Russian metallers Full Throttle is a band on the rise, their adrenaline fuelled classic metal sound capturing the attention and imagination of a growing greedy audience. Our big friend in Israel, Kostya Aronberg has stepped forward to find out more about the band and their music, concentrating on their new EP.
Good afternoon guys. How’s the band Full Throttle doing this days?
Good afternoon, we are fine. We continue to work in a heavy direction, preparing for the further implementation of the ideas.
With you solid playing classic heavy metal you have had some success: being signed by European promotion project GlobMetal Promotions for example. How did you do it?
With some degree of certainty it is a credit to each musician individually and the team as a whole. When forming the musical and textual components of songs, maybe we have invested part of the soul which is transmitted to listeners. We think, aspiration and persistence also played a significant role in achieving objectives.
Of musicians who was behind the Full Throttle? How to promote the creation of the band?
The group was founded in the city of Kaluga by guitarist А.Gunko in 2004. Initially the creation of the team was carried out in conditions of significant difficulties, was to find the priorities and directions, that also was a professional test for individual group members, and the formation of will to move forward. Originally the musical style best suits “soft rock”, but from 2006 with the arrival of new musicians we began to play in the style hard’n'heavy. Having played a few shows with a new repertoire, the band began preparing for an album, but unfortunately due to some disagreements, in January 2007 the group’s activities were suspended. We gathered again only in 2010. Right now we are working without a drummer, but hopefully will find one soon.
Perhaps this issue will affect one of the main secrets of the group – which is a planned full-length album? Will there be any special, breakthrough ideas that will further progress throughout the musical level of the team?
We are located deep in thought, will the next release be a long play or another? This will depend on a combination of meaning and music products to all songs which is an integral part of the whole, and without necessarily to link a single concept. A few songs from the new material are already written, some to determine in time. Necessarily to add a new sound to music lyrics are carefully checked, and trying to make every song memorable work, we think about every note, appreciate every word. We hope to convey to the audience the very important life components: the constant need for proper selection of vital categories; manifestation of will in overcoming any barriers and obstacles to the goal.
Where was the recently released EP “Roads of Life” recorded? What roads did fate take this record?
EP “Roads of Life” even six months ago, was not planned in this format. We wanted to produce a long play album. Recorded in Kaluga studio «Machine Band», for mixing and mastering the tracks were sent to Belarus. There were some difficulties, not enough free time during recording to edit some arrangements, sometimes had disagreements over individual understanding of participants. Because of this recording and mixing stretched about six months, but in general we think was good.
Will the Full Throttle shoot their first official video? How do you imagine it?
The idea of creating a video has been around for some time. Most likely, the shooting (already decided on what song) would start after the studio recording of the next release. In the video we want to fully express the inner atmosphere of the team and the semantic content of the conceptual ideology. We will not do, of course, without the special effects.
Heavy music old style is going through hard times, it is difficult to resist the new fangled trends. How are things on the stage of your hometown?
The general trend of heavy music fashion dictates the rules, and in the city of Kaluga this is no exception. In addition to representatives of the classical styles of metal, there is, of course, a large number of groups implementing new areas of heavy music. Even though the popularity has declined, heavy metal lives, that is periodically confirmed by participants at urban music concerts.
Whose music has an indirect impact on the work of Full Throttle? Whose level do you want to achieve? And in what ways do you plan to do this?
The formation and development of the group took place under the indirect influence of both local masters – “Aria”, “Kipelov” and foreign: Manowar, Nightwish, Metallica, Sonata Arctica.
However, the music of these artists is for us the example of the creation of creativity and performance, but in no way it is not plagiarism.
In terms of improving the limits for themselves, bands must constantly evolve. We hope to reach a minimum level of Dream Theater, everybody understands that it needs only two things: a strong desire, and “hell work”, which is always the most reliable ally. We will try to.
Thanks for your time, what would you wish to our readers?
To readers we want to wish good luck to the boundless, the implementation of plans and ideas, true friends in life. Nothing is impossible!
Interview copyright Kostya Aronberg
12/04/2013
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Unleashing a furnace of melodic might and invention with their debut album Descent To The Underworld, Raven Lord has given classic metal a shot of adrenaline and traditional passion which reaches far beyond just the fans of the genre. Consisting of six of the finest rock musicians with a pedigree and experience to match, the Csaba Zvekan formed band combine power metal and neo classical influences with their heavy metal heart for a towering encounter in sound and album. Taking full use of the opportunity and pleasure to talk about the band, album, and his inspirations with Csaba, The RingMaster Review looked at all things Raven Lord.
Hello Csaba and thank you making time to talk with us.
Raven Lord is arguably a ‘supergroup’ with the pedigree and experience of its members. Started by yourself what is the history before and build up to the band?
Thank you and indeed that was the idea. To have a band with experienced players who have been around the block and played some high profile shows before. I was looking out for players who would fit the RAVEN LORD code that I had in mind. After leaving KILLING MACHINE in March 2011 I was all ready to go to make some more Heavy Metal. All I needed is to write a bunch of songs with a release so we can start playing shows, so the idea.
Just for the record can you give the current line-up and their band history as I believe the personal has changed since the album?
