GIG REVIEW: BLOODSTOCK 2021 – Day 3 Friday

Bloodstock festival review: part III
Bands: Foetal Juice, Divine Chaos, Agrona, Svalbard, Dog Tired, Acid Reign, Primitai, Venom Prison, Shrapnel, Raging Speedhorn, Elder Druid, Evile, Colpocleisis, Conan, Devin Townsend, Napalm Death

Friday, the first full day, feels like where bloodstock really gets into the swing, with all stages now open it made for a very hectic day dashing between the tents and stages. The main and impressive Ronnie James Dio stage being the main draw for the first band of the day. That is where I headed first to get stuck in and near the front.

Getting close and up personal for the opening band, Manchester’s brutal metallers Foetal Juice. They have a strange connection with me and the first Bloodstock I went to in 2012, having picked up one of their demo CDr’s there. That got me immediately hooked to their sound. A dirty and squishy brand of death metal that strays close to crusty edges of goregrind/grindcore. Although starting off with a terrible mix (basically all drums!) the band opened the stage with gusto, providing some strong and intimidating death metal to an enthused audience. New-ish burly front-man Derek Carley brings a heaps charisma and strong deep-growls, complimented by grinding and grooving riffs on a bed of blast-beats. A most excellent way to start the day. [7/10] f/FoetalJuice

Next and taking full advantage of the huge stage was Divine Chaos, that felt extremely fresh and ready to bring the mosh! Another band with a line-up change/overhaul (since last time I’d seen them) as they are now fronted by the striking Jut Tabor (from Bournemouth’s FuryBorn) whose presence certainly had upped their impact. The middle of the road melodic death/thrash they play was extremely enjoyable and very mosh-worthy, if not a little on the predictable side. The formula works, and quickly got the crowd through all the correct motions, breakdowns, and circle-pit inducing grooves. [7/10] f/divinechaosband

One of the bands I really wanted to catch, due in part to the lack of black metal on the bill, was Agrona from Wales. This female-fronted black metal act did not give the best impression when I came into the Sophie tent, with vocalist Adara giving a cave-dwelling howls over a the typical krieg riffage. My heart sank as I thought this might be going down the well-trodden laughable side of grim black metal. This quickly turned around as their skilled riffing and tight grasp of the black arts quickly lulled me into their graces. Their death metal influenced demonic tones seduced me to their party. Progressive tinkering placed into their subtle guitar-work and maelstrom method of raising hellfire and glory in the mosh pits really fired up the audience and turned out a fleshed out and dynamic performance. The wailing, shrieking, and demonic screaming style of lead vocals as well as her theatrical persona really turned this around for me as I got stuck in and got awesome photos (see below.) My blackened heart is rarely this over-satisfied with live black metal. [8/10] f/agronaband

From the slightly underground extreme metal to something much more mainstream and arguably more listenable (enough for my wife to enjoy a tune). Svalbard from Bristol were in full swing by the time I got to the right spot in crowd at the Dio stage. A band that has quickly gained a lot of good press and industry whack for their interesting fusion of sounds, staunch moral stances, and appealing live shows. But was this another success in the field? Apparently yes! The floating and dynamic hardcore blend crosses easily with soothing blackgaze as their set swept over delighted the crowd. Their reputation more than fulfilled in the ears and the soul. Majestic shifts from punky-hardcore flavours to metallic and blackened tones, made effortless from this talented band. A top shelf set from the main stage, well saluted by the audience. [8/10] f/svalbarduk

As a part of my internal mission as a Scottish metalhead, my ambition was to catch every Scottish band on the bill and show my support. Fate, though would not have it that way, as clashes dashed my hopes of seeing full sets for each. Falling victim to this shuffle was Penicuik’s finest Dog Tired. A dominant pit-hungry band that are well documented in this blog, (I’m even doing a discography review). Their strengths in the riff are well archived and has brought them many a fan, helping to raise them from a tiny New Blood act to titans on the Sophie stage in very little time. Its here where they seem most at home, in front of an large enthused audience who where begging for the huge riffs they provide my the ton. A monster of a set, its a pity I couldn’t see it all. [7/10] f/dogtiredmetal

Acid Reign brought the vibes from Lawnmower Deth to the main stage, bringing all the party atmosphere with all the flying inflatables to match. With front-man H doing all he can to break as many health and safety rules as possible and giving his insurance a heart-attack, by going nuts on stage. The toxic waltzing thrash the band produced (after quite a bit of “technical issues” delays), was straight to the point and extremely fun. It even got me crowd surfing for the first time in a decade, making up for chickening out on doing so at Lords of the Land 2017 gig. Admittedly with all the excitement and alcohol in my system by this point my brain seem to have lost a bit of memory from this. Not to worry though, as I’ll be seeing them again really soon at Hordes X to make up for it. [7/10]

In need of lunch break and a good sit-down I saw most of Primitai’s set from a sitting/lying position in the Sophie tent. This mob of rock n rollers from Berkshire, actually suited this vantage point quite nicely. Filling the air with a quite chill atmosphere. The softer sound of their classic metal/half-thrash was enjoyable if a little cheesy, poking to towards a few cliches. But carried very well in a authentic air, and as their strong talents made for a pleasant head-nodding set of songs that praised the ear, filling the brain with joy as I fill my belly with noodles. [7/10] f/primitai

Getting another great vantage point at the front for Venom Prison, who raised hell in a quick burst. Having seen these guys and gals in London (2017) just at the beginning of their hype wave, and comparing them now. What a huge progression they’ve made in just a short time. Their spirit, and their tunes are outstanding in their impact, while making their striking and impressive presence on the big stage. Gone are the days where the silver haired Larissa (vocals) would make death-stares into crowd and appear unwilling to be there. On stage was a much more mature group who brought fierce death and hardcore infused songs that didn’t require additional prompting to get the mob go nuts in the pit. Putting out strong doses of destructive death thrash riffs that clashed and combined with a hardcore punk attitude and speed that refreshed my soul. The best set from the main stage so far. [9/10]

