Album Review: Dog Tired – It Came from the Sun

Dog Tired discography Review Part III

Starting off in a beefier tone opener “Storm of hammers” that literally feels like a downpour of actual sledgehammers after the gentle building intro of “Reliquus”, Dog Tired opens their strongest album to date with a righteous set staple track. Quickly ramming into gear, the opening salvos here are more than enough to show that DT is staying their course and staying fuck-heavy.

The next album output of the Penicuik pack was released at a steady productive pace coming just 3 years from the last epic lp “Titan” and shares a lot of the same fire. Matching very closely in terms of sound and production. Album 3 takes the model from before and tweaks and refines its winning formula. With songwriting on this album being homed and fine-tuned onto the excellent hooking riffs and gargantuan grooves. Providing endless chugging and shuddering mosh pit battle anthems, the tracks here are best experienced live or in a group, as the energy and impact is built for clashing bodies and banging heads.

As per their normal high standard, the guitar work here (by Luke James) is the Dimebag Diamond measure with equal weight given between tension-heightening breaks, stomping grooves, and southern swelling solo/lead rips and tears. All are given a surprisingly sludgier coating and inject a measured thrash influence in the faster sections, with the vocals from Chris (combined with Lukes’s roars) sounding extra gritty and demonic as they pile out strong punchy vocal patterns.

With fan favourites on this record such as “Outpost 31” about the horror of the thing (1982) and others, Dog Tired here dominates the listener with hefty track after hefty track, grinding the listener to a pulp with unmistakable priority and passion. Unstoppable grooves and bulging riffage here are bolstered by frightening bass tones by Barry B and double-kick dominance of Keith completing the destruction. This all made the impression of a band confident of kicking asses on stage and experience in the studio. Here is how Luke described his memories of its recording:

We recorded it at Chamber studio with Graeme [Young] which is sadly now changing hands. We recorded the whole thing in a week then went straight into mixing. It got sent overseas to be mastered and the front cover was created by Christian Sloan Hall.

I remember spending a whole day on the title track “It came from the Sun”. Playing with multiple effects on the digitech pedal to make the whole thing sound mental.

It’s also the only Dog Tired album (so far) to have a grand piano recorded in “Spire of Dissonance”

The artwork again by Sloan Hall is my favourite Dog Tired cover and makes this an excellent companion piece to “Titan” with its visual connection and strong identity. While each record is at arm’s length of the other, this record stands out the most with its darker tone, more threatening attitude and dangerous flow. This is the peak Dog Tired album for me and the album I would firstly thrust into the hands of any metal fan interested in what Scottish metal sounds like. Strong, beefy and brutally heavy. [8/10]

GIG REVIEW: Machine Head – Electric Happy Hour (Live) | Dundee

https://www.facebook.com/events/350650743493605

Bands: Machine Head

Out of all the local gigs I have been to since getting into the metal cult, I think I can safely say this is the biggest band I have ever seen in my home town. Definitely the biggest in my memory at the very least. The mighty popular metal giants Machine Head in a surprise move had chosen a few selected smaller city venues, to work as warm-up shows. Planning to iron out their stagecraft before setting off the main tour with Amon Amarth. The prospect of seeing two metal titans made me jump on these tickets like lightning.

I was, however, disappointed to learn late, that the gig would lack any support bands on the bill. This inclusion would be a huge boost to any local (or above) act’s career to be added to this line-up. The management/promo team really missed a great opportunity to help grow, enhance, and promote the scene further. The auspicious honour and badge would proudly be worn by any act lucky enough to get such a slot in the limelight. The very recent precedent of Brothers of metal fresh in my mind made the blow greater as the chance of the rare treat of an act punching above their weight is always, for me, greatly anticipated.

However, a 2-hour un-diluted set from one of today’s metal giants was not to be sniffed at. Admittedly not ever one of my favourite bands, Machine Head has nevertheless played an important part as a gateway act towards heavier music for me and many other metalheads. So there is respect where respect is due to the band that was about to blow out many ears very soon in the very busy Fat Sam’s club venue.

The venue was certainly not prepared to accept so many, so hairy metallers, quite so quickly into the normally chav-tastic and normie-based environment. It was here, while I was trying to attain some extortionately priced pints from a very unstaffed bar, the rumble started as Machine Head and hit the stage to roar and shouts as they kicked off their leg stretching set.