The current line-up is JOE STUMP on lead guitars. Joe is known for his superfast shredding technique and has been working with bands like HOLYHELL, REIGN OF TERROR and of course his solo career. GEORGE KARAFOTIS plays rhythm guitars for RAVEN LORD and also for his other band called VERMILLION DAYS. JAMIE MALLENDER is our bass player and he is best known for his work with EX-BLACK SABBATH’s singer TONY MARTIN. ALESSANDRO DUO plays all keyboards and is also active in a band called VOODOO HIGHWAY. Then we have RICH SMITH with us playing drums who previously played for POWERQUEST. And I was singing in bands like KILLING MACHINE, STREAM, SARDONYX, ROUGH ANGEL and EMERGENCY.
Was there any specific intent or purpose when starting Raven Lord?
Yes, my main idea was to play festivals all over Europe and become a touring band. For that we needed a release of a CD. I never thought that this product would receive so much interest from the press, fans and listeners.
From an arguably bland stance for heavy metal in recent years, Raven Lord is the proof that actually it is vibrantly alive and kicking. Do you feel outside of the band it has been lacking a spark as a genre for a while now?
Must be a true fact as this is not the first time somebody mentions this. We get this question a lot and feel that the true and pure heavy metal seems to be a rarity these days, almost as if it is reserved to be played by the “biggest in the business”. Instead it’s the music we grew up with and the genre that started all of this to begin with. Also there seems to be a void in all this as newer bands try to go a different approach. RAVEN LORD can act to patch up the need for this type of music.
I believe the band took a while to get going and emerge, took time to become an active project?
The first record did take more time than originally intended. I think that is normal under the circumstances we were in. Looking for the right player took some time. Also producing the right music and arranging what I had in mind. Truly I believe the band now knows what sound we play and what our goals are. This wasn’t always the fact. So the next RAVEN LORD album is already in process and shouldn’t take that long as the first one.
What are the major influences which have helped define your ideas and the band’s sound?
There are so many influences all and each of us have. We have been compared with the biggest names in metal. As for the vocals and overall sound I’m strongly influenced by Dio, Black Sabbath, Judas Priest, Malmsteen, and TNT but also with singers like Ian Gillen, Glen Hughes and even Chris Thompson.
You linked up with Axel Wiesenauer, a man who has been very kind to The RingMaster Review, from ROCK’N GROWL promotions before the band became a reality, how has his help and expertise impacted on band and its progress to date?
This is very simple to answer hahahaha. Without Axel from ROCK’N GROWL there would be no RAVEN LORD. No band name, no band logo, no artwork, now producer, no record deal absolutely nothing. I cannot say enough thanks to this man who I call the 7th band member. He might be not on stage with us visibly but he sure is with his overall work and dedication for the RAVEN LORD concept.
You have just released your excellent debut album Descent To The Underworld, an accomplished and imaginative slab of classic metal. I get the impression the band members are not local to each other so was the album an internet spawned release or did you find time to get together for a studio adventure?
At one point at the very end of post-production we almost got together for the final mix down in Gothenburg, Sweden. Unfortunately it didn’t happened. So the very next event is rehearsals around June 7th that’s when we come together for the very first time and shake hands and meet as a band. The recordings were done all spread out at every band member’s home country. This has some major advantages in time management but also had a few drawbacks. I would do it again for pre-production as it saves a lot of time. But for the recording and post production I prefer to go to a bigger studio and work with a producer on site. Let’s not forget that this is all depending on how much budget is available. On the first record we didn’t have a budget. We still managed to pull things off with recording the album in our home studios and then had it mixed with FREDRIK NORDSTROM in Sweden. Later we gave it a good polish in the mastering studios of MAOR APPELBAUM in Los Angeles. Both engineers were doing an excellent job!
Recording albums without losing any unity or technical craft using the internet and various computer programmes to transfer and translate files seems the way some music is heading. Do you feel that there are negatives to this which will never evolve the same results as a band being together in person to either write or record?
There are a few negative drawbacks. In particular for the producer to interact immediately with the player who comes up with some recordings and perhaps it’s not liked. So then things would have to be discussed and rerecorded again. This of course is double work for the player who is involved. Sure it is more efficient time wise if you produce the record on site. The other thing is engineering yourself was never a good thing. You might be over picky with yourself. Making endless takes or quite the opposite thinking it is good enough. That’s where an engineer and producer are valuable to the outcome of the product. At the end of the day it’s still a budget issue.
Can you tell us about the album and its songs; is there an underlying theme across Descent To The Underworld?
All though it’s not a concept album as many believe it to be the majority of the songs have to do with life and death. And since it’s a debut album and “Black Friar” describes the band name RAVEN LORD in a fantasy story. So I didn’t want to use the very same song name as the album title. Instead I describe “Black Friar” with a different title, hence “Descent to the Underworld”. And the very same title seems to work just fine with the rest of the songs as well.
What has inspired your songwriting and lyrics the most for the album?
Life!