Sharpnel were next in the Sophie and there is nothing quite like thrash metal to boost the energy level of any gig and this top-shelf thrash act are masters at this art. Diving headfirst back into the pit before crowd-surfing with some regrettable results (I just kept loosing shit out my pockets). Storming high energy heavy riffing and merciless stomping drum speed, what else do you really need for some simple thrash thrills and decadent moshing. [8/10] f/ShrapnelOfficial

Kicking of their set with a Queen cover/intro of “We will rock you” before exploding into the clasic “Fuck the Voodoo Man” sludge-miesters Raging Speedhorn felt unstoppable on stage as they ploughed out tune after sick tune of memorable stoner-sludge rock n metal. This band, though beginning in the 2000’s nu metal boom, has far out-grown their roots and humble past. Ever since reforming they are forging into a new reclaimed path that has only made stronger and eager to please. Please they certainly did with an epic set of tunes from back and forth of their catalogue that no doubt garnered them some more new followers and fans. [8/10]

On my intoxicated wanderings when I really should have taking in more of the bands I came around at the New Blood. Where a band (later discovered to be stoner-doomers Elder Druid) that was deploying some heroic symmetry with twin bassists on stage. I would give more detail of their sound but, I literally only heard the very final note of their set, and an extremely hearty applause. Notable none the less. [?/10] f/elderdruidband

Returning to the thrash vibes in the Sophie came new-school thrashers Evile. With the sudden exit of long-tine vocalist Matt from the line-up bring forth some changes to their sound. As suddenly promoted Ol Drake vocal range is not quite a high as his brothers Matt‘s was, their set-list had to be adapted. Causing them to only play only their most savage songs. Ol Drake by far proved himself in the delivery and attitude that it seem that the band was always this way. Pumping out a solid stream of modern-day new school thrash classics and pit -pleasing tunes. With energy levels again boosted I was circle-pit-bound in no time before almost dying crowd-surfing, again. Losing more of my stuff to the madness, but gaining a huge clump of someones hair attached my spikes (ouch, and sorry to who ever that was). Not disheartened, but thoroughly shagged out, this amazing and glorious set is one i’ll certainly not forget in a hurry. [8/10]

Heading to the New Blood for a under-represented sub-genre: Slam. Since we were losing Party Cannon due to Covid the number of slam acts halved suddenly. So taking up the slack was this mouthful of band Colpocleisis (named after some kind of vaginal operation). These burly bunch of scousers are heavy in more ways than one. Cranking out some stonking slams that are frankly monstrously thick, simplistic and disgusting. This kind of slam though, is, despite what some of their merch says, is all cave-man slam to the 10th degree. Primitive, bruising, and neanderthalic, but by Jesus it was effective in its single purpose. Colpocleisis could of easily been heaviest band on the festival bill if wasn’t for who followed them. [7/10] f/colpocleisis

Doom-sludge masters Conan, were frankly uncompromising here and deathly devastating to the ears and souls of all those brave metallers in the Sophie. A monstrous sound that felt like it was summoning Cthulhu on the back of a the mighty Leviathan straight from the depths of the ocean. This trio, yes trio, was completely crushing us all with all three of its legs. Monolithic dooming guitar riffs wrapped in a tone you can feel in your teeth swamped in from the stage with gravitational bass pluses. Echoing and extremely piecing screams and yells of pain stabbed the brain. While earth shaking drums tremor-ed the ground and weakened bone. Wow just wow! [9/10]

The sky darkened by this point, and in time for the first of the main Dio stage headliner Devin Townsend. Playing a very special “by request” set of song picked by the fans, Devin got straight to work pumping out fan-favourites. Notably a lot of Strapping Young Lads songs (“Love?” and “Detox” being the strongest and clearest highlights) made the cut along with some of his heaviest songs from his discography. This did not go unnoticed by the man himself as he commented about the effort needed playing those numbers. A brilliant entertainer through and through, He charmed the audience with his pure charisma, dorkish personality and right amount of dick jokes and dirty humour.

As a musician he is one of the most versatile artists out there, in songwriting, and performance, and this was pretty much an immaculate replica of their CD sound. Although he did manage to fuck up one of his songs. causing a possibly intentional break and skidding halt for him to recover from easily by turning it into a joke. Some of the of the songs her played by his own omission are incredibly cheesy and absurd. Such as when he pulled out on stage a full gospel choir for “Spirits Will Collide” as well as wildlife in form of a costumed gorilla and elephant to sing a song of unity and universal love.

This lead to Devin possibly upstaged by the elephant as it remained on stage as for last few songs, as the crowd bitterly protested it being forced to leave the stage. So it remained on stage, dancing jumping and head banging stiffly to next few songs. This was a great and extremely fun set to witness, even as a non-Devin-fan as myself. Simply brilliant.[8/10]

Next in the now tiny feeling Sophie tent, that was quickly choca in little time, came the furious and legendary Napalm Death who wasted no fucking time in getting stuck in (as time waits for no slave). Barrages and volleys of brutal death-grind were fired out quickly and extremely efficiently as they battered through their lengthy set-list of grindcore excellence. Rolling and thundering bass, speedy blasting drums and death metal riffage torn forward to another manic crowd set in the darkness. Barney’s extreme energy was polar opposite to how I was feeling with my tiredness biting in. Bitterly disappointed with my laughable stamina level of late, I ended up crashing early into Napalm Death’s gruelling and extreme set. [8/10]

GIG REVIEW: BLOODSTOCK 2021 – Day 2 Thursday

Bloodstock festival review: part II
Bands: Fury, Tortured Demon, Ashen Crown, Luna’s Call, Riptide, Casket Feeder, Slave Steel, Forlorn World, Godeater, Pemphigold. King Witch, The Crawling, Kurokuma, Lawnmower Deth

The second glorious day at Bloodstock 2021 sees more of the festival’s stage open: with now the tiny Jägermeister stage, and the unsigned bands New Blood stage. Made for those who won through their regions Metal 2 The Masses (M2TM) tournaments, incidentally, this is where I ended up spending most of my day, soaking in the underground talents. But first I kicked off the day in the Sophie Tent for the day’s opener.