This A-tier act in terms of skills was pretty flawless in its execution of the riff, so here the dependent factor was going to song choice and charisma of the members that determined the score. They would live or die off the strength of their material or how familiar the crowd was with the dudes on stage and the noises they produced. Avoiding the pedestrian nu metal era material, the huge grooves and riffs smashed head-on like the many collisions in the pit in the swarming tight crowd. Quickly building a fantastic atmosphere with excellent cuts from their strongest groove-filled albums. The Blackening, back through to the essential Burn My Eyes song all seem to up the ante into bloodier and more furious crescendos.

Peaking for me at the “sound of a shotgun blast” as this all-time metal classic tune set the pitting area into a battleground as colliding armies smashed and shattered many. This is when disaster struck me. Landing poorly and twisted mid-moshpit I managed to dislocate my kneecap and had to graciously leave the show and seek comfort, rest and possibly medical attention outside.

In my absence, I seemed to have missed some key, memorable moments: such as the bassist, Jared MacEachern mounted the shoulders of one of the biggest dudes in the pit, while a circle pit surrounded him like an island in a sea of sweaty and hairy bodies. I also most regrettably missed the cover of Slayer‘s “South of Heaven” all this would have been phenomenal to be in the thick of, but sadly misfortune played its hand against me.

Part 2 of my night, as I remember eventually returning limping back into the fray. It was just as Machine Head was playing the stranger things famous Metallica cut “Master of Puppets” [RIP Eddie Munson]. The cynic in me would say this track was chosen for its popular culture clout and its newfound recognition rather than for its aesthetics as they cut the track short to jump back into more burn my eyes material.

The new material peppering the set from their latest album Of Kingdom and Crown was sadly forgettable in a set with so many classics though certainly heavy enough to keep the pits frantic and constant. As they dipped back into the older classics, my waning wounded spirit evaporated as I got back into the act and near the front to mosh once more in a lame shuffling bop and headbang. It was definitely a very bad idea to go crowd surfing, as my patella went awol once again mid-struggle above the heads of the front row.

Thankfully for my crippled body, the night was drawing to a close. After an impromptu rendition of “flower of Scotland” belted out from the drunken crowd, the bassist was presented with a thrown gift. A bra which he proudly modelled to the mob’s amusement. I think overall, Rob Flynn and Co were genuinely blown away by the sheer mania of the crowd, and the extremely friendly and aggressively warm welcome Dundee provided to them in shed loads.

Overall this was, one way or another going to be a memorable gig for me as the regrettable damage I’ve probably done to myself may linger for some time. While the madness of this show in the moving picture-show of memories will take much longer to fade. A crazy show proudly witnessed!

I hope if anything Machine Head and the venue learn the value of Scotland’s smaller metal cities, and encourage more big acts to follow suit and come to this town. I also hope venues and those with will and means take note of how viable and successful a metal show from bigger bands can be in this beautiful, crazy city of Dundee. [8/10]

GIG REVIEW: Gloryhammer | Glasgow

https://www.facebook.com/events/537303667991502

Bands: Gloryhammer, Brothers Of Metal, Arion

This might turn out to be my most controversial review so far based on a certain racist Elecunt in the room, who was thoroughly booed by the crowd, but I am getting ahead of myself. After certain leaks of very unfavourable conversations, my enjoyment of Gloryhammer has suffered greatly. As what had come to light is best described as very shitty “locker room talk” that belongs decades in the past at best and utterly condemnable hyper-racist misogyny at worst. But all this was revealed after less informed persons had already bought the tickets and organized my birthday treat. Buggered if I was let one witless Cockwomble ruin a good night of metal and mayhem.

So here I was inside the Garage Glasgow, pint in each hand as the first band Arion had already kicked off. Hampered partly by a particularly nasty sounding mix: the drums were way too high in the mix, and vocals too low and too blurry. However, their Finnish enthusiasm was captured greatly by the welcoming audience, as the numbered bobbing heads attest.

The sound of Arion is a contemporary meets classic twist on power metal. Combining the easy songwriting cues of the harder end of hard rock, the glory and speed of power metal gallop, and soaring vocals, with unexpected influences from elsewhere. Adding in occasional beatdown sections and thrashier potions made Arion a step ahead in an overpopulated startline. Bringing a sound I can believe might be why power metal is coming up and up in the world of metal.

Guitars here by Iivo Kaipainen gave the effective array of metallic bite, bash, and screaming solos to keep the speed high and the heavy chugs low, while keyboardist Arttu Vauhkonen‘s notable taps and tinkering added a strongly ivory-led sound akin to a Bodom-ist edge. Vocals by Lassi Vääränen had a Eurovision timbre in his songs and attitude but were clearly hindered by the poor mix.