Life, nature, people, animals, the whole cosmos as a one working organism. And where there is life there is death. It’s an endless cycle of birth, death and rebirth. Forever! You see I believe we have always been and will always be. As the energy is never lost it only changes form and appearance. And even if the whole galaxy would collapse in a black whole tearing us up in billion pieces we would be reborn in time again. But there is always the inevitable “end of things” which actually marks a new beginning.
What is the songwriting process and how does it work for the main within Raven Lord?
For the first record it was quiet difficult to create something that only I knew how it should sound. The players didn’t always know what I had in mind. It needed some explanations first. Now that we’re working on already new songs for the second record it’s much easier to follow that style. The routine would be like with many metal bands I worked with. The guitar players come up with some riffs, I then would piece them together so the length with the vocals can fit. Changing some chord progressions so I can fit my desired melody that I have in mind. I would also sing some riffs to give it the initial spark and occasionally I would record guitar tracks on my own and hand it to the guitarist to work it out in a more detailed and better fashion. The rest comes from all of the RAVEN LORD members with their individual styles and melts into this shiny slab of metal.
Now finished in all its glorious and thunderous presence, is there any part or moment of Descent To The Underworld which gives you the biggest personal thrill or tingle inside?
Yes, I am amazed by all these positive CD-reviews. Never expected this. I mean I’ve been doing this pretty much all my life and now of a sudden it’s the new “masterpiece”, “best record in decades”, we’re being compared with top metal bands and that is just overwhelming. We must be doing something right!
Anything in it which, not that you would change or could have done better in hindsight, but has sparked fresh ideas to explore in your next recording?
Oh yes hahahahaha. I am so looking forward for the sequel of the record as there is so many more stories to tell. Believe me. Life gives me inspiration on a daily basis. And it can do it for anybody. Simply stop what you’re doing for a minute open your eyes and inspect your world around you.
Have the songs on the album all come fresh to the band and release or are there some parts or ideas which have seeds in your previous bands and projects?
All the songs are brand new and have been made exclusively for RAVEN LORD. I like new fresh ideas. No need to reuse old ideas if we can do them “new”!
The album is released via Mausoleum Records, how did that link up come about and there is a second album planned with the label?
Again, the whole credit goes to Axel Wiesenauer who is our general manager. He worked out the two-album record deal with MAUSOLEUM RECORDS. The label boss knew some of us from previous bands and liked the product so they picked it up. There were other offers from other labels. But I didn’t want to pass on a label like MAUSOLEUM RECORDS that was celebrating 3 decades of Heavy Metal success.
What comes next for Raven Lord, have you live shows or tours in the works?
Yes, RAVEN LORD is growing very rapidly and I started booking us some shows on my own. Until someday I realised the workload is getting too much. I asked for help with a very professional booking agent who now is working to get us on some festivals in Europe. Later this year around October we should announce our first EU/UK tour. One big festival is already confirmed in Tongeren, Belgium. It’s the R-MINE METALFEST 2013. We’re going to be playing the main stage Saturday the 22nd June 2013 with bands like Symphony X, Rhapsody Fire and Hell. This is going to be a blast. There will be even more shows confirmed this summer so stay tuned and check our website periodically under www.raven-lord.com or even better like or Facebook page at www.facebook.com/ravenlordmusic.
I will admit before hearing the album I was not sure about the band name but now having heard your sound and release it is the perfect fit to the shadows and ominous, slightly classical breath of certain elements and the heavy metal sound overall. Was there much deliberation over the band name and how it should represent the music?
It’s amazing how things fall into the right place with RAVEN LORD. I felt the same way when we brainstormed about band names. Did not like the name at all at first. After I investigated the Raven as a bird and it’s meaning in mythology I was inspired instantly. It’s the gothic, dark, Middle Ages look that grabbed my attention. And with the neoclassical musical background, logo and lyrics it gave even more persona. Suddenly it was all making sense. Just as if a hidden and invisible force would put all these things together for us. Maybe that’s really how everything is.
Many thanks again for taking time to talk with us, any last words for readers and fans?
Thank you so much for this opportunity to make such an interesting interview with RingMaster Review. Also thank you for your great CD-review earlier. We thank the readers, our fans and supporters for this successful release. It’s because of all you out there that we’re making these things happen. Come meet and greet us on festivals near you!
Finally what are the songs or albums you would go back in time to create first and grab all their credit for?
I think I would jump in the time machine and go back to the year 1979 for the Black Sabbath – Heaven and Hell album. But then again this sounds like blasphemy hahahahahahaha
Looking at the line-up of Raven Lord it is impossible not to imagine and expect their debut album to be a rather accomplished and imaginative slab of creativity, and Descent To The Underworld certainly does not disappoint. It is a thunderous expanse of riffs fired by a furnace of melodic might and invention, an explosion of classic metal all fans of the genre will expel a full passion for.