Starting off the day on a high and full of energy, there was an exceptionally pleasant surprise awaiting me. Originally the day was meant to open with bland hard rockers Mother Vulture in the Sophie, but what delight to see on stage was no other than the mighty Fury. Not only do these dudes/dudettes know now rock out the jolliest rock n rolling metal in town, but also give me excellent opportunity makes good on missing them (due to drunkenness) at Hordes way back in 2016. I’m kicking myself about missing now, based on this excellent performance.

They might have been a very last-minute addition to the line-up, and this is their first show in quite a while, it did not show in anyway. The energised band produced a fluid brand of rock n roll that was pumped out in huge volume to an excited audience. From what I remember about the band they began as more of a thrash act but have now taken another path to play a very boisterous brand of heavy metal n roll that is extremely smooth if a little cheesy to some. The expanded line-up to include some lovely backing dancers/singers ladies really gave the vibes of a metal Meat Loaf in the best conceivable way. Extravagant and immensely entertaining. [8/10] f/furyofficial

Next, in the minuscule Jägermeister tent, that was way too small to handle the pull of the next new hotness: Tortured Demon. A band of almost literal children (the oldest member is only 17), this band felt leagues ahead of some of the more established acts in their quiet confidence and tunes. Meeting out a Morbid Angel meets Slayer (with few modern wrappings) kind of jams that made for tasty mosh-pit atmosphere both inside and outside of tiny the tent. Someone gets these boys a bigger stage. No doubt Bloodstock will oblige them with an upgrade to Sophie at least on a return. With bands with such a tight grasp on what makes for awesome metal music, the future of metal is in very safe hands indeed. [8/10] f/t0rtureddem0n

Back at the Sophie tent there was modern death metal, from brummie bunch Ashen Crown who did well the whip up a fury and pit. Giving me strong Anakim-vibes from previous night, but this version of DM striped away most of the old school and black sound and give a hyper-slick modern death metal sound, that closely borders the deathcore zone. Fuck-heavy and with lots to love and mosh too. Just not as memorable as I would have liked. [7/10] f/ashencrown.uk

Luna’s Call unluckily got the short end of the stick with having a Covid casualty as their singer. living but missing, so the band had to adapt as well as they could. Causing some awkward pauses and moments of confusion, which was a real disappointment. Their sound on paper is an intricate form of progressive death metal with lots of twist, turns and interesting flavors. But here working with what they had, they came across as a little confused and visibly disheartened by their fortunes. It is definitely worth catching them, on better days. [6/10] f/LunasCall

After a spot of lunch (a bunny chow chilli from the fantastic Bunnymans [9/10]) I made my first foray into the unsigned New Blood tent for Ireland’s Thrashers Riptide. Their logo may not be quite up to much with its amateur feel, but their musically chops are far from amateur. Taking the best bits from new school and old school thrash, these Irish lads brought the circle-pit inducing mosh with much ease. Getting the best mixed sound from the of the whole fest for this stage. The sound-guys got the level perfect for this act, letting the band focus on producing mayhem and monster riffs in copious quantities. [8/10] f/RipTideThrash

Hitting a new high/low for heaviness was downtempo deathcore Droogs Casket Feeder filled the tent with their beatdown-centric blend of brutal breakdown destruction that tore open the pit like a big bag of (beef) monster munch and piled in death metal by the fuck-ton. The Black Tongue influence take on deathcore is not everyone’s taste, but it certainly satisfied my hunger like the said monster munch. Fantastic. [7/10] f/casketfeeder

Bringing back a touch of sophistication to the tent, the next new blood band was Slave Steel with a impressive progressive death metal blend. A band that proud of their technicality and its progressive tendencies and put them at the forefront of the sound and visuals (see their music videos). Giving the crowd more than bouncy heavy riffs but also some excellent and mesmerising solos and leads. A great set that keep the day alive and mob entertained. [7/10] f/slavesteel/

Skipping eagerly over to the Sophie tent for intriguing band Forlorn World. Formed as a pandemic isolation project of Bloodshot Dawn’s hero Josh McMorran this band has an extremely progressive and experimental edge to their take on melodic death metal that pushes at the limits. Providing the fastest song of the fest so far, clocking in at 280bpm. These titans of the riff are tailor-made for someone looking for more than a quick buzz. With echoes of Fleshgod Apocalypse‘s tones coming the grandiose silver keys, and the godly bass from another Bloodshot partner set well them apart from what had been seen in the smaller tent. Vocals provided by the main song writer Josh, was intimidating when growling in their glory, but as for the clean singing, it had a few of blemishes. Though much stronger than whats on their LP. Overall there was a lot more to like than my words can fit here as this accomplished set was greatly memorable and extremely rewarding. [8/10] f/Forlornworldband

Back over in the New Blood for a continuation of the technical vibes of before with progressive deathcore metalheads Godeater from Glasgow. This group of reprobates sets their turning low but the guitars high on to their hefty chests, laying out the kind of technical metal at really requires short straps and fast fingers. A sweep-picking styled death metal riffage that is dazzling to see and closely and overwhelming to listen to. Inter-spaced here with djenty motions as per the industry standard, enhanced by some spacey backing sounds, and destructive drumming. Unafraid to change gear either with some meatier slow section that brought the mosh. Fronted by mullet-ed Josh Graham whose piercing screams, deathcore in nature really did get the people move easily. Another highlight from this tent. [7/10] f/godeateruk