Overall Arion made a good first impression providing some tasty yet cheap thrills and great music to get the room in the right mood. With the having most to gain from impressions in this tour they carried themselves on sturdy steads as they galloped into the night and into memory. [7/10] facebook.com/OfficialArion

Quick lazy joke out the way first: Brothers Of Metal should be called Siblings Of Metal as they have a female singer in their huge line-up, haha. What was presented on stage was no joke in terms of music chops that quickly were top-tier! Although they do have a great sense of humour and captured the mood perfectly as they focused on drinking, metal and most importantly the rivalry between Edinburgh and Glasgow for which will be the maddest crowd in Scotland on this tour. This encouraged the mob into a frenzy of mosh pits, jumps, and chants. Spurred on by their mascot the burly hype-man drinker Mats Nilsson whose prompts and banter got the party mood in full flow like the pints!

This horde of Swedes on stage is a fully-stocked war band including 8 members. The standard 5-man party is augmented with an additional guitarist (making a triple) and 3 vocalists. Including the Mats, the vocal arrangements were led by a man and wife pair (Joakim & Ylva Eriksson) providing both clean and unclean vocals and melodic singing. Singing songs of old Viking myths and legends, meads and heavy metal cast back toward Turisas in their words and costumes but injected with fresh blood and influence with heavier songs and youthful presentation.

The songs here were top-notch! From the melodic ballad “Yggdrasil” to the battle metal combat chanting of “Fire Blood and Steel” and the boozing bounce of “The Mead Song” all of their material had the essential elements to keep the crowd invested, singing along and extremely rowdy. As for the musicians, the material followed a folky vein that flowed into power metal and standard heavy metal with the right elements all present and precisely played but took a back seat to all the singers.

It is rare, but simply magical when it happens. When a support act steals the show it is always a memorable highlight of any gig. Leaving many sensing the night had already peaked, Brothers Of Metal not just stole the show here but raided, looted, and plundered the show like true heavy metal Vikings they are! [8/10] facebook.com/brothersofmetalofficial

Next up was the main act Gloryhammer who came out next to a still healthy reception in front of their Hoots banner, while the crowd chanted the same noise back to them. Kicking off into their setlist with their signature top-speed galloping pace. Sadly the setlist and stage antics have not really evolved in the 3rd visit with Gloryhammer I’ve had. As they used a lot of the same shtick all over again.

The same pants battle with goblin stage hands, the same actions, the same “Also Sprach Zarathustra” break. And the same if not near-similar tracklist (see here). The jokes and the theme seem to be growing thin, despite how batshit their lore is. The shouted “what is my name” intro before “Angus Mcfife“, leaving the crowd slightly confused as the original Angus Mcfife left (booted out) the band for (allegedly) leaking the despicable chatlogs. We were expecting to be introduced to someone new, and we kind of were but in muted guise. The singer Sozos Michael is an extremely capable vocalist who provided the range in high vocal extreme soars needed for this brand of power metal but here he seemed a touch unsure in his presentation and not quite as confident as he could be.

The tunes they played, bangers as they were, were completely overshadowed by madness happening in the pit, making me spill and soak many in beer, sweat, and possibly blood in the mayhem of crowd surfing nutters and pit assistant managers present. Not normally a fan of pitting to power metal as it’s not heavy enough music, but the malaise coming from the stage and predictable movements made me long for something better to do. Losing shoes in the process I pressed into pit, after pit, with some painful results.

Overall this set from Gloryhammer felt mostly soulless as if their members’ hearts were not in it as their motions are becoming mechanical and dulled in repetition. However, it still had a handful of great moments and epic tunes but their star has faded behind newer and fresher acts. [6/10]

EP Review: Razör Förge / Chaoshorde – Razör Förge / Chaoshorde

Split Release

Connecting the dots to form an unholy trinity of releases, Vicious Witch Records add to their roster another prime example of black/speed/thrash to complete any grim thrashers collection. This split combines the spirit and steel of two of the metal underground’s strongest unsung acts: the Greek venomous duo of Chaoshorde, and the hyper one-man metal maniac Razör Förge. Despite the size difference of each act, the caliber of the firepower, each band produce is a battle-hungry ballistic grade!

