We all know rock ‘n’ roll is spawned in hell and eager through hordes of bands to spread its glory, an infestation proven over the decades to only thrill especially in the hands of bands like Demons Of Old Metal. Theirs is a forcibly vocal and thrilling stomp consuming the senses which is in full roar within the glorious shape of new album Dominion. The UK band has been around a little while, working away at trying to “win back the souls of those that have turned their back on sex, drugs and rock ‘n’ roll!” From the fact that their new release is our and a great many others introduction to them suggests it has been a slow battle to date but things are about to get hot and dirty we suggest once their outstanding album uncages its contagion.
Formed around the time 2010 turned into its successor, Demons of Old Metal emerged as four veterans of the UK metal scene united to play “what got them into music in the first place – classic metal.” Casting a sound, presence, and stage show coloured by schlock horror inspiration, the band released their debut offering on the Halloween of 2012, in the riot of mini-album, The Demonic Chronicles Vol. I. It as a well-received and praised proposal followed by the band creating metal havoc across the country live and the subsequent releases of Vol. 2 and 3 of The Demonic Chronicles over the next couple of years.
The Torbay hailing band’s sound is mutant rock ‘n’ roll rising with creative bloodlust from a twisted blend of Pantera, Them County Bastardz, Hell Yeah, Steel Panther, and Machine Head, to give its hellacious voice some description. And as Dominion swiftly reveals, it is an infestation of ears and imagination refusing to take no for an answer with its virulent hostility.
The album announces itself with the brief theatrical Domintroduction before launching itself at the senses, with nostrils flared, through the outstanding Fakeskin. Riffs and rhythms quickly build a wall of spite and enticement, already badgering and welcoming a just as instant appetite for the provocation. As the expressive punkish tones of vocalist Tombstone Cowboy leap into the brewing tempest, electronic slithers and teases play, a side-helping of temptation to the full meal of a voracious onslaught luring away as the guitars of Tombstone Cowboy and Psycho Wing continue to rampage and flirt with the throaty toxicity spread by bassist Babyface Stephens s. With the scything violence of drummer Dr Doom simply nasty and gripping, a rich Slipknot essence can be added to the suggested breeding of song and album, but all flavours here and ahead stretched and mutated into a web of metal distinct to the demons.
You Version 2.0 leaps on the listener next, its physical and emotional agitated an open toxicity within another storm of merciless rhythms and riffs bound in nagging grooves and confronting vocals. The electronic sparks of the first song is replaced by a more industrial metal predation, thoughts of Pitchshifter teasing throughout whilst heavy and more classically honed spices venomously soak the pores of the track and senses. It’s addictive quality is emulated by both Dance of the Damned and Open wide and Scream, the first stalking its victim with rugged textures and the electronic toxins woven by Digital Death whilst growing into its spite with an increasing weave of flavours and inhospitable but gripping enterprise. The successor to this Devildriver like animus of a song, stomps with a dirty rock ‘n’ roll swing and theatrical snarl, its lure smothered by a sonic climate of intensity and rancor. The band seamlessly fuses the contrasting yet similarly belligerent winds of that invention, creating a hellish primal nursery rhyme as catchy as it is intimidating.
There is a ‘mellower’ trespass next with The Quiet Ones, its southern rock flames and dirt lined grooves locked into a thick turbulence of riffs and rhythms, neither outweighing the other but mutually leading to a moment of groove heaven and an increasingly explosive and vicious outpouring of sonic rabidity. A borrowing of a Rage Against The Machine tempting only adds to the fun, and as much as the album bruises and devours it also offers a rich tongue in cheek layer through lyrics and mischief.
Grind was a little ‘disappointing’, though only in the fact with its title hopes were it would burrow into flesh and psyche like a drill bit. Instead it spun a wiry web of grooves and sonic tenacity amongst a threat of rhythms and riffs; the result being another inescapably persuasive and seriously enjoyable intrusion before making way for the writhing and relentless nagging of Behind the Mask. With a ripple of rap metal to its persistent niggle of riffs, the song demands attention, evolving new strains of melodic and cantankerous imagination in return. Longer to hit the same rapturous reactions as most of its predecessors, the song easily succeeds in leaving satisfaction full before being over shadowed by the excellent The Star of your Nightmare. Its electronic coaxing amidst prowling riffs is almost Marilyn Mansion like but in no time a cancerous violation unique to Demons Of Old Metal with the track emerging as a theatre of cinematic mayhem and sonic ingenuity.
Cast around a fiery acidic groove, See How They Die seduces and menaces before overpowering its initial rich flame to dominate through bearish riffs and ill-tempered rhythms, the vocals bridging both emotions with open relish. Like The Union Underground with anger problems, the song is a grizzly treat leaving Get Outa Dodge to provide one last growl of insatiable and uncompromising rock ‘n’ roll, and ending the album on another big high.
British metal/rock ‘n’ roll is building towards a new heyday going by releases over the past few months, and when it erupts in full voice, there is no way Demons Of Old Metal will not be there leading the thrilling riot.
Dominion is out December 1st with pre-ordering available now @ http://www.ebay.co.uk/itm/-/221931265158
http://www.demonsofoldmetal.co.uk https://www.facebook.com/demonsofoldmetal https://twitter.com/demonsofficial
Pete RingMaster 05/11/2015
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