:
1. Distance
2. Passing Through
3. Someday
4. Astray
5. The Impossible
6. My Allied Ocean
7. In Orbit (feat Floor Jansen)
8. The Lonely Monarch
9. The Paradox of the Flame
10. Disconnect
11. The Storm Within

LINE-UP:
Tom S Englund – vocals, guitar
Henrik Danhage – guitar, backing vocals
Rikard Zander – keyboards, backing vocals
Jonas Ekdahl – drums
Johan Niemann – bass, backing vocals

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Metal Gods TV. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Metal Gods TV

Despite being around for over twenty years and with a back catalogue of six previous albums, I had never actually heard of Emerald until their new album “Reckoning Day” dropped into the Ever Metal inbox. This means I have nothing previous to compare this album to but this could have been a good thing as this release comes with a whole new line up.

Emerald were originally formed in Düdingen in Switzerland, founded in 1995 from the ashes of two local bands, Dark Crystal and Oppress and since releasing their last album “Unleashed” in 2012, they have changed their singer twice, now settling with Mace Mitchell (Silence Lost, Eddies Beast, The New Source), added a new second guitarist in the shape of Julien Menth (Six Pack) and brought in new bass player Vania Truttman.

“Reckoning Day” is their seventh studio album, released on 17/03/2017 in the UK (24/03/2017 worldwide) by Pure Steel Records and is over sixty minutes of heavy metal in its purest form. Pounding drums, heavy riffs and melodic leads, re-inforced with vigorous power metal vocals and strong production by V O Pulver (Gurd, Poltergeist, Destruction) give the band the “pure fucking heavy metal sound from Switzerland” sound that is proudly the tag line of their own website.

In essence, this could be considered two albums in one, or at least a double album, as it can be broken up into two distinct parts. The first half is just pure and classic heavy power metal, with the band sounding like bands such as Edguy, Avantasia or Helloween one minute then turning things up a notch or two to match the sound of Metallica or Iron Maiden the next. There is even a Bon Jovi-esque power ballad thrown in for good measure, although personally I don’t think belongs on the album. I love a good power ballad, but this changes their sound too much and I just don’t think it fits well with the rest of the tracks.

The second half of the album is a concept titled “The Burgundian Wars” that is based on the historical novel “Der Löwe von Burgund.” What many people won’t know is that this book was actually written, and published in 2012, by the band’s keyboard player Thomas Vaucher, proving there is more to this band than first meets the eye. Bookended by musical narration this part of the album could almost have been released entirely on its own and quite possibly should have been.

The core elements of the Emerald sound are twin guitar harmonies and leads, a solid and galloping rhythm section and clean, strong, assertive metal vocals. These fundamentals are then mixed with plenty of melody, harmony and groove, with a touch of synthesisers for orchestration to produce a power metal sound that has some fucking balls.

This is a classic heavy metal band with a very “keep it real” tradition, not afraid to mix it up a bit, while keeping their sound firmly in their roots.

There is much to like about this album, and lots to love. I personally would have released it as two separate albums but that’s just my humble opinion and incorporating it all onto one does nothing to take away from just how good it is. I could go on all night about this album but why listen to me singing its praises when you can go and purchase a copy and listen for yourself?

If you like power metal you’ll love this album, if you like thrash metal you’ll love this album…..hell, if you like classic heavy metal, you’ll love this album.

So, what are you still reading this for?? Get online and order yourself a copy…..now!!

TRACKLISTING:
1. Only The Reaper Wins
2. Black Pyramid
3. Evolution In Reverse*
4. Horns Up
5. Beyond Forever
6. Through The Storm*
7. Ridden By Fear
8. Mist Of The Past
9. Trees Full Of Tears
10. Lament Of The Fallen
11. Reckoning Day
12. Reign Of Steel
13. Signum Dei
14. Fading History
15. End Of The World*

LINE-UP:
Al Spicher – Drums
Michael Vaucher – Guitars
Thomas Vaucher – Keyboards
Julien Menth – Guitars
Vania Truttmann – Bass
Mace Mitchell – Vocals

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Ever Metal

During the beginning to mid-2000’s, all I ever listened to was power metal! Rhapsody of Fire, Blind Guardian, Therion, Sonata Artica, you name it I had it! Now fifteen years later, I thought my love affair with that particular genre of metal had fizzled out a long time ago. But that was until I heard this album by Swedish power metal band Bloodbound.