Razör Förge starts us off on side-A with a brief intro track, a single lead guitar lick that pours molten steel on the preceding, engaging a medieval and epic theme before abruptly cutting out for the real track to begin. The metal to the bone track is just like its author Nattskog‘s personality and passion (as interviewed here)

Starting on doomy slow notes “Profane Savage” broods and build into a tight groove that is along the lines of a more classic heavy metal breed with a primitive speed metal edge than the crushing area of thrash battle-born barrages though just as savage. The Manilla road-type shouting vocals take a moment to grow on the listener but are distorted brash production and lyrics make the message and haunting tribute to old gods clear and distinct. With the track over before you quite know it feels like only the tiniest snippet of what Razör Förge offers.

Though a fine introduction to this newest project sounds, there is a blurring of intent here. As some of the primitive, raw, simplistic approaches and vibes of the track scrape close to sounding amateurish in its sloppy solos rip and bedroom rawness. Despite this, I for one am excited about what Nattskog brings next. [6/10]

Chaoshorde is on the flip side of the wax, playing the heavier, Ümlaut smothered track “Chäos Räisers”. A much more immediate than the opening A-side, the song jumps into another spikey riff that is savage and slithery, griping the ear quickly and completely. With brutal bashing blackened beat of the drums quickly speeds you through to primitive glory days.

The whole package feels like a strict continuation of their previous punch (the EP here) complete with the same grim tones and deathly growling vocals. A very crisp-sounding production here does the song wonders as the clear instrumentation is captured from head to toe down to the last string scrape at the close in near-perfect clarity/

Overall the B-side act’s experience and expertise raise the split quality upwards as Chaoshorde‘s crimson banner signposts the blackened path for many a grim black/thrash act to follow. [7/10]

Interview: Nattskog (Razör Förge, Garden of Eyes)

One of the busiest dudes in heavy metal Nattskog has been in my feed for some time, entertaining me and many others via his astounding output rate. Through his various music projects, reviews, zines and youtube videos he has been a sort of personal icon to me with his constant prolific work and metal mania. So luckily enough I managed to stag an online interview with him as he made his way to UK Deathfest.

This is what he had to say:

So to kick this off and for my audience, who the hell are you and what do you do with your life?

Hey man! I’m Jørgen (or Nattskog), I’m a Heavy Metal maniac. I blast records, make records, and review records of the metallic stuff! Die for Metal, bang or be dead!

Starting off with a quick and easy icebreaker: Which one of the Big 4 (Metallica, Megadeth, Slayer, and Anthrax) bands did you get into first and how would you say they influence you today?

Slayer, they remain by far my favourite and their first 3 albums should be in any record collection. “Show No Mercy” is one of the best Metal albums of all time, I play it regularly still and always shall. It influences me to keep riffs evil!

Can you tell my readers a bit about Razör Förge and its History?

Razör Förge was formed to place an offering to the godz of steel! I wanted to create some 7-inch splits of pure Heavy Metal (with a healthy dose of Speed, Thrash and first wave Black Metal too). Inspired by early US Power Metal, NWOBHM, proto-Black Metal as well as early Thrash and Speed Metal too. It is played with blood, sweat and mercury, the only way Heavy Metal should be.

Do your reviews and opinions influence/inform the type of music you create?

Absolutely, the amount of bands I discover weekly from reviewing never ceases to inspire me. Some of my favourite bands of all time I discovered this way (Deathhammer and Witching Hour being 2 that spring to mind).

I see you’ve recently put to bed a lot of your other projects (Blasphemous Degradation, Graven Crypt Tower, Hexivoid, Sykelig Englen, Etc.) except Garden of Eyes and you tell me what was behind that decision?

Basically I just wanted to focus on Razör Förge, Garden Of Eyes and then my fanzine and webzine, plus YouTube and still have time to just blast records and go to tons of shows. I have been a musician for a long time, but a fan even longer and that’ll always come first (hence going to more shows than I play, buying more records than I make etc). All of my projects are a part of me, and always will be. But I have to focus on what I need to do and what I’m inspired to do.

What Closed project of yours is most likely to be resurrected?

Hexivoid, I am almost certain it will come back. But I never write for Hexivoid. It is pure cosmic chaos that I record as and when I become possessed to do so. Thusly it’s never certain, but I feel myself and the celestial ones have unfinished business…

With all of your bands being one-man projects, would you say you are easy/difficult to work with?

I have played in bands, but I prefer to be able to wholly execute my creative will. This and geographical isolation are the main factors. I’d like to play live more but I will never do so until I can commit to making it everything it deserves to be. As for difficulty, I am probably very intense and active but you’d have to ask prior bandmates that! I think my passion and dedication speaks for itself, but I’d also never shoot down a good idea from another person either. Most of my friends are musicians or dedicated Metal maniacs who offer invaluable advice to me as a musician and writer, without that I’d never grow. I do, however, find most people difficult to work with. Either many cannot match my sheer insanity or we just don’t click. But it’s immaterial, I am happy doing things solo.