The sextet consists of the fiery vocals of Csaba Zvekan (Killing Machine, Sardonyx, Emergency), guitarist George Karafotis (Vermillion Days, Operation X), bassist Jamie Mallender (Tony Martin Band, ex-Black Sabbath), keyboardist Alessandro Duo (Voodoo Highway), drummer Lawrence Paterson (Blaze Baley, Iron Knights), and newest member lead guitarist Joe Stump (HolyHell, Reign of Terror). Together they have ignited a sound which combines power metal and neo classical influences to their core heavy metal heart for a towering encounter which commands the ear. Released via Mausoleum Records, the Zvekan produced and Fredrik Nordström (At The Gates, Arch Enemy, Nightrage, In Flames, Dream Evil and Opeth) mixed Descent To The Underworld is a continually enthralling album which offers plenty to reward anyone with a taste for melodic metal if not the genre it is settled in. It is a muscular confrontation at times which sparks as much enthusiasm as the sonic and melodic flames which sear and engross the senses throughout.
The album opens with the compelling charge of pulsating bassline, tightly grasping riffs, and warm mesmeric caresses from the keys of The Rebel. The track is soon blazing with the expansive vocals of Zvekan who rings the emotion and sound from every note with skill and passion to match the guitar play of Stump. It is an impressive start to the release which immediately confirms expectations and more which were in place over the formidable line-up.
Through the likes of Attila the Hun with its Middle Eastern kiss from the keys and surging sonic enterprise, the mesmeric Seal Of The Cross with its symphonic gait, and the rampant hunger and energy of Promised Land, the album persistently offers variety and smouldering imagination to keep a strong intrigue and unpredictability within the umbrella of classic metal electricity. The latter of the trio is an outstanding brawl of seductive mysterious keys, ravenous riffs, and evocative solo mastery from Stump which leaves one breathless.
Further greater highlights come with the majestic yet corrosive Black Friar and the riveting Metal Knights, another song where the keys wash the senses with a golden glow of Eastern promise from within an exhausting drive of devouring riffs and caging rhythms. Both tracks show the band at its best creatively and musically with the vocals of Zvekan certainly in the latter of the two, scorching the small hairs from the surface of the ear with his sonic squalls which run the fine line between pain and bliss for great results.
Descent To The Underworld is an album fans of the likes of Dio, Yngwie Malmsteen, Judas Priest and Black Sabbath will find a rich home within but it also has plenty to keep those of us who do not necessarily find the deepest of riches in classic metal more than satisfied. Raven Lord is a band destined to lead their chosen genre in the near future.
It would obviously be a dumb thing to say that Absolute Profit from Serbian metallers Putrid Blood is one of the very best thrash album of the year so far but whilst being ravaged by its inventive and tumultuous creativity you know that the same claim in more than a few months time will be just as undeniably valid. The release is an outstanding storm upon the senses from a band which has evolved from their impressive Fire At Will demo of 2009, into a masterful and accomplished unit with a compelling and enterprising sound.
Formed in the opening strains of 2008, Putrid Blood has certainly drawn and found a good recognition and loyal following in their homeland which has spread further afield in recent years. Formed by guitarist Srdjan Ranisavljevic and bassist Slobodan Stanic, who left soon after its formation to be replaced by Srdjan Hardi, the group was just a project in progress in the first year or so as they worked on writing thrash cored material. During this time the band expanded with the addition of vocalists in Stevan Milankovic and Bojan Goluza, and drummer Petar Barna, and as the new members made their contributions the sounds being created evolved further with strong elements of hardcore and black metal flavouring the music, which the new album impressively shows. Fire At Will as mentioned brought the band to the eager attention of many people as well as earning a good depth of acclaim and with the recruitment in 2011 of second guitarist Vladimir Jašćur the sextet began the recording of their first album last year.
Absolute Profit builds on the attention marking EP by showing a maturity to the song writing and a level of imagination and adventure which has grown and flourished from that earlier recording. The band is as aggressive and formidable as ever but has honed their invention and sound into something which is unpredictable and intriguing whilst arguably safely within the already set walls of thrash metal. Opening track on the album, Vulture is immediate proof of what the band is about and evolved into. With demanding rhythms and ravenous riffs the track is a feisty charge of energy and sounds which run with a hunger through the ear whilst a inciting and mischievous groove grips the passions tightly. The dual scowling vocals are as raw as the intensity borne from the caustic breath of the song whilst the sonic sparking of the guitars which shower the track with searing heat leaves one basking in joy . The track is in many ways a straight forward riot but brought with a skill and passion alongside outstanding sounds, it is just an irresistible bruising.
The corrosive Silovanje unleashes its venom on the ear next, caustic melodies and rabid riffs a greedy tempest upon thunderous rhythms. There is a death metal grasp to the storming malice conjured and in less than two minutes the song causes more damage and unbridled pleasure than the majority of much longer plundering exploits found elsewhere over the past clutch of months. Both tracks leave a breathless reaction but the album is just warming up and in For God’s Sake unveils greater heights within its course. From the pulsating rolls of drums and the classic metal lilted guitar flames opening the song a strong variation is beginning to be ventured into by the band. The track is still a thrash cored brute but with the insatiable delicious groove and grinding stance is also a raw seduction of originality and incendiary enterprise. Again it is short and of any gripe you can think of it is that songs often end just as the heart is in full blaze.
Tracks like the intimidating Kontraudar and the black metal veined Re-Animator without reaching heights already attained continue the deeply satisfying onslaught with ease and accomplishment whilst the song Zver scars and tramples the ear with a uncomplicated thrash outrage for a rewarding and merciless confrontation.