Formed in Bollnäs, Sweden, in the summer of 2004 by Tomas Olsson and Fredrik Bergh, they have not only released six studio albums and a live cd/dvd since then but they have also toured with the likes of Sabaton, Hammerfall and U.D.O as well as performed shows with Arch Enemy, Pretty Maids and Evergrey.

2006 saw the release of their debut album “Nosferatu”, which was very well received, but also saw line-up changes when singer Urban Breed left the band after they toured. Michael Bormann (ex-Jaded Heart) was brought in as a replacement and the band’s second album “Book of the Dead” was released in 2007, the first of their albums to enter the Swedish charts.

Bormann left the band after existing commitments meant he couldn’t devote the time needed and Urban Breed returned, recording a further three albums. But by 2010 he had left again and they finally found a new vocalist in Patrik Johannsson, who was not only a great singer and frontman, but he was also a friend.

Finally, some stability was brought to the band and “War of Dragons” is a continuation of 2014’s “Stormborn” but with faster-paced tracks, while not losing the anthemic feel the band is known for. Bloodbound are masters of combining melody with power and this albums displays perfectly the evolution the band has undertaken since “Nosferatu”.

So what of this album?

Generally, it is an over the top, cheesy, anthemic power metal album, with lots of infectious tunes and choruses that have been made the focal point of many of the tracks. BUT……it is also a fun album and one that you just can’t help but like! It is an epic, larger than life, mid 2000’s throw back, which ranges from moderately fast to a ridiculous frenzy of speed, but it is good. It is very good!

Two of the core elements of the Bloodbound sound are the guitar wizardry of the Olsson brothers with their in your face riff work and fantastic solos, and the attitude-based powerful vocals of Johannsson, a typical Euro-power metal vocalist but one with balls and a voice strong enough to also hit the high notes when needed. Mix into this the more than competent keyboardist, Fredrik Bergh, and drummer Pelle kerlind, immense orchestrations and massive vocal arrangements that culminate in a huge choral backdrop, and you have the perfect power metal sound. There is even a folksy, flute driven chorus on “Silver Wings” thrown in for good measure.

This is a relentless album that gives the listener no resting time with just a little over 45 minutes of full on POWER METAL! Now, reading back through this review I can see I have used the term “power metal” on many occasions and as a writer one of the things you DON’T want to do is constantly use the same words and phrases but there just is no other way to describe this album. Despite the band’s continuing change in sound they are a power metal band and this is a power metal album!

So, dig out your wand, climb aboard your dragon and fly to the nearest record store and purchase this fantastic album from the mystical, magical cd sellers.

Get one before all the goblins do!!

TRACKLISTING:
1. New Era Begins
2. Battle In The Sky
3. Tears Of A Dragonheart
4. War Of Dragons
5. Silver Wings
6. Stand And Fight
7. King Of Swords
8. Fallen Heroes
9. Guardians At Heaven’s Gate
10. Symphony Satana
11. Starfall
12. Dragons Are Forever

LINE-UP:
Pelle Åkerlind – Drums
Tomas Olsson – Guitars (lead & rhythm)
Fredrik Bergh – Keyboards, Vocals (backing), Narration (tracks 1, 2)
Henrik Olsson – Guitars (rhythm)
Patrik J Selleby – Vocals
Anders Broman – Bass

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted to Ever Metal

Hailing from Wakefield, West Yorkshire, Hamerex are a four piece heavy metal band, founded in 2004 by vocalist and guitarist Steve Blower. Throughout their career they have supported the likes of Powerquest, Conquest of Steel and Funeral for a Friend, as well as well as playing at Clarence Park Music Festival in 2012 and Coalfields Festival in July 2014.

When Steve approached me through Facebook to do a review of their third studio album “Traitor,” I jumped at the chance and, having never heard anything they had done before, I wasn’t really sure what to expect.

Released on 7^th October 2016 on their own label IX Music, the album is first to feature Steve on vocals following a positive reception of ‘The Last Ride’ E.P, and once again enlists the artistic talents of Kiera James as cover and cd layout designer.