Are there any plans for you ever to form a live act?

I have played live over the years, just sparingly. As I mentioned in the last question, I would rather play no show than a half-assed one. Garden Of Eyes is likely going to be a live unit, but there have been hold-ups both on that front and also with the next recording, so I have no insights to give sadly. Just be aware that when I play live, it will be sheer savagery or not happen at all.

You seem to have a lot on at once, how do you manage your time? And how can I be as productive?

Sheer mania. This is what being possessed, obsessed and running on sheer Heavy Metal does to a person! I do all this because I need to, it is essential to me, thus I don’t have much choice. I am incredibly lucky to be able to do what I do, and that also motivates me. As if you snooze, you lose! As for how others can be, just harness all of the passion you have and if anything stands in your way, destroy it. Risks must be taken, but I firmly believe it is the things we don’t do (or at least try) that cause regret.

What is next for you and your projects?

Razör Förge just put out the 7-inch split with our Greek brothers Chaoshorde on Vicious Witch Records. The next release is being recorded and will most likely be a split 7-inch also, though the other band is yet to be finalised. Additionally it will have a far better production, as the first was recorded by myself and only roughly “mixed” in a demo sense. Garden Of Eyes is recording the next 7-inch to follow up “Boomhammer”, but due to drummer-related complications it may be a while away. Otherwise, I’ll be checking out underground stuff, hammering out music and trying to spread the flame of Heavy Metal in any way I can!

Bonus Question: What album would you like to see me review next?

I’d definitely suggest giving the new albums of the following a shot: Deathhammer, Sacrifizer, Sedimentum, Morgul Blade, Herzel and Midnight!

I will get on those asap.

There you have it. Look forward to hearing more from Nattskog and Razör Förge as I review his debut split with Chaoshorde. Thanks also to Vicious Witch Records for helping me set this up.

EP Review: Subvision – In The Eye Of The Storm

It’s very on-brand for this band of punk/metal misfits who blur the line so effectively between the 2 styles for them to produce a release that also blurs the line between EP and LP. Subvision here certainly has produced a puzzle here in musical form.

Their unique blend is fully intact on this CD, clear from the first track “Empires”, their brutish bulldozing blend of crusty punk energy is channelled through metal tones and riffs, punctuated by the punkish growls and gruns for the vocals. Instantly satisfying any punker or headbanger in its wake, the style and complimentary blend of influences are addicting in their vigour!

Cuts such as “Gory Day” take a slower edge to the blade of groove metal with slower riffs, while the socially just political lyrics are as sharp and cutting towards elites in society. While song “Alternative facts” openly attacks fascist’ tactics and disinformation in the digital “post-truth” age, all add up to a brutal assault on the status quo and the ear drums.

The heaviest track on the disc, not only in its thick tones and riffage but also in the subject matter is “The Murder Of Willie McRae” which mourns the loss of a true campaigner of justice with anti-colonialist fervour, in a quick punchy track. Followed by the speedy “Sham of democracy” the band here focuses on a catchy groove of metal but in the rhythm and spirit of punk and d-beat through its strong messaging and sonically dark production.

Overall this Subvision production is another excellent addition to their discography, which captures their live energy and their unique style. With it all being over in shy of 30 minutes, I can’t decide whether this is a long EP or a short album but what I can decide on is that: it’s Awesome [7/10] subvision.bandcamp.com & facebook.com/subvision.ok.1

Album Reviews: MNHG – Mundare

Out of the two metal sub-genres suffixed “n’ Roll,” death n’ roll or black n’ roll I must say that I find the blackened variety much more compelling. This is due to Chris Barnes murdering the former’s reputation and the fantastic work of the later new breed of bands in Kvelertak, Midnight and Hellripper bringing brilliant vibrant new blood to a niche area. Another band willing and able to bite off their own corner of the market is this pack of Geman brutes MNHG.

MNHG evidently stands for “Mundo Neco Humilio Genero” which translates from Latin to “I kill The World” which is a bit of a mouthful, but it is their jaws and teeth that I’m most interested in. Though it seems this act has inherited its strong jawline from the member’s previous bad Thyrgrim where most of them cut their teeth in the black metal scene. The pagan roots here are mostly left in the dark as this new project goes for the jugular.