New plateaus are breached when Prey upon warning sirens and a brewing atmosphere makes its arrival. Stretching its back and driving its muscles into action, the song stomps with unrelenting riffs driven by a greedy appetite and barbaric rhythms which show no sense of mercy or lessening in the potency of their tirade. As throughout the album, the bass of Hardi prowls and stalks the senses with great skill and power, whilst the track itself is an excellent aural predator drooling and leering over its victim.
The Miner Recordings released album is completed with further impressive brawls, firstly by Rođen za Pakao with its heavy metal spicery, the blackened and harsh vastness Nespokoj, and the thrilling instrumental Moment Of Clarity. They complete an album which is so easy and irresistible to return to and to recommend to all. Putrid Blood has come of age and one can only hope their time is now.
Continuing the DR (digital release)concept began by Mortal Music and veteran metallers Ion Vein of taking a snap shot of an album of music and releasing it into the market a “chapter” at a time’, the pair has just released the next instalment in the riveting and impressive IV v2.0 from the band. The new three track instalment in the passage to the full album is just like its predecessor IV v1.0, a vibrant and thrilling slice of progressive and classic laced metal.
The gap between their last album Reigning Memories released in 2003 and the first EP of last year was a long wait for fans and most likely an impatient one for something from the Chicago band which formed in 1995 but the release showed the band was as mighty and inventive as ever, in fact at their strongest to date. Founder and guitarist Chris Lotesto, vocalist Scott Featherstone, bassist Rob Such, and drummer Chuck White, have continued their impressive return with a trio of songs on like its predecessor, the Neil Kernon (Nile, Nevermore, Queensryche, Redemption) produced EP, a release which leaves the majority of emerging melodic metal bands in the shade.
The opening song Seemless accosts the ear with thumping rhythms and delicious senses churning riffs which are all muscle and simple but effective enterprise. Settling into a more reserved gait though the track strokes the ear with a rich melodic ambience whilst the pulsating bass of Such prowls and probes the ear magnificently. The vocals of Featherstone are as expressive and powerful as ever, and though he may not be the vocalist with the greatest range in metal he persistently delivers an immense presence and passion to each song which flares up superbly within the equally fiery sounds, as proven on the first song of the release. The rich guitar explorations of Lotesto dazzle without indulgence to stoke greater fires within the already burning appreciation of the stylish composition and its skilful and inspiring presence whilst that rapacious bass switches on primal needs as eager as the sonic caresses tease out a devouring greed for more.
Fools Parade steps forward next to elevate things to an even greater plateau, the stalking riffs and sonic scorching an acidic feast veined by the tightly controlled yet hungrily barbed rhythms of White. Weaving through corridors of energy and an enveloping furnace of passion and imaginative melodic invention, the track has a loud whisper of the John Bush fronted Anthrax which adds extra richness to the stomping presence of the enjoyably resourceful song. It stands as the best track on the EP with ease though the final piece of engagement in the form of This is Me completes the EP with an expressive relish and melodic metal strength which rivals. The track winds itself around the ear with provocative riffs and further excellence from the sonic inventiveness of Lotesto to invite a feisty response in thought and passion for the creative flames within it and the whole release.
Arguably the concept being employed raises as much impatience as satisfaction when the tracks are as strong and enthralling as they are on both EPs to date and the want to dive into the full length lying at the end of it all overwhelming, both extremes of emotions rife because of the great sounds and songwriting within the impressive stature of the releases. Bottom line though is that IV v20 is an accomplished piece of metal which just hits the spot from every angle and thrills throughout.
Though the EP A Touch Of Death from Australian rockers Reapers Riddle has been out a while it might be like for us one which has slipped passed the radar upon release and through the subsequent months for many of you. It is though a release which is simply an uncomplicated and thrilling slab of rock n roll which we all should be aware of so time for a belated but required review. Fusing the best accessible elements of hard rock and metal, classic and current, the EP is an eager riot of devilment, energy, and compelling sounds to raise the spirit and stoke up the passions. It does not exactly offer anything ground breaking but does unleash sounds which are honest and irresistibly mischievous, the best kind of rock n roll.
Formed in 2008, Reapers Riddle has spent the following years building a strong reputation and ever increasing loyal fanbase in their home city of Perth and wider afield. Their live performances are renowned for insatiable energy and impressive quality something the EP easily points to, one imagining how thunderous live they should be from the bruising tracks on the release. A debut self-titled demo in 2009 gained good acclaim though it had a quality issue for the band leading to a lack of intense promotion and push country wide. Working on its follow up the band was slowed by a line-up change but eventually A Touch of Death emerged to grab strong attention and responses, something which is no surprise now finally having felt its boisterous might.
From a horror movie sample the release drops a resonating burst of sound, dramatic and intimidating, before opening up into a brawl of scavenging growls and scything riffs before thumping rhythms and hard rock melodies join the fine affray that is Zombified. Soon the vocals of fine Clayton Mitchell paint a visual picture whilst anthemic invitations through the chorus ensure the listener is soon joining the engaging and sinewy assault. The track is a red hot piece of irrepressible rock which makes no demands but rewards fully through easy going inventive metallic abrasions. It is an excellent start which arguably is not matched again, though each of the subsequent five tracks come close and leaves just as much satisfaction with their direct encounters.
