GIG REVIEW: VOLCANO X, THEE RAG N BONE MAN & TYRANNUS

https://www.facebook.com/events/1085035762129700

Bands: Volcano X, Thee Rag N Bone Man, Tyrannus

Radical Rad Apples has been the Dundee the home of hardcore this year, and for me as much as hardcore is in my blood my heart still beats strongly for metal. So when it was announced that some black metal was returning to the former Conroys basement I made sure I was present!

In the blog, I have cover bands of various sizes, from the standard power trios right up to the 5-man-band classic, and smaller, but this is a first for the blog. A One-man band. Now my first thoughts whenever I hear the phrase “one-man band” instantly bring bright visions of Dick Van Dyke but thankfully Thee Rag N Bone Man is about as far away from Bert and Mary Poppins as it’s possible to be! This artist self-styled as “brutal-trash-punk-blues” loud and abrasive music is far away from any kind of polish, corporatism, and the sticky hands of capitalism’s clutches. Playing true and unapologetically honest punk garage riffs messily on his guitar while wailing and shout-screaming songs too muffled to hear the lyrics. At the same time stomping on various pedals for bass drums, snares, and cymbals. Providing a steady rattling backbeat and keeping the garage feel condensed into punk rock smatterings of gritty anti-commercial blues, that made for plenty of foot tapping and head-bopping in the room. Mesmerized by the lateral-ambidextrous display and mental gymnastics required to keep the complicated series of movements in order and sounding as clean and badass kept the crowd amused and entertained.

As for the top half of the act, above waist Rag N Bone Man kept his guitar playing simple yet effortlessly enjoyable while pummelling out rocking riffs from a grab bag of styles, from melodic punk scratches to hard-metal thumps and back again into garage rock and blues, all in a sloppy and noisy despondent style that would be distracting anywhere else. But here the gritty and grungey style complements the lo-fi setup and attitude adds immensely to the substance and volume of the musical anti-art on display. Combined with the vocals the whole performance came over as a very impressive display of anger, discouragement, and resentment that had a palpable pain and presence behind every stroke and beat. The whole set was an enlightening display of what can be achieved with only little at your disposal but a lot of passion! [8/10] facebook.com/theeragnbonemanonemanband

Next, unexpectantly, was Glaswegian anti-fascist black metallers Tyrannus. Originally billed as the headliner, last-minute changes lead to this noisy bunch making their way to the tiny stage early and blasting through their set with gusto: though with a caveat. Missing their drummer due to scheduling issues with his other band Ashenspire (who are currently launching an album), Tyrannus had to adapt and make do. Piping the drum tracks of their latest album “Unslayable” through the PA system as a replacement for missing members the guitar and vocals became the only live action on stage.

In a furious and breakneck display, the Tyrants on the stage distributed potent hellfire in the form of savage relentless cultish riffs as hypnotic as were savage, tearing blackened death metal through a wall of black chaos, to the other side where thrash’s evilest movement lay. The twin attack guitars were not without their moments and passages of atmospheric gloom either as spacey solo leads cut into brooding back-line bass outlining grey fuzzy dark grooves. The distorted streams of blackened blasts provided eerily through the P.A. in front of a vacant drumset added a weird disconnect that made for strange sensations as the onslaught mangled ear drums and necks.

Overall this set was a blistering performance from an act who are well prepared to provide extreme metal thrills in large quantities. With a masterful grasp of extreme sounds, combined with over amplitude for dynamic songwriting these blackened metallers will no doubt extrude potent hellfire wherever they play next. Simply “Unslayable” here! [8/10] facebook.com/TyrannusEtImperium

Stepping enthusiastically into headliner position was Dundee speed metal Allstars Volcano X who are always prepared to put on a great heavy rocking show. This show was no exception as a signature brand of traditional heavy was on show and standing proud as they launched into their road-tested numbers. Ripping crisp lead twin guitar shredded out swelling and swooping melodic metal mastery as frontman Johnny Steel‘s soaring high vocals provided the perfected power metal passages about the glory of heavy metal.

This was quickly another great outing for this well-oiled volcanic machine that knows how to entertain and energize an audience. Their well-tried and tested material was dispensed with their signature vigor and relentless, providing the fans and newcomers alike with instant favorites from their catalog. But then they gave us a curveball. Debuting to my and others’ ears, some brand new material. Starting with a new “metal or die” tribute some (akin to their classic “This Is Heavy Metal”) was the “Power of metal” that includes all of their most successful elements and more. Swirling lead melodies, catchy and memorable chorus, and plenty of crowd-pleasing participation parts. This track instantly felt like a new staple to their setlist. This was quickly followed by another new number, a gory number about blood and guts that felt lyrically a touch out of place but musically well in line with the classic metal sound they play, but noticeably heavier. This might be the heaviest I have ever heard Volcano X play as a meaty and moshable break down in the song crushed and slayed. Fantastic.