Fuelled by hatred the first track “Blasphemic Warfare” starts the album in acidic Satyricon bite that showcases their muscular riffs and venomous guitar tones. Razor’s sharp dissonant guitar chords and rumbles grapple the listener as the songs twists and turns through jagged rocking movements that seep groove and arrogant swagger. Key to this air of defiance is the harsh shrieking and scowling vocals that echo destroyer vibes and the harsher end of Gorgoroth patterns.

The drumming on the album is less memorable against the mobile retractable fangs of the guitar and bass infectious chomps of vigorous grooves and distinct tones. Poisoning the listener through bleak bouts of sizzling riffs, face-melting hooks and Krieg-inducing marching filth n roll passages. F.O.A.D-era Darkthrone-esk crusty yet distinctly rock n roll inspired riffs rip and roar with obvious dark passion and aggression that easily satisfies any black metal fan of any kvlt level (beginner or veteran) the tracks on this LP make for an exciting headbanging listen.

There does occur a touch of complacency toward the back end of the album as some of the tracks start to become less distinct as a battle of style over substance emerges with the victor being the latter. However, with the overall standard and quality of tracks, it would still be an open question of which song is strongest. MNHG powerful jaws in this album are prime and sharpened to grip any black metalist into their clutches! [7/10] facebook.com/mnhgofficial

GIG REVIEW: HYPERSTASIS + Breeding Indium and Around 7 (Live @ Beat Generator, Dundee)

https://www.facebook.com/events/807437427083080

Band: Hyperstasis, Breeding Indium, Around 7

Sadly I did not secure my ticket to Bloodstock this year, which is disappointing. While a lot of my friends, metal brothers in arms, and even a few local acts made their way to the UK metal mecca, my own funds and fortunes did not quite stretch enough to cover. However, I was more than content with staying in Dundee and covering some local rock n roll. Especially when it’s this packed with varying flavors as this one. Initially scheduled for Rad Apple’s tiny basement this gig was quickly moved to the bigger Beat Generator for unknown reasons, but I feel this is to the band’s advantage as the larger audience space better suits the music on full display.

It was ironically beyond 8:30 when Around 7 started to play their melodic punk and pop punk heart-throbbing blend. A fairly soft sound full of vocal harmonies abounds with catchy hooks and heartfelt choruses that were keen to rock younger ears than mine. The pop-punk casual whine voice was present but thankfully void of the American accent and employed a scots tone to the words as they romanticized youth and glory. Clearly heard on the EP they were launching “From Insult To Injury” the hooky and positive vibe of the CD echoes a punkier Twin Atlantic.

A credit to their songwriting as I believed they started their set on a bunch of covers, but in reality, the only cover was a Ramones banger (“Hey Ho let’s go…” you know the one) however this was given their own slant through different lyrics. A few jumbled and bumbling moments led to an onstage confused set list, but they still kept everything tight and speedy. Bass was keenly precise and speedily played. At one point where the bassist lost their pick and had to place fingerstyle added a great dirty tone to his playing boosting the sound but it did not last.

The star of the show here was a close tie between the exhausting whacks of the drummer Chebs or the new guy and Sam Winchester look-alike guitar player whose art with the guitar could slay demons. Overall though outside of my usual scope this pocketful of punks held more than their own. Entertainingly supplying the right amounts of stomps and bounces to get the evening going strong! [7/10] facebook.com/Around7UK

Photo by the awesome: @everlongphotographyuk

Starting on a distinctly mechanical note, Breeding Indium played next to a more forward audience. Bringing a kind of industrial shade to their sound, the drums at the back were robotically accurate and provided a predictable constant shuffle. Industrial undertones aside the sound of this band is the 30year rule coming back around they provide a revivalist style of grunge rock in an inspired alternative rock flavor. As evident in the Silverchair choice of cover midway in the set, the aim and achievement unlocked by the set were to re-ignite past glories of grunge’s best days long passed.

Through fairly basic yet effective easily constructed songs that were big on soul and easy on riffs. The top props go to the bassist here who made the band and family proud with his talented grooves and tight playing rumbling tones, combined with his presence and grit. The guitar and vocals provided by the bandanna-clad frontman were gruff and grim shouts and rough singing fitting well with the equally grimy riffs and grunge short chords and the truth method.