The following Cursed continues the horror theme whilst again lining up infectious hard rock hooks alongside a thumping metal driven assault. The rhythms and basslines are as rampant as the guitars are fiery, the combination a rage of aural energy which is controlled yet left to spread its inciting provocation. It has an eighties lilt to its breath which adds to the contagious air of the song and like the opener it is a track you cannot help joining in on.
There is a shift to a less horror rock presence with the excellent Fall Away. It is a song which melds a classic rock and metal flavouring to create another anthemic treat whilst reaping its rewards from the heart for its catchy barbed hooks and melodic teasing. Like many of the songs on the EP, it is a track you feel you already know though it does not sound like any which spring to mind. The feeling is from the band assaulting tried and tested roads though such the compelling and infectious charm of the songs and their obvious quality, it is only a total positive.
No Strings Attached and Lost in Ink both pile on the pleasing and invigorating quality, the first a wanton sleaze coated tease with heavyweight riffs from guitar and bass over improper intent and melodic flames whilst the latter is a hungry grazing of heavy metal riffing and spiteful rhythms. The melodic aside midway in the second song is an inventive unexpected piece of imagination which gives extra pleasure, especially as it is a fluid and seamless addition to the raging surges of the song.
Completed by the emotive One Red Rose, a mesmeric ballad showing a further diversity to the songwriting and vocals of Mitchell, A Touch Of Death is an outstanding brawl of essential rock n roll and Reapers Riddle a band who know how to party right and hard.
Classic metal has never found an easy welcome with personal tastes here but if it consistently sounded as irresistibly fun as the new album from French power metallers Mystery Blue does the genre would have received open arms far more often. Conquer The World, the new and seventh album from the Strasbourg quartet, is quite delicious. It cannot be claimed it is transforming the heart of classic metal/rock or even directing the genre to new avenues nor offering anything particularly new, but it does leave a deepest of satisfaction and pleasure seldom found in the majority of similarly soaked releases anywhere. It is just a great energising enjoyment which has the heart racing and fist pumping, simply rock n roll at its stirring invigorating best.
Mystery Blue was founded in 1982 by guitarist Frenzy Philippon and found a strong recognition within the hard rock/metal sound of the time. Their self-titled debut album of 1984 and its successor Circle Of Shame two years later found good success and acclaim as did gigs alongside the likes of Motörhead, Def Leppard, Saxon, Vengeance, H-Bomb, and Satan Jokers, but it was followed by the splitting of the band. 1996 saw Philippon resurrect the band with vocalist Nathalie Geyer, bassist Dany Ohlmann, and drummer Vince Koehler completing the new line-up. The album Spirit Of Your Song came out to a good response, with the successive releases Metal Slaves, Claws Of Steel, and Hell & Fury marking the band with ever increasing acclaim and recognition. A couple of bassist changes led to Matt Gabnai joining the band in 2011 and the foursome entering the studio to record Conquer The World with Uwe Lulis (ex-Grave Digger, Rebellion). Since returning Mystery Blue has gone on to share stages with bands like Paragon, Rebellion, Wolf, Adx, No Return and more as well as impressively gracing many festivals, and alongside their albums especially the new one released via Road Show Productions, has found a place to the fore of current classic/power metal.
The title track bursts into life after an initial barrage of inciting drums which then fades away making one wonder why and their purpose though all is forgotten as soon as the song itself emerges powerfully from the rhythmic mists. It opens with a charged and heavy grind of riffs and the enthralling vocals of Geyer. She has a classic delivery which sweeps over the ear like a mix of Doro and Toyah, and once a handle is found with it is a great aspect amongst so many on the album. The song itself is a ‘traditional’ sounding track which does everything right without pushing its limits for an easily accessible and pleasing start to the album.
Things leap another level with the following Innocent Crime and Running With The Pack. The first song matches the opener in energy and irresistible washes of catchy hooks and enthusiastically driven riffs whilst bringing a more complex structure to the songwriting. It ebbs and flows seamlessly whilst all the time creating a pulse racing energy to envelope and reward the listener whilst the second is a different chunkier and sinewy encounter. The bass growls with deeper resonance whilst the rhythms slap harder with more malice behind the enterprising guitar play. With additional vocals from Andreas Babuschkin of Paragon finding a great unity with those of Geyer, the song is a thrilling and contagious instigator to heart, voice, and limb, and one of the biggest highlights.
It is closely matched by the likes of the excellent Evil Spell where Geyer at times wonderfully wrings notes from her throat alongside her great melodic castings, the thrashy Cruel Obsession with its crushing almost psychotic breath, and Road Of Despair. The last song is a thunderous runaway colossus of bloodletting riffs and bone cracking rhythms cored with a ravenous bass conjuration and infectious vocal squalls. It is a magnificent track stealing top honours amongst many impressive rivals.
The album does lose its grip a little with Ticket To Hell and the power ballad Keep On Dreaming due to personal preferences in regard to their classic metal intent, but even then it is still hard to pull away from their company. Conquer The World is an outstanding album which thrills and raises the heart rate from start to finish with mischievous imagination and irrepressible passion. It is a must check out for not only classic rock and metal fans but for all those with an ear for crusading unbridled fun.