One the same stage, the next band, Pemphigoid (named after a skin disease) took thing into a deeper and simpler direction, with their groovy from of old school death. The groove from this quartet was supreme and approached goregrind at times. The flavours from this act was a refreshing change with a style that’s always a treat in these parts. Deep growled vocals that hearkened back to 90’s Death metal heyday, were instantly charismatic and menacing. The guitar tones and the riffage was as infectious as their namesake, and delicately addictive in their bounce and stomp. Another super thrilling set to leave the New Blood tent by. [7/10] f/pemphigoid

Beginning what became a very doom-centric evening, for the first time in a while back in the Sophie, came Scotland’s doom hot-shots and fan favourite of all the “King“-suffixed bands of the fest, King Witch. With the unexpected long gap between gigs, and the sudden end of touring has effected bands in many different ways. The most common symptom being an expanded waist line and a rusty singing voice. Not true in the slightest in appearance or sound for the mighty King Witch. If anything bewitching front-lady Laura‘s voice has gotten more powerful and massively stronger in the gaps. With a full grasp of her talents and excellent command of mic control and techniques she quickly made light work of engaging the crowd. While backing her, a top grade band behind, with thick bass sound and super-sweeping soulful guitar work that made beautiful traditional doom and heavy metal. Always a crowd pleasing act and this was no exception, no doubt landing themselves some new fans here. I feel they might out-grow this stage very soon. [8/10]

Staying in same tent, the next band The Crawling, by their own omission, was “not here to make you happy” Which was ironic. As this band did indeed make me and many others incredibly happy. I can see the intent though, with the sound of the band stamps out, is an extreme form of death/doom reminiscent of demo-era of the “Peaceville 3” (particularly Paradise Lost) is geared towards the dismal end of the metal world. Think of if a depressed Conan existed in 1991, that’s the kind of vibe they give off. In a festival highlight this trio brought some the strongest sounds to the tent a with crushing and mangling intensity rarely seen ever seen (even in this rarer sub-genre). Crushing and desolating death metal riffs enveloped the onlookers into a pit of despair that was simply gorgeously intense and fulfilling. Sonic magnificence [9/10] f/thecrawlingband

Continuing the doom but in the smaller New Blood tent was Sheffield’s Kurokuma, another super-strong power-trio act. A band I have covered before (see here & here) so there is not much here to say about their music, thats as consistent as always. Yes the drummer still rocking a mullet and yes they his have a knack for that locked drum groove. On display here is more of the same from is very dependable band, raking out harsh and extremely heavy sludge-filled doom along the lines of Yob cranked up to 11 on the doom scale. Long monotonous riffs that crash in spectacular fashion and trance-like droning sections that creeps in tension for that all important release. An fantastic set but loses slightly to momentum of the previous act and my evident tiredness at this stage. [8/10] f/kurokumauk

The final band of the night was the Sophie headlines, the metal satirists Lawnmower Deth, who kicked off their set with a weird “spaceman” introduction before getting right into the silliness of their brand of comedic thrash metal. The Lawnmower Deth vibe, for me, has always been of a cleverly disguised satire act, as from their earliest material their tongue has always been too deep into their cheeks for it to just to coincidence. From the period they emerged and the scene they started in there has always been something cheeky about the group of thrash-maniacs that knows exactly who and what to take the piss out off. From the hilarious ultra-speedy riffage, the piss-take lyrics, the ridiculous band and stage names, to the very messy and intentionally poorly executed solos and leads (clearly a rip towards the grind/crusty scene obsession with speed and noise), its all feel designed to annoy the critics but engage the partying mob atmospherics of all their gigs.

Complete with flying balloons and what ever else can be thrown in the air flying overhead the audience here were ready to engage into full party-mode and moshed their socks off to their brand of thrash. Giving a chaotic response to huge main-man Qualcast “Koffee Perkulator” Mutilator (Pete Lee) jives, jokes and prompts leading to great banter and moments of comedy. Deth shows pretty much always guarantee one thing: a stonking great laugh packaged into an amazingly entertaining night of thrash and fun, this set was no different if completely exhausting to my frame at this point. [8/10]

GIG REVIEW: BLOODSTOCK 2021 – Day 1 Wednesday

Bloodstock festival review: part I
Bands: Anakim, Ward XVI, Raised By Owls, Beholder, Onslaught

After setting off at sparrows fart o’clock for my long-haul bus from Scotland and enduring an eventful if arduous journey to the mecca of UK metal scene, Bloodstock Open Air. Making a triumphant return after a year’s absence due to Covid, the festival is back, bigger, and longer than ever with 5 days of metal madness to delight any pilgrim. Like many it was euphoric to be back on its scared soil, ready to begin the extended rituals. Not only had I been waiting for this since I got my ticket back in 2019 but also since my last appearance here in 2013. Once in, and set-up in the quiet camp, of Ragnarök, all the rituals were preformed, and sacrifices made to the liver gods it was then time to set foot in the hallowed ground of the arena area.

Day one in the arena Wednesday, plays out much like your typical gig as there was only one stage open, the second biggest, the Sophie Lancaster Stage, and here is where the metal festivities begins. Opening the festival and the nights entertainment was Anakim who wasted no time in blasting out their signature sound. Old school death metal collides head on with modern death metal technicalities, and a helping of blackened influence, got me into the pit early and held my attention. These bruisers from Dorset have a nack for neck-wrecking brutality while being deceptively intricate in their delivery of the riff and the freshness of their soundcraft. A fantastic and heavy way to open this mighty fest. [7/10] f/anakim.uk/

Next up was what felt much like a “wildcard” band, the deviously deceptive troupe Ward XVI. An extremely theatrical band, edging more on a performance-art ensemble than a band at times, the Burton-striped costumed gang made a vivid impression from the visuals alone.