Finishing abruptly on a cover of Alice In Chain‘s “Man In A Box” an extremely ambitious track to cover on the vocal lines alone which he did not quite have the lungs for, still an enjoyable and extremely admirable effort, leaving their set on a high. Finishing a touch too soon for most people as it felt they had a lot more up their sleeves to offer. Overall this trio set the bar slightly further upward as they successfully lifted the night entertainment to a new high with exceptional craft and attitude. [7/10] spotify.com/artist/10GTpl3HzYMcvBH8Qm11C1

For the main event, Hyperstasis brought the night to closing in a spectacular manner as they showered the sweltering room with a truly unique sound. Starting off in a Nu Metal vein with groovy thick basic thuddings, they flipped on a penny and switched gear to a post-rock edge, and back again. Onward to new territories combining funk-rock with djent break down into smooth post-hardcore. This band is masters of combining styles and genres effortlessly, keeping the listener constantly on their toes and on tenterhooks.

Now the last time I saw them during the M2TM competition this act had a different vocalist and since then they have shuffled the line-up to include the teenage Phoebe. And she is without a doubt the star of the band. Her presence and captivating charismatic voice, banter, and even dancing badly, made for an exciting watch. With a terrific range of shouts, high soaring notes, squeals, and even quickfire delivery rhyme it was close to impossible not to be captivated by her natural star power.

Next and equal in importance to the sound of this exciting act is the Slavic guitar god of the outfit, whose feel and intuitive grasp of guitar techniques and manipulations were off the chart in terms of what noises he could produce. Through skillfull pedal work, feedback worship, shredding solo blasts, and onward to funky and gripping riffage, this guitar mastery is rarely seen below the big leagues.

Progressive in the fullest degree this 4-piece’s art of songwritting is beyond the normal rates, with even a single song easily taking the listener on a multi-genre journey that can go from sounding like post-hardcore edged Oxbow to melodic Linkin Park in a gentle winding path through a shimmer of atmospheric and dynamic charm. With all members contributing equally to their masterful blend, not one member feels out of place or unnecessary in the pack providing a supremely enjoyable experience for the whole room that did not shy away from headbang-able heaviness. Fucking excellent! [8/10] facebook.com/hyperstasisband

GIG REVIEW: Solar Sons, Indica, Kurnel Fist & Volcano X – Live at The Church

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Bands: Solar Sons, Indica, Kurnel Fist, Volcano X

A band that seems to be noticeably absent from my blog for too long, considering I’ve covered them the most times live is Solar Sons (1, 2, 3, 4, 5, 6). Though I feel that Volcano X may be very close to the title very soon. Just as I speak of the devil, this gig is announced as a warm-up to Bloodstock this year. With both Solar Sons and Volcano X here we have another gig full of local Dundee favourites in the Church once more.

Kicking this off in elephantine heavy steps Kurnel Fist blasts open their set with a riff that would make Electric Wizard give a sideways glance. This stoner metal trio handsomely straddles the lines and blurs definitions as they exhale the kind of stoner rock tones that make you question where they get their “stash” while asking what part of the prog-70s they are really from. In a cosmic blend, they gather and grind these two styles together in a smokey broth.

With excellent musicianship, all three members are a cut above the dross as spicey searing guitar licks melt and overlay into swelling and droning bass buggery, on a technical laid-back retro drumming style that easily sets you into a swaying chilled-out malaise. Extremely chill and handsomely heavy this power trio oozed an easy-going atmosphere that did not shy away from deeper doom or accessible grooves. The buzz began in earnest! [7/10] facebook.com/kurnelfist

Next up was old-school favourite speed metal merchants Volcano X, who effortlessly charmed the room with their retro sound of heavy metal’s younger day, brought vividly to the present. The traditional mighty sword-wielding kind of metal they produce is well-documented in this blog, so describing their sound here feels like an exercise in repetition. However, this set seems extra flavoursome as they dished out their well-tested material of classic metal bruisers and power metal punches.

Complete with their specialities in melodic twin harmony guitar riffs, bulldozering bass (this time more audible than normal), and galloping drumming that keeps the set fast and fearsome. The highlight besides their marvellous finisher was the fresh new tracks that really shake things up with their extra thunder and heaviness. Adding a glance at a beatdown into the 2 songs, proving they can do heavy, and do it well! As the final chorus sing-along lines of “This is heavy metal!” rang out it was clear this act is still on top form! [8/10] facebook.com/volcanoxmetal

3rd time lucky I suppose. As I finally managed to properly watch and absorb Indica. This act in my blog has seemed to keep getting the short straw, but this time I made a pointed effort to get stuck into their sound. Semi-veterans Indica is a well-seasoned and oiled machine as they blast out more grooves than the average desert rock pack. Combining grunge meets the later sound of Tool, blended through the desert rock woodchipper is the best way to describe their output.