Shifting back into their regular scheduled material Volcano X seems to be visibly lifted and enhanced by the reaction of the new material as they shifted back into the older material for the rest of the set. Blasting through fan favorites such as “Dead Behind the Eyes”, “Supernova” and more before setting and on their reliable set-finisher “This Is Heavy Metal” Leaving the room thoroughly thrilled and effortlessly entertained. Bravo! [8/10] https://www.facebook.com/volcanoxmetal

GIG REVIEW: Distorted: Catalysis ‘Innova’ EP Launch Party + Special Guests – July 2

Featuring guest commentary from JCHC Zine (Jute City Hardcore)

https://www.facebook.com/events/1000370500662888

Bands: Truth Ruiner, A Life Without You, The Jungle Cats, Solar Sons, Catalysis

Covid finally got me! My, perhaps, cavalier attitude towards mask-wearing at gigs lately is to blame as at this show I picked up the dreaded lurgy. Luckily though I manage to recover and become non-infectious just in time to attend (though only briefly) one of the biggest and possibly most anticipated gigs of the Dundee summer scene. This show was the triumphant return of the only metal-themed club nights in Dundee Distorted but also the release show of soon-to-be Bloodstock alumni Catalysis‘s lastest EP “Innova” (more on the EP later). So taking no chances, double-masked I entered the Church to a semi-crowded hall with the first act on stage.

On stage and rocking was Dundee up-and-comers hardcore horde Truth Ruiner sprinkling the crowd with poignant hardcore dashes in loud volume. Quite the ruckus on stage this 5-piece-bands energy was infectious quickly warming the room through tight riffage and groove-filled moshable antics begged for a lot more movement than what the crowd provided. Though certainly got many heads rocking to their quick beats and passionate tunes. Emotive energy was the true driving force as the melodic hardcore sound and ached scream, growls and speech drove home their ethic of straight-edge morals and war against addiction.

Bring on their close friend and hired photographer, (the main dude behind Make That a Take Records) on stage to provide a surprise guest vocal for their final couple of bangers. Adding interesting extra energy as the MTAT guy jumped around on stage and squawked avian vocals into the moshcore finishers. Overall this set was an eye-opening compilation of hardcore savagery with plenty of blood and heart that started the rest of the night off on a superb footing![8/10] facebook.com/TruthRuiner

Having only seen them as an acoustic improv version was eager to see the band in a full complement, A Life Without You next added heaps of accessibility to the night proceedings as they popped out popular pop punk pieces to the populous. This upbeat bouncy gang of 4 on the stage set a strong standard as they darted out optimistic youthful energy in the form of tuneful teenage tributes to their icons and influences. Reminding me strong of a cross between Panamore‘s misery inc, through Av Lav‘s complications mixed with Fallout’s scene arms-race dynamics. Injected with a clear passion and strong talent for songwriting this band’s original tunes and attitude sold bountiful with the audience that had flurries of jumps and bops.

Their simple yet concise jams entertained well if a touch “by the numbers” did well to keep the room gently warmed and pleased. A Life Without You was a treat to right younger ears in the room but for me, this was not my cup of tea, but I admire their skills and passion for doing what they love to do, and it shows in bucketfuls. [7/10] facebook.com/ALWYband

Next up was The Jungle Cats, who added a big splash of colours to the gig with their bright and colourful tie-dyed and Hawaiian shirts, giving the impression we were about to get some retro surf rock. However, just before I got the chance to find out what they sounded like, my time ran out and I had to leave so as not to risk anyone’s health and get to another prior engagement.

This is where I have half-skillfully sub-letted the rest of the review to another writer. The author of the Jute City Hardcore Zine is here to fill in the blanks: (facebook.com/JCHC-Zine)

In a few words, I really liked The Jungle Cats cause they were playing pop rock but they used to be a metalcore band, so I heard some kinda “easy-core” sounding breakdowns in there and it was really cool.

https://www.facebook.com/thejunglecatsuk

I really like Solar Sons, they’re so unbelievably tight but their songs are far too long for my sober, straight-edge ass haha!

https://www.facebook.com/solarsonsofficial

Catalysis are always great live. I think their frontman could tone it down a little with the “ladies and gentlemen” WWE promo patter but, metal innit? That’s what ye get at big-room metal shows so that’s obviously what they try to emulate. I say hardcore has less bullshit, but at least he’s not up there preaching and telling people his life story so what the fuck do I know? Haha.

Ivory Blacks metal has never really appealed to me but I get on with those dudes and they’re fucking fantastic players and are a unit live so I have to give them genuine props. Their consistent output over the years has been great too. I admittedly don’t listen to the records but I enjoy them live every time I see them.

Check out Catalysis‘s brilliant video below! & Get the EP here, it’s a banger!!

https://catalysis.bigcartel.com/product/innova-ep-pre-order

EP Review: Truth Ruiner – Demo

Throughout this blog, I have found myself covering music in various mediums. From the modern: digital-only releases, and countless CDs and streamed albums, to the much more archaic and rarer formats: Vinyl, DVDs, and even VHS. So it is only fitting that I complete the circle by covering this cassette tape I had recently picked up from Dundee Hardcore troops Truth Ruiner.

Presented in 3 parts we have captured on this micro-thin film in a plastic shell is some of Dundee’s most promising hardcore. Starting off in a much more melodic metal footing than expected, track one, “Dogs Of Perdition” quickly sets the tone perfectly as it bursts into speedy hardcore stanzas, with gruff hardcore shouts and laments over moshable breakdowns. This strong start shows Truth Ruiner displaying a range here of styles in a slightly untidy fashion. Bridging crossover speed to mid-range tough-guy stomping, to melodic hardcore group shouts. All this gives an impression of a band with a wide range of influences to bring together.

The second song “Loose Lips Sink Ships” starts with one of the most unintentionally funny intro sound clips (especially when you see the origin of the clip), though it keeps the prominent tough-guy vibes throughout, and especially it’s super monstrous beatdown. Giving ample room to set the floor alight, this band knows how to build and release with all of the instrumentalist’s talents focused and capture well the vibes and energy of the underground scenes in detail.