Musically there is nothing wrong with this album. Hamerex are a heavy metal band who play heavy metal music, albeit with reminiscence of the NWOBHM era of the late 70’s / early 80’s.

There are funky bass lines, such as the strong intro to the opening title track, heavy doomy riffs on tracks such as “Journeys End” and great guitar playing by both guitarists. But I have never been a big fan of the NWOBHM period of metal music, sounding to me like much of it has been played into a bucket.

Although this album does not sound like it has been recorded inside a steel can, I do, however, think the vocals let the record down. I have no doubt that the band have worked very hard to produce this album and I personally think seeing these guys perform live would be an experience not to be missed but I don’t think it quite works on cd.

For me, nothing jumped out during the first play through. I am not saying the tracks are awful because they are not but there were no dynamic tracks that embedded themselves into my brain, making me sing them to myself throughout the day.

The album is not rubbish, not by a long shot, but it is not a game changer either. This is a heavy metal album that “does what it says on the tin”…..it plays metal.

But go and give it a listen. It may not to be my taste, but it might just be the album you are looking for!!

TRACKLISTING:
1. Traitor
2. The Dark Tower
3. Dead Mountain
4. The Nameless One
5. Eyes of Deceit
6. The Abyss
7. The Evil Within
8. Journey’s End

LINE-UP:
Steve Blower – Vocals & Guitar
Andy Firth – Guitar, Bass & Keyboards
Darren Kelsall – Drums
Marc Hood – Bass (Not featured on the album)

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Ever Metal

Over the years, Germany has produced some of the best rock and metal bands there has ever been, ranging from The Scorpions to Accept to Kreator and Helloween. And now it has produced yet another.

Snakewine formed in early 2014 and hail from Saalfeld, right in the centre of Germany. Serpent Kings is their debut full length album, released on 31st October 2015 and one question needs to be asked? Why the hell hadn’t I heard of them before now??

Described on their Facebook page as “pulse driven heavy rock” this is an entirely accurate description of these four guys. A mix of biker rock and good ol’ fashioned rock and roll, with a little bit of punk thrown in, this band certainly know how to make a BIG impact with this debut offering.

Recorded, mixed and mastered by Niklas Wenzel, this is one “hell of a rock and roll ride.” Opening up with “Breathtaker” the album is relentless from start to finish, and that is by no means a bad thing. At just eight tracks long with a total playing time of just a smidgen over thirty minutes long, this album will have you headbanging and/or bopping along for the entire time.

Combining a dirty, sweaty sound with funky beats and fantastic guitarwork this is like nothing I have ever heard before. The structure is simple with singalong choruses and heavy riffs and solos that will have you banging your head along with the music. There are no fillers on the album, so no time to catch your breath before you are launched headlong into the next round of heavy rock n roll, but that doesn’t mean that every song sounds the same.

The singer has a very distinct voice, with a hint of Ian Astbury from The Cult (albeit a little bit more gravelly) and, as far as I am concerned, this is what makes the band. Some people MIGHT not like the vocals but I love them. It gives the band their individuality and loud, full sound.

Each one of these guys is a very talented musician and sometimes it’s hard to believe there are just four of them. They complement each other perfectly and the album has obviously been recorded with energy and passion.

Stand out tracks for me are “Son of a Gun” and “Shipwrecked” but my favourite track on the album has to be “Mean Machine.” Its heavy, it’s hard and it has a wonderful rock and roll sound.

I love these guys on cd and I would love to see them perform live! Half an hour jumping around to this lot and I would need three pints just to recover!

There isn’t any ground-breaking stuff on here, everything is kept nice and simple, and I am sure that any people wouldn’t class it as album of the year. BUT, it is a fun album and it totally rocks so if there is one album you don’t miss out on this year, it would be this one.

I loved it and I am sure you would too!!