With songs that you could tell had deeper inner meanings, the storylines for each of song takes you on mini journey that was wildly entertaining. The deviants on stage had an avant-garde take on this aspects that throws a lot at you to take in. From all the gothic creepy masked stage hands with multiple costume-changes, to the various props and stage-sets. The memorable characters that share the stage with musicians makes for a very clustered space. That aspect alone gives to pause for thought before putting them into any particular box, and the same goes for the type of music they play.

A sound that is just a cluttered as their stage setup, the band combines traditional heavy metal, with an array of influences, from Gothic struts, to punky polkas, piracy scallywaggery and clowncore compesitions. An entertaining combo to say the least. Sounding a little bit lacklustre if the music is taken isolated from the visual aspect. audio-wise missing some of the flair of heavier counterparts. Musically there are more than competent but with all the other shit happening on stage, the music does get washed overboard on to the listener. Enjoyable none the less, although less bloody than Gwar but much heavier than Alice Cooper, this act certianly has more than enough presence to get noticed and pull in a following cult. [7/10] f/WardXVI

Before seeing Raised By Owls live, I am sure that I have racked up more time watching their meta-comedy sketches than listening to their actual music. Which is a sin! A their fruity take on grindcore has me in stitches with sense of humour and creative song titles. While musically they strangle-wank The Black Dahlia Murder riffage and vocals styles, into a tight package of deathgrind influenced grindcore. Meme-centric and pun-based grindcore songs are build for just one thing: raising hell and setting an extremely jovial atmosphere in the tent.

Encouraging the whole radius from the stage into a wild and ravenous crowd, making probably the quality of their musical prowess meaningless to crowd in the madness of flying inflatable cocks and booze filled air. Just as long as they played heavy and there is plenty of blast-beats, the masses and me were more than satisfied. Though, Its hard to take notes on the music with the madness going around you and while: A) You lose your shoe in their massive circle pit, and B) when there is a crowd-surfing, double dildo welding Mr Blobby going overhead. If Party Cannon are “party slam” well Raised By Owls are party grind! Long let the insanity continue. [8/10] f/RaisedByOwls

After rescuing my shoe and taking stock of my belongings, bloodstock veterans Beholder take to the stage. Possibly for the last time as earlier this year they announced this was their last show as a “working band”. The band has had a very strong ties with the festive since it earliest era. Debuting in 2007 edition and making the most appearances of any band the fest, so this was very fitting that the band would end their live career here. The crowd was receptive to this, as they played a career spanning set of songs of varying speed and quality.

Not the more interesting of songwriters, as the blast out their blend of thrash and traditional metal, but they made up for this with some mild gutsy pit hungry tracks that sustained a high energy and left-over fever from the previous bands madness. This farewell gig was a fine way to close their chapter and book of this bands their final incarnation, honoured not only their unique legacy but provided a fine evening worth of solid metal thrills to go out on a high. [7/10]

From band that seemed to dying, to band that seems be regenerating, Onslaught coming onto stage has clearly been injected with some new blood that has revitalised their sound. The new blood transfused in question is David Garnett‘s joining them from ruckus thrashers Bull-Riff Stampede. This younger man takes over from veteran vocalist Sy Keeler who is retiring. Dave‘s vocals style is a perfect fit for this bands brand of high-octane thrash, while also bringing in his own unique essence to the stage in his stage presence and hype.

As for the rest of the band of metal brother on stage, the racket they made was phenomenally energetic and down-right furious that whipped the tent into another wild fury of circle pits and swarming crowd-surfers that kept the security on their toes. Their violent display of musical aggression was precise and destructive to any neck. A brilliant way to end the night, complete with its own surprises too, as Sy Keeler came on stage to give us a duelling attack version of “Metal forces” that showed off both their strengths.

I must admit by this point in the night, my strength was waning as I fast approaching the “24-hour awake” period when I felt my brain was getting dimmer. so this the point I called it a night, and back I went to the tent for some much needed kip. [8/10]

Album Review: Noism – ±

Well, this is insane! And definitely this the most difficult listen a have subjected by audience to so far. Not through incompetence like Chernobyl Uterus who, poisoned by radiation, had turned out some organic tripe. This, on the other hand, could have only come from a place like Japan. The duo of Tomoyuki Akiyama & Yoshiro Hamazaki has produced something especially sterile and devoid of humanity.

Feeling almost entirely synthetic with the use of a drum machine, there does appear to be a live guitar in the mix, if heavily buried. While other bands try to make something of reason in regards to their madness, with attempts at melodies/rhythm. This band throws it all out of the window for a maddening e-grind concoction, that sounds like nothing else in the market for extreme music.

Closest companions in terms of sound would be likes of The Berzerker, Agoraphobic Nosebleed, Whourkr, Igorr, and Mulk all having a fistfight while being live remixed by either Alex Empire, Delta 9 and/or Merzbrow. Short tracks in line with grindcore/deathgrind that throws the insanity of Japanoise crashing head on with Breakcore/glitch-electronica, with speedcore techno bass drum machine(guns), blast-beating and bludgeoning your ears with intense scrambled beats and screwed fucked-up bass thumps and smashes.