The final track “Pull On The Strings” drags in a sludgier tone before stretching out into metallic-hardcore grooves that through the vocals pull in strong emotions and pain, capping off the demo in an ambiguously downward stare. The down-tuned riffage here and menacing stamping ground drumming clears the way for emotive waves as it pulls to dirge adding a clear-cut sharpness to the demo as it fades out. Overall this demo is a speedy uncompromising look a modern hardcore with a wide scope and range of attitudes that keep fans more than amused and definitely hyped!

In a sense, this demo in itself has become slightly archaic too, like the format. In the Truth Ruiner canon, this rougher and less-consistent material is the band still finding their sound compared to the melodic hardcore they now focus on. Despite this, the demo is well worth buying and checking out as it shows a band with a heap of potential stretching their legs in a strong and engaging first instalment. [7/10]

makethatatakerecords.bandcamp.com/album/demo-2022 / facebook.com/TruthRuiner

Special Review: Top 9 Best MX the American Albums

After doing a successful interview with Rad Ray of MX the American and being positively blown away by his kindness and generosity in sending me almost their whole discography! I felt I had to honor Ray and his extraordinary band with this very special review. With various styles and standards, this interesting band certainly has had its ups and downs. So as a tribute to their legacy and their unique journey I shall do something above the norm: speed running through all of the records in one sitting. I will give my opinions on albums and rank them from worst to best:

9. Their most recent album Appalachia Voodoo Factory from 2021 takes some of the cringiest rapping lines of Stuck Mojo and combines them with styles that just don’t gell. This album does not put its best foot forward. Their trucker metal mixed with a country vibe feels very disjointed and forced through some oddly gentle drumming licks. The hardest elements to swallow here are the vocal choices and narrations that made me snigger and inwardly cringe. The weird instrumental side pulls in Deep Purple filtered through an Eagles covers band in a dynamic and swamp-like red dirt genre roulette. This bizarre record begs the question: “Who is this for?” The answer seems to be themselves which is admirable. The album was a real healing exercise for the band as they meditated in the Appalachian mountains and reflected on faith and other heavy subjects. I can see and hear the therapeutic side to this CD for the band’s healing was very inwardly important but for the outsider or first-time listener, this LP would just be confusing and alienating. [5/10]

8. The EP self-titled MX the American begins the modern era of MX’s staggeringly productive 2020 and 2021 with the band putting some 6 releases in a very short time while re-issuing a lot of their back catalog. During this time they still found time to unleash this odd little release. Begining the record with strange “burping” vocals before rolling into an alternative rap-metal track “Find the way” led by Melly D’s Public E̶n̶e̶m̶y̶ nuisance styled rapping, backed by a soulful selection of backing singers. Following this is a swampy Primus-akin bass-lead number that is lacking a Claypool to do it some solid justice. Though hooky enough it is another track that feels stuck awkwardly between two Polaris points: rap-rock, and hillside alt-country. It’s here in their discography that you feel experimentalism really starts to hamper the flow and consistency of the records. The Big and catchy choruses here make up a lot of the ground here while the songwriting seems to try to twist away from the norms causing some chaotic and even awkward moments on this disc. Overall this is MX just before their tipping point so there still is a lot of memorable material here so it’s worth exploring. [6/10]   

7. In this 2020 release, Into the Depths see the MX slow down a touch and get move groovy, with a collection here of mid-paced doom-like songs that hints at some of the strengths. Mellow vocals with a distinct regional twang flow gently over basic but strong riffs and movements that are talentedly constructed, if only slightly forgettable. The ballad track “Raping the Real World” show a sentimental side with a message of environmental ruin and is a career highlight even if it goes on a tad too long. Followed closely behind is the substantially heavy “Purgatory” that feels more in line with their brand of odd choices. The weird intro of bouncing noises and the coupled, multilayered, and competing vocal lines create strange vibes that almost damage the quality. The childish atmosphere of the gentle acoustic number “Daydream” is whiplashed away for the thrashy “Shocktroops” that strings in classic metal skills for a peak in the enjoyment curve of the CD. Apart from an abundance of acoustic numbers, MX keeps things mostly free of bad choices. Some of these choices work better than others such as the Doors keyboard riff in “Strike”. However, again there is a memorability void in some of the tracks, placing this in the “average” category of their discography. [6/10]

6. Awkwardly enough their next full-length Ten Thousand Elephants bizarrely disappeared from Spotify in the middle of this deep dive which is a shame. This album feels like a marked improvement on the previous one as the opener “Let it out” hits like a ton of elephants in a strong alt-metal Soil-type banger. Though it’s not to last the next few tracks slump into a forgettable area. I have absolutely no doubt in the prowess of the band as a live act, but sadly the songs don’t translate strongly enough onto the CD. Coming off as a bland mixture of hard rock, semi-country, and hillside rock-tinged metal. The off-brand mesh of genres here had to find purchase though has its highlights, like the odd speed metal Deutsch chugger “Schnell und Laut” (Fast and loud) brief instrumental, and the final track “War” ending the album on whats sound like your favorite wrestlers entrance music. Overall this one is a mixed bag of bits and bolts that are ultimately unoffensive if a touch forgettable.[7/10]