TRACKLISTING:
1. Breathtaker
2. Son of a Gun
3. Brood of Vipers
4. Mean Machine
5. Serpent King
6. Double Barreled
7. The Devil You Know
8. Shipwrecked

LINE-UP:

Ronny Konietzko – Vocals
Frank Vogel – Guitar
Florian Rahm – Bass
Roman Kramer – Drums

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Ever Metal

I must admit when I agreed to do this album review I had no idea that it was re-recording of a previously released album. Being far too young (!!) to have experienced most of the bands from the 80’s first time round, I have had to rely on other people introducing me to bands and finding them on YouTube. And the more bands I discover the more I believe that I was born much too late as I really would have been in my element in the 80’s.

Indiscreet 30 is a total re-recording of FM’s debut album, funnily enough also called Indiscreet, using today’s technology and recording techniques that has given the album a new power and dynamic that was not possible to achieve in the 1980’s.

But let’s start at the beginning, shall we?

FM were formed in the summer of 1984 (see, I was only 7 then!) with the ex-Samson pairing of bassist Merv Goldsworthy and drummer Pete Jupp, the Overland brothers – vocalist/guitarist Steve and lead guitarist Chris (both formerly of Wildfire) and keyboardist Phili Manchester.

By the end of 1985, they had released their debut album Indiscreet and had hit the road in Europe, supporting Tina Turner, Foreigner, Gary Moore, Status Quo and Magnum and had also opened for REO Speedwagon at London’s Hammersmith Apollo. At the end of the year they accepted a spot with Bon Jovi, supporting them on the UK leg of their Slippery When Wet tour.

To date the band have recorded nine studio albums, three of which, Indiscreet, Tough It Out and Heroes and Villians, reached the UK album chart while 5 of the band’s singles also made inroads into the UK singles chart.

But the band split up in 1995.

On 27th October 2007, however, the band played together for the first time in 12 years when they headlined the sold out Firefest at Nottingham’s Rock City, and due to the reaction the band received, they decided to make the reunion a permanent one.

Just like any long running band there have been a few line-up changes over the years but three original members in Steve Overland, Merv Goldsworthy and Pete Jupp remain and are now joined by Jem Davies on keyboards and Jim Kirkpatrick on lead guitar, giving the band a younger perspective.

So what made them decide to re-record such a classic album? Obviously such a hit with the fans, and regarded by some as one of the best AOR albums of the 1980’s, it could be considered somewhat risky to re-record the entire thing. The band had previously been approached to re-record one or two of the songs and it was after they were recording the follow up to Heroes and Villains that they decided to put down a backing track to That Girl to see how it would sound with the huge sounds they were now achieving. The rest, as they say, is history.

Says bassist Merv Goldsworthy “we are not trying to recreate the original but this is our interpretation played by FM as we are today.”

Produced by FM themselves, recorded at Tremolo Studios and Coal House Studios in Staffordshire and mixed by Jeff Knowler (who also mixed albums Metropolis, Rockville and Heroes and Villians) Indiscreet 30 is not only a re make of the original album but also includes seven bonus tracks including a brand new track “Running on Empty.”

I can’t say I have listened to the original album so for me to make a direct comparison between the two would be both unprofessional and dishonest of me but I have taken a peek at some of FM’s earlier stuff on YouTube and one comparison I CAN make is about the voice of Steve Overland, which is still as fab now as it was back then.

Not many singers can maintain their standard of vocals the older they get but Steve has managed to do just that. I’m not sure if he trains his voice or whether he is just one of the lucky ones but he sounds as good now at the age of 56 as he did at the age of 24!

There is nothing to dislike about this album. The guitar work is faultless, the keyboards are a prominent feature of the sound and the percussion section keep everything tight and neat. Backing vocals are pitch perfect and harmonize well with Steve’s lead vocals, and the production is fantastic. There is a good mix of rocky songs and ballads as well as an acoustic version of That Girl, and this album will definitely have you dancing around your living room. I am listening to it while I write this review, it now being on its third or fourth time round, and I haven’t once got bored with it. There is something new to notice every time it’s played and this shows to me there are many layers to the songs and the tracks are not one dimensional.

AOR was not really a genre of rock and metal that I have paid particular attention to over the years but having reviewed the likes of FM, Nightranger and Tyketto in the last few weeks, maybe I should go and check a few more bands out.

That’s one of the great things about listening to rock and metal music. There are so many different genres out there that one week you could be headbanging to thrash metal and the next you could be bopping along to AOR.

I, for one, wouldn’t have it any other way!!