Touch of Evil is an album which without lighting any major fires leaves a lingering and satisfying taste in the ear. Previously released in their own country of Poland last year in limited quantities, Pitch Black Records and the female-fronted Access Denied now re-release it for further afield ears to investigate and enjoy. A strong and energetic mix of classic and heavy metal, the album is an undemanding but overall pleasing burst of energy and accomplished sounds.
Forming in 2003, Access Denied has drawn good acclaim and built a strong fan base in their homeland through shows, early demos, and their debut album of 2009, The Memorial, all igniting solid interest and responses. Their original hard rock led music evolved quickly in the early days into the classic metal sounds which light up Touch of Evil; though there are times the genres still mix to great effect in songs. With an additional video for the track One Night included on the new version, the album can now introduce itself and the band with good honest sounds and energetic power to a fuller audience with its second release.
It begins with an excellent intro, the piece of music a vibrant and stirring atmosphere which without reaching epic proportions is an energetic suggestion of excitement and brewing adventurous encounters ahead. The following Messenger Of Death leaps into view on the banshee cry of vocalist Agnieszka Sulich, her squall unexpected after the premise laid by Intro. The track offers sharp crunchy riffs and expressive keys which guide and wrap respectively the fine sonic invention from the guitars of Jacek Kolankiewicz and Mateusz Krauze. It is a strong track which fails to live up to the stirring winds suggested but still leaves one contented whilst ensuring a keen need to venture further into the album is rife.
The following Suicide Mind raises the bar with its scorched melodic enterprise and slight symphonic whispers behind the charged heavy metal heart of the song. Where Sulich left a few questions with her delivery in the previous track she is controlled and powerful here so that even her sudden diversions to torturous squeals and magnetic snarls only add to her presence. Arguably she is a singer one has to warm to and certainly across Touch Of Evil she gets better and better, which the same can be said of the release itself.
Tracks like the fiery Secret Place, the outstanding Don’t Tell Me, and Violence Of Mind, grab the attention firmly and give extra invention to chew on. The first simply sizzles with energy to keep one engaged whilst the second of the trio is an enthralling confrontation of inciting guitar play, cutting riffs and predatory rhythms. The stick work of drummer Dominik Frukacz, who is now no longer with the band, is immense, his work powerful and controlling with an invention speared intent. He is a major feature throughout every track with this his finest hour, and alongside an equally impressive bassist in Paweł Nejczew they make for a potent combination. The latter song gnaws at the senses from vocals through to the beats whilst engrossing the imagination with elements of pagan metal, the folky swagger dancing with teasing inducements within the abrasive riffs. This and Don’t Tell Me easily stand out as the best tracks and trigger the intent to keep a good watch on the band ahead, both songs the most imaginative and adventurous on the album.
Touch Of Evil is not without flaws, the too often repetitive thrusts of riffs and formula structures in certainly the earlier tracks, as well as a production which lacks spark, preventing a fiercer enthusiasm to the release and a need to constantly return to its ultimately strong sounds. Closing with the skilfully created and played title track, the album undoubtedly gives great promise for the future whilst making a worthy companion for all classic and heavy metal fans with its eventful and pleasing offerings.
Though they have been producing their distinctive style of creativity for well over a decade, the EP Man::Instincts from Monsterworks is our first introduction to the band, and a surprising and initially disorientating release it is too. Consisting of three songs which evolve within the ear, the release is a hypnotic and wide array of sub genres and metal flavours. Unpredictable and intentionally challenging, the EP is a provocative brew of styles with rewards which are vibrant, compulsive, and wholly enjoyable.
From Wainuiomata in New Zealand and now UK based, Monsterworks has across their fourteen years as a band, released two demos and seven albums which going by research and the sounds on this their debut EP, have more than likely all treated the listener to startling and uncompromising invention. Previous releases has included a metal space adventure concept album which came in the two parts of Spacial Operations and Singularity in 2007 and 2009 respectively, and last year an album which explored philosophical territory, The God Album. The band creates music which surely is as a big an irritant to those which have to tag and label as salt is to slugs. Their sound is a striving perpetual and fluid weave of sounds; classic, stoner, black, power, a mere few of the mass of multi metallic essences woven together in a seamless soundscape of imagination. Arguably it should not work but it does and effectively as Man::Instincts easily proves.
The first track The Creation Dream opens with instantly engaging guitar caresses which capture the imagination within moments, the melodic heat rippling off their play mesmeric. The song soon brings a muscular breath to its flight as black metal vocals scowl with venomous intent and classic metal cries permeate the background. As the tempered but brewing storm of sound wraps the ear the song is a warm consumption which ignites with fiercer surges as it moves into a folkish progressive climax. The guitar play of Marcus and vocalist Jon is skilled and constantly enthralling whilst the rhythms built by bassist Hugo and James on drum, are forceful without overpowering or deflecting from the craft of the song itself.