5. The album Contagious has “wildcard” written all over it with this being an acoustic album. This collection takes the gentler tracks of the previous album “Into the Depths” and combines them with other acoustic reimagining tracks of the other records. Some of which I did not recognize at all while others are more instant. The songs here show off their songwriting brilliantly as underneath the twisting styles they employ is a super talented group of musicians who know their way around a fretboard. On this CD though, there is not a lot to talk about as songs are gentle, unassuming, and blend emotion with skills. Each song works and is complete, though at times a touch too long in places. This is a fine album with no real surprises or curveballs here making it an enjoyable listen. [7/10]

4. In this EP, fittingly called The Lazarus Phenomenon, MX the American attempt a resurrection of sorts, with the sound from the past. Here the band takes on industrial metal that is akin to Nine Inch Nails blended with off-day Manson vibes through their own woodchipper of styles and techniques. The synthetic-sounding drums are mechanical as per the genre but are oddly out of time and weirdly mixed, while the vocals are augmented through a Stabbing Westward filter that actually suits their voice very well if a touch derivative of the 90’s zeitgeist. That is to be expected with this short throwback of a release, giving here only a sampling of industrial MX. As a taster, this disc is more satisfying than average with a tight intention. I think limiting themselves to just a single sub-genre here really has helped them to focus their talents on much more memorable heights. A strong slice here [7/10]

3. MX the American enter a new decade with 1992’s Goeth for What Thou Knoweth (originally titled “Superhero”) see the band fully embrace the experimental and the drawing in of more and more distant styles. Adding from the opener “National Culpritt” an alternative metal and industrial sound, before going towards the thrashy yet patriotic title track “Goeth..”. Mellowing down on the acoustic “Eyes” and “Good Friday” adds a lot of variation to the record. From classic metal to unexpected turns to the unknown the band here keeps the listening experience on tip-toes while staying on top quality in terms of compelling songs that are consistently complete and while up-selling the weird!. Another top-end release here, despite a couple of lackluster moments/choruses. [7/10]

2. Made in the USA: Their debut 1986 album (originally called “Rockz”) comes out balls-to-wall style classic 80’s metal without falling into too many of the glam/hair metal tropes of the day. This is honest, straightforward rock-n-rolling metal that gets the listener from A to B directly with the least amount of experimentation. Some highly-admirable skills and talents such as the Halen-esk opener for “Highway to the Top” attest to their skills, while the vocals here are high-toned and richly flavored in the priestly spirit. Perhaps this album is slight on the short side in length but what they display here is of such a potent brew that more time with this might diminish their future returns. Their opening salvo trended as a very high water mark at later releases seldom challenged. Essential MX material here! [8/10] 

1. Burn (or “Your Parents Are Aliens Tw2”)  the follow-up to their ass-kicking debut album comes only 2 years later (1988) and favours a more mature, and heavier sound, with a thicker if slightly muddier production. Given much more room to breathe here with a longer release. MX takes advantage of this with more ambitious, complicated and varied songs. A step above the slightly more “one-and-done” style of songs in their first release and gaining progressive tendencies. It’s here they first input more experimental sounds (such as vocal effects on Rad Ray’s voice, and the bizarre weirdness of track “Why Did You Leave”) while still embodying foot-first hard rocking fun tunes as the main aim. Admittedly they are a few tired cliches (such as the ballad “If You Really Love Me”) here and there that the ’80s are mostly to blame for but overall this is a strong and impressive release that continues their high standard and talent on to the next logical step! An album worth seeking. [8/10] 

GIG REVIEW: Kakihara/Bed Of Wasps/Demonstration Of Power/Nothin’ But Enemies – 17th June @ Rad Apples Dundee

https://www.facebook.com/events/533780538258866

Bands: Kakihara, Demonstration Of Power, Nothin’ But Enemies

Despite the name of my blog/project and appearance, I have made a conscious choice to describe myself as a “heavy music” reviewer and not a strictly metal one, as I feel my musical background/upbringing has been a mixture of scenes and styles. From the earliest gigs, I went to, to today, I have had always at least one foot planted in the hardcore scene by way of attitude or taste. Though admittedly I have been absent from live hardcore for quite a while. This show felt like a return to my roots as I descended into Rad Apple‘s basement for some heavy entertainment. Just how heavy, that was yet to be seen.

Starting the night off on the heaviest of footings, Glasgow’s Demonstration Of Power unleashed a triple-guitar attack of decimating hardcore as a strong statement of intent. This burly bunch’s take on the style is an extreme blend: combining a deathcore edge to frightfully heavy beatdowns with crossover-thrashing waves of 2-stepping swirls that instantly got the audience moving franticly with their energy. It’s something I feel envious of when compared to the slowly warming up metalhead crowd. It’s how instantaneous movement and moshing appear to begin from the very first bars of the music in a hardcore environment. The spirit, brotherhood, and kinship-unity seem to penetrate the room and urge an extremely lively mosh-pit madness.