TRACKLISTING:
1. That Girl
2. Other Side Of Midnight
3. Love Lies Dying
4. I Belong To The Night
5. American Girls
6. Hotwired
7. Face To Face
8. Frozen Heart
9. Heart Of The Matter
10. Let Love Be The Leader (*)
11. Running On Empty (*)
12. Rainbow’s End (*)
13. Shot In The Dark (*)
14. Bad That’s Good In You (*)
15. Love & Hate (*)
16. That Girl (Acoustic Version) (*)
(*) bonus tracks

LINE-UP:
Steve Overland – Vocals, Guitar
Jim Kirkpatrick – Lead Guitar, Backing Vocals
Jem Davis – Keyboard
Merv Goldsworthy – Bass, Backing Vocals
Pete Jupp – Drums, Backing Vocals

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally published on Ever Metal

Evyltyde are a London based band formed in October 2013 by Danny Merton, guitarist, and Hannah Delany, vocalist, and Rising is their second album released on 27th March 2017.

Since their conception, this female fronted band have performed extensively throughout the UK and have supported rock legend Graham Bonnet and were tour support for Accept/Bonfire/Bangalor Choir vocalist David Reece’s new band RPG. They state their influences as Iron Maiden, Metallica, Megadeth, Dio, Black Sabbath and Pantera, and these influences are clear from the onset.

Evyltyde are, as stated on their Facebook page, “one of London’s fastest rising metal acts combining powerful, melodic vocals with hard-hitting, edgy guitar riffs that create a unique and distinctive melding of numerous metal genres, from thrash to gothic” and I cannot think of a better way to describe them.

This ten track album is very mature and structured and its lyrical content emphasises some of the problems of modern day society and culture. With song titles such as “What You Believe”, “Medicated Generation” and “Edge of the World”, with the haunting line “when will we ever learn”, the album deals with a lot of ethical, political and personal themes.

The first track on the album is “Monster.” Depicting the fight between good and evil, its melodic chorus and great guitar solo, backed with heavy riffs, make this one of my favourite on the album. “I wish you could see, the monster isn’t me”, the final concluding line of the chorus would resonate with a lot of people. It certainly did with me.

“No Violet” is probably the heaviest track on the album and my second favourite. I love the way Hannah’s voice gets that robotic edge to it and the line “I don’t want to be a Cinderella” could actually be my mantra because life is, and will never be, a fairytale.

While I am on the subject of Hannah’s voice, this lady must be congratulated on a superb performance. Her voice is clear and crisp and compliments well with the powerful guitars. Always a fan of female fronted bands, I have, nonetheless, struggled with some of the extremes. Hannah’s voice, however, falls right in the middle. Powerful enough to compete with the pounding guitars, yet feminine enough to pull off ballads such as “Forever.” There is, also, a great mix with the gruffer male vocals that appear on some of the tracks.

Those of you who know me, will already know I am a huge fan of galloping riffs, those proper, meaty guitar riffs that echo through your belly, riffs how they should be! And I am pleased to say that this album has them in plenitude, one of the reasons I fell in love with it.

These guys are obviously all talented musicians and they work well together. Their sound is tight, there are fantastic guitar solos throughout and the rhythm section is strong and solid. It’s hard to believe that they have only been playing together for a few years, but they each bring their own talent and they complement each other very well.

Credit has to be given also to the songwriting skills and the production of this album and a self release it should not be.

I very much look forward to what this great band has to offer in the future and I sincerely hope they continue to produce material as good as this. As a result I will check out their first album and I also hope to catch them at a gig sometime soon.

The album is called “Rising” and that’s exactly what these guys are doing in the metal world!

TRACKLISTING:
1. Monster
2. Eye For An Eye
3. Dark Within
4. Medicated Generation
5. Forever
6. No Violet
7. Edge Of The World
8. What You Believe
9. Tomorrow May Not Come
10. Hand Of Fate

LINE-UP:
Danny Merton – Guitars
Hannah Delany – Vocals
Noah Scott – Bass
Phillip Tetlow – Drums

Disclaimer: This review is solely the property of Dawn Smith, The Metal Asylum and Metal Gods. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Originally posted on Metal Gods Tv and Ever Metal