While at the same time, unholy speedy sweep-picked guitar storms akin to a Beneath the massacre or Rings of Saturn after they have finally ripped up the song structure rule book and said to themselves “this might be excessive.” Mixed with high-speed open-string chugs of uncertain duration and pattern. This EP is all fast, all the time with scrambles of noise in vortex of chaos that makes this barely listenable to anyone who is even into traditional extreme metal or grindcore. However, there is something just wholly addictive about the experience: in its own self-fulfilling madness of it all. Madness, just pure madness. [6/10]

EP Review: Sanstone – Dystopia

Once upon a time, in the internet far far away, I had written some reviews under a different name (In A Hole Reviews for those who care) some 10+ years ago. Shocked and equally intrigued at the prospect that they still exist, I’ve decided to throw caution to the wind and as a little bit of an experiment in journalistic necromancy by editing them and re-posting them here. So here goes: at the end, I shall give an updated opinion of the record and a little bit of context, perhaps updating the score a little. So here it is:

Formed in 2006, these Birmingham upstarts are due to take the UK by storm with their debut EP “Dystopia” and this is why. From the brutal impact of opener “My Confession” to “Dystopia” the last of this 6 track EP captures your interest instantly with a barrage of technical riffing and marching brutality touched with many melodic tones, creating something for everyone’s appeal. From hardcore fans to the average metalhead will see and enjoy something in the sound of Sanstone this band is defiantly a force to be reckoned with.
With a strong heavy, technical backbone the guitars in this EP give an unrelenting brutality, while summarily they use of harmony between the rhythm guitars and the almost background noise of the many melodic solos, and many other nice touches on this EP giving this band a sound that is uniquely theirs. There are shredding aplenty as well as many stunning melodic sessions, with a thick blend of chunky riffs, mixed well with guitar discords and other technical touches that go down great sounding brilliantly well with rest of music without sounding generic in any way. Vocals are of a good suiting metal hardcore sound, giving a hard marching dominant feel.
The Drumming is talented and compliments the guitar perfectly but also adding its own little technical touches. Fills in some riffs help change the sound without guitars changing key or rhythm. Bass in this EP helps give the heavy beat-downs parts added edge and heaviness.
This exciting British act is certainly the one to watch in the near future and really screams out that these guys are here to stay. An impressive talented piece of work, and great sound, undeniably worth a listen.
Best Tracks: My Confession, Attica! Attica!
[8/10] www.myspace.com/sanstonemusic

Well I really got all of the “review writing cliches” out in this one, with more dead phrases than I could shake a stick at, haha. Forgive, please, the amateurism in my writing style, as this review was one of the very first “commissions” I got at the very start of my then myspace hosted content. Taking what I say into account this EP was and still a very good and engaging listen. Sadly most of this EP, like most material belonging to myspace era is now in the “lost media” black hole of the internet. The tracks used below were the only one’s I salvaged from the time, which are the strongest tracks from the EP.

This band at the time was, compared my to the local scene was actually a huge step up from what I was seeing live week in and week out (about 3 bands with the same sets each week started to drain), and being completely removed from the all the “scene politics” at the time was a huge bonus. Their sound is bulky and more toward the melodeath end that was so fresh and raw. Guitars are hugely impressive and heavy, while being unafraid of challenging the listener with its skills. The drums sound massive on this record, and blend thoroughly death metal touches with hardcore and metalcore struts. Disappointingly though, in my older ears today, the one element that hasn’t ages too fondly is the vocal style. As menacing as his grunts are, they fall a little to deep into the standard “core” for the most part, perhaps with some modern production on them would fix that in today’s market.

As a whole this band was one of those rare occurrences when just the right elements come together is in such as was as to unfortunately make for a very unstable creation. As not long after this EP came out the band dissolved through the band mates new interests pushing them into obscurity.

When catching up with vocalist Morgan I asked “are you proud of your work in Sanstone?” he responded with:

Dystopia was a good record, the band definitely split before it’s time as well

I am very inclined to agree with him, this is a very good EP and this band feel like they were cut down in their prime of life, and this release should of launched them further down to road to success and much heaviness beyond into the realm of melodic deathcore, as they clearly had the chops to compete and dominate with today crowded scene [8/10]

Not all is lost in terms of getting some great art from these lads as Morgan is now working as a music video director with an impressive CV, working for a plethora of bands such as Misery Signals see below!

I think my audience will be very glad to see that this is my very last retro/resurrected reviews and from now on it will be fresh material from here on in. Wish me luck.

Album Review: Threshold Sicks – The Scorpion Ensemble

Can’t believe it’s been 10 years, my ears just can’t wrap around the idea that’s been a full decade, since this band produced this record. This band, one of the pillars of the local Tayside, Nae, Scottish metal scene Threshold Sicks. They have been responsible for the gnarliest of my many next-day bangovers for the best of part my gig-attending career. This album “The Scorpion Ensemble” (Sadly) is their as of now only slab of metallic granite in output. So how does it stack up weighed against a butt-load of great moshing memories and spilled booze?

In terms of genre box-ticking, this band falls firmly in the “other (please specify)” box as their sound is not easily Pigeon-holed. Its a wild, successful combination taking the best elements of a handful of sub-genres: The beefy thickness of groove metal, the bounce of metalcore’s breakdowns, and the speed and shrewdness of thrash into a tasty combination. Making sure you aren’t bored with this used pattern they scrunch this all up with a handful of tech, sludge, nu, and even grindcore influences.

The single guitar form of this band brings a barrage of rapid-fire chugs in a thudding, sloppy, and sludgy guitar tone (that sounds even thicker and beefier live). While executing thumping fast-pace thrashy riffs that tail off into chaotic solos and messily designed leads. Backed up with a stuttering and technical rhythms of the drums adds a new layer of complexity to the mix of pit happy numbers in the album, spicing up the scale to jazzy at times. The evil and damn-right filthy and thunderous bass sound fills the mix with a gravelly thickness that is positively demonic live makes for intense listening as it lays down melodic grooves. Upfront in the mix are the harsh, growled and gurgled vocals by Phil “The Neck” Malloch whose presence on stage (as well as in the roller derby ring) was more than formidable as he echoed out words of real pain, anger, rage and disillusionment from the lyrics.