There seemed to be no better act to inspire sure scenes! Here, the heavy metallic chugging crunch collided head-on with groove-filled polka 2step sections, and menacing swaggering stomps of thick tones and grooves brought more and more energy to the room. Accentuated with intimidating growls and gurgling from the vocalist while at times sharing the mic with the singer of the next band up, showing more of the GHC spirit in their cooperation. Stirring up more feels and flowing passions the band tore up my expectations of the monotonous tough-guy shtick of memories past. Injecting surprising speed and effortless turns and twists into their interpretations of various eras and styles of hardcore from the past. Ranging from crossover thrashers to the uber-slow down-tempo, to the heartfelt melodic hardcore edge and back again (sometimes all in the same track). All this left me extremely impressed and very sweaty as the first band left very little room for improvement for those who followed. Doing Glasgow hardcore proud as they spread the scene furious attitude far a wide in this great set! This was far more than a “Demonstration” here [8/10] https://northernunrest.bandcamp.com/album/demonstration-of-power

GHC brothers in arms, Nothin’ But Enemies quickly followed with very similar vibes and extreme energy as they cranked out their thorough-breed style of hardcore. This time with a smaller band, with only a twin guitar this band blasted out speedy crossover-style metallic hardcore. Seeming to focus the sound on the menacing stomps of touch-guy aggression and slam-dancing breakdown/beat down style. Erupting the room again into messy scenes of swarming dancers and moshers, NBE had their audience primed and ready for more heavy wakes and trembling movements. Provided in full here, was a meaty and relentless sensory attack that engaged the moshing audience into precise and well-signposted movements that kept the masses in the know for what was right around the corner in their set.

Lapping this up was an expecting crowd that kept the energy level at the top of the gauge, while the band pummeled the room with heavy-hardcore stanzas. Satisfying not only the 2-step addicts but also the thrasher-at-hearts and the slam-dancing kings of the floor! All this left a strong entertaining impression and vibe as the band quickly fired through a busy set of numbers. Vocals that we had a preview of before were still super strong and daunting, bellowing out fury through an emotional frame and a confident swagger. The riffage here carried more than their own weight here to get the room from one beatdown to the next speedy section and back again with a gruff grace and power. Confident and strongly presented Nothin’ But Enemies spread passion and brutality in quick easy measures in a set that felt over a little too soon and just shy of the peak. A truly marvelous set, for this heavy bunch, knows how to throw down on their own terms! [7/10] https://northernunrest.bandcamp.com/album/demo-2022

Unexpectedly promoted to headliner status, Kakihara was next to the stage next as Dundee mathy-metalcore mob Bed Of Wasps (f/BedOfWasps) sadly had to pull out due to Covid. Due to this absence also gone was the band I was most familiar with from the line-up so for me Kakihara had bigger shoes to fill than expected as they kicked off their set. Lucky enough for this Edinburgh crew they had more than enough musical chops and skills to take on the challenge.

This exciting act brought a unique blend of fresh sounds to the night’s music as they grabbed the key sound first two bands’ modern hardcore trappings and spliced in heavy helpings of their influences. Injecting mathcore scrabbling riffs and chaotic duel vocal screamo styles into heavy-hardcore beatdown passages before breaking out into spacey post-hardcore ambient drifting movements. Keeping the emotional tension high as they ached out fan-favorite “Bob Ross” that drifted into melodic hardcore territory in its swaying frame. The members of the band fully embraced the crowd by venturing offstage and getting close to the frenzied action of the moshing mob to ache out more tense movements in a packed and extremely tight set.

With Kakihara straying far from the modern-day path and assuming the rarer sound elements of 90’s screamo, post-hardcore, and mathcore flavors made them stand head and shoulders above the pack by giving us a thrilling, dynamic hardcore experience to end the night on an unmistakable high! [8/10] facebook.com/kakihara.life

EP Review: Tapedeck 45 – Greatest Hits Volume 2

Drunken memories time, or lack of. I’m not entirely sure what brought me to get this CD handed to me or what gig it was at. Far removed from my normal territory, but the context aside I assume I was given this disc in good faith to write about so I will honor that here. And who knows it might be better than what I vaguely remember.

This Indie band from Perth/Dundee with the trolling EP titled “Greatest Hits Volume 2” (there is no Volume 1, and this is their first release) is Tapedeck 45. They have certainly much matured in the time since they produced this EP in 2014, however they still hold on to some of these tracks in their setlists today. A stand-out and staple example is the super catchy and fun “Johnny, How Could You?” (given the revamp treatment below).

Retaining much of their past teenage energy this act supplies the listener here with some inoffensive indie rock/pop songs enriched with post-punk flavor beamed through the twinkle-toned guitar work. Kicking off with a garage punk intro of “This must be the place” as the track details the struggles of finding a venue in an unfamiliar place (a common tour issue).

Vocals provided are in a slightly accented twang are distinctly Scottish in tone and are pleasantly presented in a slight drool coming to the buzz of “Sex Drugs And Early Nights” before leaping to life for the chorus. With a distinct bass skill, the hit of the record mentioned above carries the tunes on a bouncy air. Backing this is some standard drumming that is functional and completes the sound nicely. So far, so good!

The fourth track is where there is a slight dip, as they unleash their most Dundonian of track “Sober” which laments flaws of being skint and sober on a night out. It’s a fairly brash and laddish track that reminds me too well of why I avoid certain scenes made for the normies and Chavite masses. The less said about the acoustic Black Eyed Peas cover at the end the better as it’s frankly awful.