All Suns Die erupts with an instant blackened scramble upon the senses, the disruptive and shifting rhythms explosive and agitated. As it progresses the track explores melodic rock, progressive metal, heavy metal and more. In a mere three minutes or so it encapsulates a maelstrom of aural spices like colours within a jigsaw and like that it all fits perfectly and flows as one. It is instinctive with no sign of elements being forced or added just to be different. There are moments personal tastes are not quite sure about but it is never an issue to derail the quality and enjoyment given.
The closing track Free Will has a feisty intent, its trash surges raising the heart rate amongst the blackened veins and classic shrills. The song is arguably less eclectic of the trio, preferring a less changeable core but is no less impressive and powerful. It is true to say there is something for everyone on Man::Instincts and no doubt their albums too, though possibly for some the vast expanse to the music in its diversity will be a challenge too far, but you do not know until you try, right?
Released via Mortal Music as the second in their series of digital releases which began with the excellent IV v1.0 from ION VEIN, Man::Instincts is an excellent introduction to newcomers and continuation for existing fans. With whispers that the EP is a taste of what is to come within future album The Album Of Man, anticipation and the need to discover the back catalogue of Monsterworks is eager.
Heavy metal especially the old school classic kind and The RR has never really seen eye to eye, the likes of Iron Maiden, Def Leppard, and Saxon igniting more discontent than pleasure. It is personal taste of course and as open to all as we are it is makes it rare for the genre to offer something up for us to find appetizing. One of those rarities comes in the shape of the Rock The Night EP from British classic heavy metal rockers Monument, a little treat which without any chance of making our end of year best of lists left more than a pleasing impression and satisfaction behind it.
Formed by vocalist Peter Ellis (ex- White Wizzard, The More I See), the London based quintet do not hide their influences and inspirations, combining all into a riotous and compulsive sound of their own. Their new release does not break into new avenues or rip up the rule book but simply brings the feistiest heavy metal party you can wish for right to your door. Completed by guitarists Lewis Stephens and David del Cid, bassist Jim Ramses, and Matt C on drums, the band seem intent on giving a new life and freshness to the near corpse like state of NWOBHM, something which would normally give nothing but chills this way but Rock The Night EP actually manages to make it almost seem an appealing prospect.
The title track erupts in the ear with an immediate intent to excite and fire up the senses, soaring screams and raging riffs instantly taking over the ear. The song is an insatiable charge of energy and metal passion which leaves no pore or synapse devoid of melodic enterprise and charging intensity. The guitars reign on the track leaving one glowing from their fiery display of forceful riffs and enticing invention whilst the solos leave one drooling, which maybe is not surprising as the song features a guest spot from Judas Priest guitarist Richie Faulkner. The vocals are as expected from Ellis, expansive and highly charged with strong group harmonies adding their enthusiast companionship. Arguably the song offers nothing new except fully energising sounds which have not been this enthusiastic in the genre in a long time, then again not being fans we may have missed plenty of similar moments?
Whereas the opener leaves only hi octane energy and enthusiasm in its wake the following Carry On is a more expected composition. It is hard to call it predictable as again the guitars and vocals are nothing less than impressive whilst the rhythms of Matt C take instant charge of the ear with their powerful and commanding tight grip, but it fails to excite quite as openly. With surging riffs and plenty of chugging ready to link the scorching melodic play, the song is enjoyable without stoking too many fires something which cannot be said about Midnight Queen.
Best song on the EP, the track is addictive from first note to last, the Ozzie like vocals playing well amongst the brew of sinister melodic enterprise and menacing sprawling energy. From the vocal and additional harmonies through to the expressive guitar work the song captivates but it is the bass of Ramses which steals the thunder. Steely with the hunger of a predator it brings a dark shadow and breath all of its own, surely a pact with the devil at play which spoils over in the following Fatal Attack. There is a plethora of good things on the release but his presence is the highlight.
As said the bass continues to ignite greater heights on Fatal Attack, it is as if Ramses has been unleashed and he is making every moment count but the song as a whole is nothing less than thoroughly pleasing. It has a snarl and bite which is distinct from the other songs on the release to make it alongside its predecessor and the title track. One of the strongest moments on Rock The Night.
The closing Blood Red Sky continues the strong and gratifying pleasure surprisingly incited from the release and though it slips a little against the previous duo of songs still holds the imagination and ear with ease.
Monument with the Rock The Night EP laid waste to expectations to replace them with surprised pleasure. If this is the new state of heavy metal maybe there is a home here for it after all.
The general trend of heavy music fashion dictates the rules, and in the city of Kaluga this is no exception. In addition to representatives of the classical styles of metal, there is, of course, a large number of groups implementing new areas of heavy music. Even though the popularity has declined, heavy metal lives, that is periodically confirmed by participants at urban music concerts.
You have just released your excellent debut album Descent To The Underworld, an accomplished and imaginative slab of classic metal. I get the impression the band members are not local to each other so was the album an internet spawned release or did you find time to get together for a studio adventure?
you the biggest personal thrill or tingle inside?
of The Rebel. The track is soon blazing with the expansive vocals of Zvekan who rings the emotion and sound from every note with skill and passion to match the guitar play of Stump. It is an impressive start to the release which immediately confirms expectations and more which were in place over the formidable line-up.