You may have noticed here that I sprinkled in hints of what the main flaw is in this release. Sadly it’s the production that has hindered them the most here. Feeling like a budget release that is on the extreme side of DIY, with regrettable consequences. The overall sound greatly lacking from their terrific live shows presence. The tone of the guitar and bass feels noticeably thinner and kind of scratchy in places, making some of the excited leads come off sounding sloppier than the actually are, and the riffs just not as heavy as they impact live. While the drum sound is a cloudy mess that again does not bring out the best of the style. With the vocals too loses some of their menace with a lot the screams and growls feeling more inwardly inhaled than powerfully blasted out from the stage.

Threshold Sicks in whatever form they take are always ready to bring the mosh in plentiful meaty handfuls live, and consistently make an impact when they play. This album despite the flaws in production and its at times slippery grasp, still gives you a very filling 38 minutes-so of headbanging fun, and great taste of one the scenes finest metal acts that are still firmly their glory years. [7/10]

Single Review: Hear ‘n Aid – Stars

Charity singles, there is something about this time of year that brings them out in force, and I think it’s all that tossers Bob Geldof fault with that damned Band Aid single that he keeps milking that really set the trend going. Luckily in metal the phenomenon is a rarity, but not unheard of. Famously there was the “Song for Chi” in early 2000’s that I remember but there has been a spate of them the 1980’s: Swedish Metal Aid (1985) with “Give a Helpin ‘Hand”, Rock Aid Armenia (1989) doing “Smoke on the water” and bizarre UK based The European Team with “Sport Alive” (1985), all these based the same premise of this one, the first. Ronnie James Dio’s original and most Band Aid-inspired project Hear ‘n Aid brings together a rag-tag team of 40 of rock and metals artist together in 1 epic song, like a 80’s heavy metal Expendables movie.

The line-up for this is quite the range of rockers, from metal experts such as Dio (taking the lead vocals), Rob Halford godly vocals, along with Motley Crues Vince Neil’s, Don Dokken, and W.A.S.P.’s Jackie Lawless vocal takes, and so many more. Hard rock heroes (and villains: Ted Nugent, Chris Holmes (W.A.S.P.), Geoff Tate) are present too from bands such as Y&T, Journey, Blue Oyster Cult, Vanila Fudge Rough Cutt and Night Ranger amongst even the fictional band Spinal Tap, who all lend their vocal talents. Sadly mostly in only a backing capacity. A lot of the stars feel under-utilised relegated to background vocals instead of getting their own lines in the lyrics, but then with the sheer numbers involved that might stretch the song for too long and too thin for its own good.

The track itself (written by Vivian Campbel, Jimmy Bain, Ronnie James Dio) is the kind of thing that you would imagine come out this project, as semi-power ballady heavy track that is vaguely inspiring in the lyrics, but working more like a Dio solo track with guests. As the whole of his solo band is here, with Iron Maiden guitarists Dave Murray & Adrian Smith supplying the rhythm melody tracks. However, the track is also littered with an almighty number of guitar solos from whoever turned up. From Eddie Ojeda of Twisted Sister, to Neal Schon (Journey), and from Buck Dharma (Blue Öyster Cult) to George Lynch (Dokken) and back again to the masterful Yngwie Malmsteen are all here, ripping some furious guitar solos to work as the bridge.

The B side is almost a complete waste of space, as it holds just sound bites of media and news reports about the project and interview clips of a few stars talking about the endeavour and supply’s no added music. The track was a success in its goal as it raised $1million dollars ($2.5m in today’s money) for famine relief in Africa, but artistically this is a mixed bag. Its a good song but nothing special apart being one of those heavy metal oddities and strange times capsule pieces of who was who in 1985. [6/10]

Album Review: The Ominous Circle – Appalling Ascension

It is about time I did something with all the extra time that the gig-less 2020 has given me. It’s also a proper time to cover something a) Recently bought and b) vaguely relevant to the current state of metal and everyone feelings of crushing despair/isolation that this damn year has brought us. So here I am covering something of a newer trend in today’s extreme metal scene: the stony underbelly of the world of Cavernous Death metal, and this band might just be a premier example of the sub-genre.

Today album is brought to you from the sinister-sounding project The Ominous Circle from Portugal. Thinly disguised in their 2 letter pseudonyms, a cult-like presence is given off from the members in their promo shots. A kind of cliched look, the anonymous cloaks and hoods are a little bit contrived and overdone in the scene but I am okay with it if it enhances the live show. But what really matters is what/who is beneath the hoods, and there are some prestigious faces underneath: from bands such as Dementia 13 and the brutal Holocausto Canibal.

Getting quicker to the music than the band does (there is an extended orcish noise-scape dripping in feedback intro before the first real track begins), what this full-length release “Appalling Ascension” unleashes on to you is something massively unique and foreboding. Fitting well within its niche/sub-genre well while adding their own spin, beginning with a hefty slap of almost Swedish sounding death metal riffs, ripped in furious fashion under a shower of blast beats. Settling into a brooding march of crashing and tearing death-doom barrages. Sticking with one-or-two riffs for some overtime heaviness the songs here are longer than most “quick-fix bands” do. This band takes its time to craft some exquisite pitch blackness to their lengthy movements, with atmospheric leads, dive-bombing solos and fuzzy production greatness.

The brooding and claustrophobic production here is key, here they give us giving a slim but deep band of frequencies to play with, that give the album a distinct fiery atmosphere, that chokes and strangles you slowly. The most obvious comparisons for sound is the pioneers’ Incantation, with the vocals keeping similar deep growling lines and intensity, although it feels like its not the focus. Here the guitar, drums and bass work is king, tremolo-picked blackened riffs merge with crushing and weighty longer Autopsy-like strokes and crippling atmospheric, super-oppressive tone, in a violent storm of intricate drum patterns and blasts.