Despite a few hiccups at the end of the CD, this is still a decent listen. It’s a fairly fun joint and has a lot of talent among the members. With proficient songwriting and hooks, Tapedeck 45 are bound to do well in the indie/rock circuit. But as an out-of-my-lane experience, it’s still too normal and soft for my tastes. [6/10] facebook.com/Tapedeck45 / spotify.com

Video Review: Pantera – Vulgar Video & 3 – Watch It Go

Double Feature

Pantera. Despite Phil Anselmo’s various controversies (“white wine” my arse.), very few bands can say they changed metal overnight quite as Pantera did. In the few years between “Cowboys From Hell” and “Vulgar Display of Power” they quite literally invented a new sub-genre: groove metal. But all of that feels so long ago that I feel only to truly get into the zone and zeitgeist of the time to use a medium of time too. This is where at the back of my collection lies a pair of VHS tapes comes into play.

Firing up an old non-flat TV/VHS box that has not been used in years, and jamming in the tape I sat watching the mayhem of 90’s metal. Expecting rampant alcoholism, sonic brutality, and hopefully some tits too. Well within the first minute of watching “Vulgar Video” I saw all three as an intro to this home video. Before jumping to the first music video for “Walk”, a certified classic in anyone’s book. This is followed by the meeting up with tour-buddies Skid Row for more drinking and an impromptu baseball game (handily won by Pantera 3 – 33).

Quickly the video falls into degeneracy featuring lots of weed, lots of booze, and lots of tits, as well as the usual rockstar antics of trashing hotel rooms and playing drunk Jenga with a snoring Dimebag, amongst others.

Next, we see some clips from the massive and pivotal Monsters of Rock Moscow show during the 1991 coup attempt. This would be a high point of any band’s career, seeing the band playing “Domination” to over 1,000,000 people, looks just insane. Quickly Followed by the “Primal Concrete Sledge” probably their most intense song in quick succession makes this section a clear high point in the tape so far.

Next, we go back to home movie footage again, with the section seeing Hair shaving happening to randoms and Phil, as well as various tattoos of fans. This section shows some of the visual sides of the band coming together with Phil getting some of his famous ink done, and witnessing Dime dying his beard. So it’s not all completely pointless mayhem for mayhem’s sake.

A chaotic Kiss tribute is shown next with Pantera and Skid Row (I think?) combining on stage to play “Cold Gin” at a very messy show. Complete with the make-up and stage antics in a busy space. A rare sight, if very poorly shot and disorderly played. Followed by the band backstage trolling evangelists, basically being a dick to them which is fair enough. The next video is “This Love” which is not my favorite track but it is more than serviceable here. Next, we get to see the various injuries the band has suffered on tour varying from minor to gruesome.

Seeing only a glimpse into their chaotic life on the road you can see the physical drain of the member’s faculties as the video goes on. Showing more and more home movie-style hard-drinking shenanigans and drunken clips of inside jokes. All this makes the impression that all this would be funnier if you were there at the time. Overall the video was actually mildly enjoyable despite expecting a lot more gig footage than what I got. Fun, if a touch exhausting waiting for the bit of music to appear. [5/10]

Enjoying the first video much more than expected to, and it ended much sooner than I anticipated, at this point, I decided to make this a double feature and watch their next video, “3 Watch it Go” This video skips forward a few years and at least another album later. Here the band is much more established and with more money. The production is a touch improved with a snazzy satanic intro graphics (decent for the year this was made) before bringing on a recurring devil character which will be overlayed on some of the scenes and giving shitey commentary.

The opening aside the first thing we see is one of their roadcrew dressed as a crap hulk who smashed shit up backstage, which is as interesting as it sounds. Not being 12 anymore this was a drag to sit through. The rock ‘n roll star’s days of hotel destruction definitely is something of the past. Just google Majik Carpet for what happens to bands that try that shit now in Scotland! Though if you had the money of Pantera you could possibly get away with it. Mayhem aside it still feels like a dick move even on this tape.

Eventually, we get some gig footage of either “Trendkill” or “Far Beyond Driven” era tours in quick flashes of quick bursts of them playing live. The first actual music part of this besides background noise and tiny snips of live audio is the “I’m Broken” music video a classic in swagger!

The fans section is next with the band signing various things and body parts, showing just now nuts the fans were in this groundbreaking band. Next, we see them playing with fire and fireworks then wrecking more shit backstage. Intoxicated jackass-type antics are fun to see but don’t make for much more than a chuckle when you post-18 years of age.

Alcoholism continues as we see them in Japan tour on their World tour, mobed by fans before cutting to a forest scene where we Dimebag taking a shit! Lovely! Thankfully the “5 minutes alone” music video next get a tiny snippet of a “making of” before launching into the video. This video is iconic like the song is probably the best-looking video they ever did.

Following this is more inside jokes from the crew and band interspersed with Dime and co. throwing beers to the crowd at live shows. Drinking and eating competitions are also featured here with fan/crew (it’s hard to tell) before it’s back to the debauchery of relentless drunk videos and uninteresting faffing about. I seem like a lot of people seem annoyed by the camera in the face all the time like a kid with a new toy. Beyond that, there seems to be an uncurrent of low morale between the crew and band as it is commented several times by various folk “I hate this job/life” which is a bad sign. Though I would probably be sick of it too if it was this non-stop as it appears.

In a more interesting scene, we see Phil fucking about on drums and guitar in minuscule clips, foreshadowing his development later in his post-Pantera projects and bands. Vinnie next gets the spotlight treatment on his underrated talent on the skins. The cooler Abbot brother seems to get sidelined in the discussion of contribution to metal. Which is kind of a travesty as his skill on the drums has had a massive influence to the next generation of drummers, especially with his double-kick tone and mastery.