This magic blend is the right kind of brew to make another weedy chilled-out atmosphere in the hall, quickly breeding trippy sways between massive groove-filled stoner riffs and blazing solos and leads that compliment the understated drumming and distorted bass bounces. The gruff greasy vocal howls leaked an emotion not often present in much of stoner rock, while the hazy production made the right level of the mix not to be distracting, behind the overdriven guitar licks and smashes. Overall this act gave both Solar Sons stiff competition, and Kurnel Fist lessons in the groove taught confidently from an obscure master hidden in the mists of the local scene. [8/10] facebook.com/profile.php?id=100063714960181

Solar Sons have already had a busy year in the background. As they were not long back from the (this time outsourced) studio recording their 5th album. Not to mention the excitement of being selected to play in Bloodstock’s Jagermeister tent in only a few short weeks. This is what this show was in aid of, a quick local gig to shake the cobwebs off and warm up to playing live and tweak the stage show. But it would appear this act barely needs to shake off any weakness or cobwebs as before you know it the power-trio was dishing out their progressive worshipping brand of heavy metal. Taking us through a kaleidoscope of styles and influences.

From 70’s age prog rock through to traditional heavy metal to spacey stoner and even to the far-reaching edge of funk and disco. This odyssey of riffs and stunning leads is a journey well beyond your typical metal day trip comfort zones. Narrated by intense percussion and complex drum work the groove-filled bass strokes weave a tall tale of heavy acid rock trips and traps. Leading the sound is the impressive Hendrixian guitar that blazed inferno-inducing licks, sweltering leads and thunderous riffage of the gods. Simply put, the Solar Sons are well packed and prepared to slay further afield and to larger crowds. Go get ’em dude! [8/10] facebook.com/solarsonsofficial

EP Review: Catalysis – Innova

Unfortunately due to having to leave early, I missed the main event, of their recent EP launch gig. It’s only right for me to dig my teeth into their EP that they’re feverously launching. Catalysis in 2022 has more than proven themselves as a live act as they dramatically and confidently earned their place on Bloodstock‘s hallowed stages. And this EP simply cements their growing reputation and onstage presence as they release their heaviest material yet.

“Innova” begins (after a gentle acoustic splattering) in their usual flavour, providing their groove metal influenced deathcore in their distinctive branding, stamped firmly through the production, that shouts “this is Catalysis” loudly into your ears. The mixing throughout this is exactly what you have come to expect from this outfit, and more. Extra crisp and clear, each layer of their sound is dressed in the near-perfect balance to allow access to each element’s line to shine and hook correct nerves and fibres. Catalysis has never sounded this complete. All dressed in their unique guitar tones, vocal and drum sound the mix sounds like no other, crafting their identity superbly as the opener “Before The Fall” demonstrates.

Coupled with opener track 2 “Shadow Parasite” lays out the basics of this EP as they lay out addictive stomping riffs, quick series of brutal blasting barrages, and hooking rough vocal passages. Before skipping into monster-sized beatdowns and stunning ripper solo lead guitars. There is some notable predictable vocal phrasing here and there, and a few moments that reflect back strong similarities to other movements they’ve pulled before in other discs. But this distracts little as they go from melodic grooves into searing thrashing passages and back again all elegantly designed and masterly produced.

The double-deep, heavy “Arise, alive” pump back strong Cannibal Corpse vibes through the extra low growls and immensely heavy pummelling movements while retaining strong melodic sympathies amongst aching slower paced shudders and riffs. The deathliest of the tracks here shows how well-versed and adaptable this act can be, grasping from the accessible end all the way up to the extreme end in effortless swings.

Hints of their Nu metal influences are still present but are thankfully muted backwards to the back end of the EP in the single material track “Echo Chamber”. The hyper-melodic lead riffs fuse melodeath leanings on top of a marching Hatebreed vocal harsh shouts and semi-rapping style that makes for a greatly mosh-friendly track. Ending on the menacing “Death Grip” stomper that is their most beatdown-centric song demonstrates how heavy they can be when focused on the ripe end of deathcore’s most destructive face.

Overall Catalysis has outdone themselves here and has produced one of the strongest short-form releases I’ve heard in the best part of a year. Certainly, this is the best I have ever heard this act sound, as they have creatively produced a thoroughly engaging, massively heavy and deeply dynamic listening experience. This EP demands your attention! [9/10] facebook.com/catalysismetal