I love the mix of blackened touches in the riffing, the nauseating deep rumble of the bass, as well as the talented barrage of the drums. If any record truly deserves the adjective “crushing” in its description its “Appalling Ascension”, this album is a true demon summoning ceremony of its own. Not as constantly-chaotic at times as other sisters in the scene like Portal, nor going into the war or bestial side of the black/death realm. This bands keep its flavour mostly straight, narrow-mindedly and deathly dismal. A sonic-experience like no other and a great way to dive into murky caves of this style of death metal, if you dare [8/10]

Album Review: Metallica – Death Magnetic

Metallica, heavy metal most successful and richest band, has a curious legacy and reputation, with almost all of their albums being clearly marked jumping off points. Either you jumped off when MegaDave was fired, or jumped once Cliff (Rip) did the same through their tour-bus window. Or you jumped after “And Justice” when Jason got muted and they started to stretch a bit thin. But I think the most old-school fans truly rage-quit at the “black album”, and further jumped off a bridge with the trash-can-snare fire that was “St Anger”. However, this album with its accumulated hype might of helped people get back on the Metallica bus for at least one more trip.

This was meant to be Metallica [marketing phrase #57] “returning to their roots” with Rick Rubin on board the first time since “And Justice”. This was them taking thrash metal back from all the pizza welding-thrashers pack that emerged in their absence. But it turned out as another deep disappointment, only slightly recovering ground lost to “St Anger” but in no way the great return to form everyone was hoping from them hype.

Riffing here is sadly mediocre, if this was a young band this would be positively ripping! but for a group of old as fuck dudes, this should have been supreme. Here they are just passable, and clearly stamped the ‘Tallica badge through the production. The solos and lead rips from Kirk this are solidly wah-tastic and are a highlight. Lars on the drums… well he is there, not much else to say about his dull drumming style, but at least the bass-lines haven’t been dusted over, as the lines here are very front-facing and grimy. James‘ “yeah!” vocal are as cliched and overripe as always, but there is some great hooks “All nightmare long” is a certified classic in my eyes.

Fitting neatly into the post-“black-album” niche they had dug themselves into, instead of launching us back to the 80’s, as promised. This album pussyfoots around too much, showing that they haven’t moved on too far from the accessible rock 90’s “Load” phase with all alt rock sensibilities and uninspired hooks to match.

There are some killer tracks here like “The Judas Kiss”, but its another album that just goes on for too damn long, another relic they should have dropped in the nineties too. Half of the tracks feel padded out with circling the same riff for too long. Its not as diabolically long as some of their albums, (looking at “Hardwired”, that one was a struggle to get through even with watching just the videos.) but still starts to drag. Perhaps if they cut a few tracks (the instrumental “Suicide & Redemption” a clear target), or finished it on “Unforgiven III” and swapped in “My apocalypse” for one of the lesser ones that would have upped the score quite a bit, but for me it a [6/10]

Album Review: Rhapsody of Fire – Triumph or Agony

Rhapsody of Fire – Triumph or Agony
“Triumph or Agony” is the beginning of a new saga, like all other Rhapsody (of fire) albums, this tells an intricate story-line set in a world of myths and legends. This album sounds like what some would call “Hollywood Metal” sounding like an epic film score. Yes this is Epic-Symphonic Power metal at its most Extreme! Backed by a 70-piece orchestra and choir and a cast of character actors; including Christopher Lee from Lord of the Rings fame playing the part of the Narrator, the All-knowing Wizard king”.
With an uplifting feel throughout, thanks to high power metal vocals and intricate melodies provided by the almost excessive use of violin and guitar, almost inseparable in some tracks. Powered by the very impressive song-writing skills of Luca Turilli and Alex Staropoli. Not only writing they’re own guitar and keyboard parts but also all the lyrics and orchestral parts.
But from the very Lord of the Rings-esk introduction to the Climax of the 16minute long “The Mystic Prophecy of the Demonknight” this album gives only the finest overblown epic sound throughout, some tracks mellower like “Il Canto Del Vento” sung entirely in Italian, but lack the impact of other tracks.
Yes, this album is almost silly, yes this album plays out like a fantasy film or fairy-tale, but you can’t help but love it for its sheer boldness and imagination. The writing skills, and the full-blown epic-ness of this album, is uplifting to the full every listen. Bringing back a well needed good sense of fun and adventure
[8/10]

Well this album turning into more of a mixed bag than I was expecting. This is an epic album, when it wants to be. There is some strong power metal cuts like in this the title track, but it seem wider apart from what I remember. With a lot the song sinking into the flowery side of the power/symphonic tracks more than I would like. Sadly time and my changing tastes have not been kind on this style. As well crafted as it is with its multi-layered complexity, can help but feel they skipped out in a lot of the metal-ness for story elements and flutes.

Its clear with Luca Trulli being such a film buff that “The Fellowship of the Ring” (2001) made a huge impact on is record, and that is super clear from the very first whispered moments of this album. However, as gigantic as the scope was intended with this album, not all was quite achieved. With some of the tracks such as “Old Age of Wonders” having more stature of “Willow” (1989) with is comically overly whimsical tone and theme, than the slender height of a high fantasy elves it was aiming for. While tracks like the epic-length “The Mystic Prophecy of the Demonknight” comes across as more of an amateur dramatics radio play with its long winded story and sound effects.

This all gives a mixed impression compared to what this album first gave me, back when I was much more into power metal and its chivalry themes. Now however, I can much more of its flaws and inconsistencies with a lot of the songs falling too much on the sentimental side of the power metal fence that feels too silly too ignore. [7/10]