Next, is Dimebag showing off his skills. I am certainly not a Dimebag mega-fan or deifier of him. He like most was a flawed human being. He just happened to be an amazing guitar player and fantastic writer of riffs who, without him, metal would be in a very different shape. But I think what is shown of him here paints him poorly as too drunk to function most of the time.

At this point with being shown more and more uninteresting antics and contextless shinanigans with their road crew, I found myself waiting frustratedly waiting for more actual Music! So ill skip over a chunk here to not to repeat myself.

Finally, more music does emerge with the video for Trendkill cut “Drag the waters” the basic uninteresting video that does not do the song justice to the wait or for that brutal track. Leaving me feeling like the money went somewhere else. As with the final eventual music, the track is the CGI and very dated video of the Black Sabbath “Planet caravan” cover. As sweet as the song is the video is not so great.

Arguably the glory years of the band are captured in these Home videos, and It’s an interesting relic of the time gone by. However, I struggle to see much value in this today. Maybe diehard fans who worship everything about this band would love this but I don’t even see them rewatching these bizarre tapes. Out of the 2 tapes, the first one is the best out of a bad batch on the merit of being much shorter, so the filler to actual music ratio is much better. [4/10]

EP Review: Diabolical Evil – Cursed by Blood

The dudes at Vicious Witch Records have done it again. Providing me with more metal thrills for my ear, this time in vinyl form. In a label first, here they have sent me this excellent example of Blackened Speed Metal from Brazilian solo-artist Diabolical Evil!

Sole member, Infernal Rider is the man in charge as the whiplashing sound of Venomous black/speed metal spits out the old-school sound of early 80’s satanic worship riffs. Hyper melodic riffs here battle through demonic tones in the title track. While snarling and sneering vocals growl out pain and suffering. Mighty, the ceaseless punk drums batter and beat the way through a speedy epic of grim menacing metal that carefully caters to their own and the label’s fans. This is another release in the steadily building Vicious Witch roster that fits like a key. Dealing with all things thrash and thrash variant, Diabolical Evil supplying delicious thrashing metal madness in this offering it a partnership that is well complimented.

With the press on to wax, the version of this track “Cursed By Blood” is remastered and re-arranged with modest improvement in the sound and atmosphere. The sharper sound of this to-the-point single is unique to vinyl as has also the benefit of an exclusive track as a b-side. The fast and furious “Valley Of The Damned” follower adds another helping of Diabolical Evil‘s signature sound. A rapid-fire banger that is thrashier and more violent than the title track. With hashers screams, a faster tempo, a darker atmosphere, and a sadistic solo guitar finishing move. Fantastic!

Diabolical Evil here is an evil force to be reconned with on this lump of wax, the tunes here are top quality that can easily complete with the current wave of black/speed revival acts on the international scene. This release is another excellent addition to anyone’s black/speed/thrash collection with its terrific sound and quality, get this before they are gone! [7/10] facebook.com/DiabolicalEvil666/ – facebook.com/viciouswitchrecords/

GIG REVIEW: JBW Presents… Starry Wisdom Cult/Subvision/Primitive Vices/deceased Society

https://www.facebook.com/events/339348628098369

Bands: The Starry Wisdom Cult, Subvision, Primitive Vices, Deceased Society

In a dramatic turn of events for me, I was quickly within days of seeing the mighty Mgla (and others) I was again at another gig, this time on a much smaller scale. But there is something to be said for the enjoyment factor abundance when it is scaled to fit a much smaller and tighter area. Such was my thinking as I, partially pished, made my way to this show in the arse of fife!

Bursting through the door and into the searing heat of this extremely sweaty Dunfermline venue I was greeted with Deceased Society already on stage and blasting! This grindcore lot felt so strange to be opening the bill with such an extremely heavy and potent blend, but my gut had me thinking this was going to be anything but a normal night. The crusty death metal speed produced by the whole band was extreme, to say the least.

Ripping thrashy barrages collided head-on with harsh shrieked and growled vocals, backed by showers of blast beats and bass batterings. Creating chaotic scenes with members not afraid to come down from the stage and get personal, giving a strong presence to their set. While keeping a firm grip on dynamics the band knows their stuff, though you’d be forgiven for thinking it was just chaotic noise. Adjusting their speed accordingly they blasted into strong numbers such as the potent “Fuck society” followed by the strong deathcore influenced finisher. Keeping it heavy and violently entertaining throughout. As I am a bit of a magnet for extreme sounds, I lapped up this set in no time! Ultimately well satisfied like many other drenched punters in this tiny room. Though I did see some hesitation from others, grindcore is not for everyone. [7/10] facebook.com/deceasedsociety

Next up were M2TM contenders Primitive Vices, who gave us something a lot more polished and refined. Dousing the room with one of the most unique sounds I’ve heard in a while. I think we have all heard of thrashers who are stoners, but rarer is hearing actual stoner-thrash, and that is what this titanic act brought us in loud volume. Barrages of thick and robust speedy thrashing riffs were interspersed with ever-thicker fuzz-blues passages with garage guitar licks and leads. Deep bass tones with moody guitar effects made an impressive impact as swooning and atmospheric turns captured the mind and pleased the soul. Before startlingly breaking into fast and melodic thrash patterns that did not shrink on the heaviness and drive.

Majestic rhythms patted out on the drums, harkened back to the weeded 70s while holding modern standards and techniques. All-round this band was phenomenal with talent throughout the line-up in front of me. Although my only peeves are with the vocals not being as distinct as they could be, shouted and grunted the way through a clouded mix. But this could just be my ears, or “the left side running lean” as some random punter said to me about the sound mixing of the night. Primitive Vices were anything but primitive in the tunes they laid down on the crowd. Leaving many very impressed wowed, and excited. No doubt gaining followers in this town; Not bad for their first time ever playing here! [8/10] facebook.com/PrimitiveVices

In the second half of this show, punk-metal bruisers Subvision were extremely efficient in getting the tunes out and rolling. Pleasing the now slippery, moist, and very sweaty crowd and got them moving once again. Subvision yanked out the perfect 50/50 blend of thrashy metal, and danceable punk to get the place moving in no time. Inspiring many a jig and vague mosh pit movements, as they dispensed rough and ready punky polkas with a thrash metal bite.

Egged on by the catchy movements in the riffs, the driving rhythm of the d-beating drum, and the full tones of bass attacks brought an abundance of energy to the room. The gruff and grizzly vocals, ugly and distorted preached words of dystopian dreads, the perfect backdrop for mindless frivolity mixed with the mild distaste of authority. Kind of saying “fuck it, the world is fucked, let’s just enjoy the crumble.”

Subvision again proves why they are one of Scotland’s most hardworking and efficient punk acts on the circuit, and this was another awesome show by them. They may be too metal to be punk and too punk to be metal, but what they are is simply brilliant. Capturing eyes, ears, and hearts when they play, the magic they produce is hard to compete with when they entertain so well. [8/10] facebook.com/subvision.ok.1

Finishing the night on a high, The Starry Wisdom Cult played us out, with a fine set of moody bangers. Stomping and grooving their way through to another fixated room of eager fans and family. SWC are confident masters on stage they plied the packed floor through their doomy mid-to-slow-pace setlist full of groove and gloom. From the marching intro of “Chokoji” with its strutting swagger, through to the new track with similar energy. And so on to the band’s favourite and clear marked influence Danzig cover (“Dirty Black Summer”) that seems to gel easily into their set list as if it was their own making, with its lead guitar swells and heavy drum thumps.

With a full thunderous bass tone and distinct rough deep vocal patterns, the Cult pushed on into the melodic “Memento Mori” and devilish strutting smooth waves of the next tune. An overlooked aspect of their sound (above the energetic and pounding rhythm section) is the harmony between the twin guitars, providing excellently constructed winding paths between the pair, as the pumped out exciting groove of steel, over a stomping baseline of catchy bouncy bracing riffs. Easily lighting the room into a blaze of movement on the soggy floor as the gripping pulse of the songs dominated the air. Pulling out the last of the crowd’s energy, the final track “Glencoe” their most intense track ended the night’s metal on a loud and heavy note. Having well achieved their goal to entertain and laid down a competitive challenge to the strong act that preceded them. The Cult is alive! [8/10] facebook.com/StarryWisdomCult

Single Review: Misophonia – El Silencio Será Eterno

Misophonia falls clearly into the hidden gem section of Scotland’s west coast scene with their interesting take on melodic death metal. After a turbulent few years for the band and the world, they are back in action. With this new single and video, they are signalling that they are reunited and ready to rock!

The music accompanying the exceptional music video (produced by Comharra Music of Glasgow) is a very curious and talented mixture. Starting with the spicy Spanish flamenco style acoustic lead-in intro passage, before skipping into substantial shuddering touches of distorted guitar. Then quickly switching up into the main riff, a passionate lead guitar melody above a mid-paced marching tone. Vocals from main-man Jay Ross follow quickly in a strong spoken baritone, providing some moderately catchy bites and poetic lines. Keeping in an almost plodding mid-paced speed the track here keeps the listener mostly away from any surprises or unnecessary bites.

That’s until that bridge! Where things seem to explode in excitement and become much more interesting. With a hint of harsher vocal style, deeper and more destructive riffing and a blazing hot solo! It feels like this is where the song truly comes alive, before disappointingly ending all too soon. Feeling much like this is only a teaser track, I feel here that Misophonia has more than enough skills, background, and songwriting cuts in reserve. Perplexingly they are holding their cards deep to their chest and keeping their true sound locked up for now.

In the video, we see “The Spectre” on a quest to recruit a steelworker, a nature photographer, a bar fly, and others to form a band to play in the middle of a forest. The production value in this video is extremely high and avoids the pitfall of an abandoned factory setting, for a slightly less-common forest backdrop. A very stylish video that certainly catches the eye with the strong personalities shown by the members. The top-line quality is shown here with an extremely crisp HD video aesthetics and colours.

I feel a lot of the budget must have gone towards “The Spectre” costume as it has a lot of screen time. Unfortunately, as it is seen a lot in broad daylight colours tend to cheapen the and make the experience stranger as it lurks around the band playing their hearts out. This could have been helped with a little more atmospheric touches (such as some CGI fog or mist) or going for a darker palette of colours, or even a monochrome in the editing room. Despite this the video still holds up against a lot of other acts’ amateur video achievements, setting a strong standard for excellence from this group, while clearly meeting their aims of promotion. The teaser vibes are present in the video too as the ambiguous video ends on an anticipatory note.

A very strong candidate for most hyped artist of the year so far in terms of the Scottish underground metal. With a strong back catalogue of brilliance in the melodic death metal field, the hype is very real for this band to bring their true colours to bear on us all, and I hope we don’t have to wait too long! [6/10] facebook.com/Misophoniauk/