A View From The Back Of The Room: Tailgunner, Toledo Steel & The Rattlebacks (Live Review By Matt Bladen)

Tailgunner, Toledo Steel & The Rattlebacks, Fuel Rock Club 18.04.24

I could just recycle my last review of trad metal rising stars Tailgunner (8) when they played Fuel Rock Club but they did play things a bit more differently this time easing off on the covers for more of their originals which was welcomed though Beast In The Night and Painkiller were firm favourites with the Fuel faithful, Craig Cairns hitting those high notes with ease. For me their own songs such as the boisterous Guns For Hire, the nuclear Warhead and Revolution Scream are perfect for some Priest/Accept/Maiden worship, Tailgunner letting the leather fly while trying to navigate the Fuel stage to throw some metal poses. 

Twin axe harmonies from Zach Salvini and Rhea Thompson lead to a guitar battle and In The Hall Of The Mountain King, the Grieg version not the Savatage one, Tailgunner rattling through their set with maturity that comes from relentless touring. Using as their intro tape always throws me off, or gives me flashbacks to my Greek in-laws but as soon as the fret slides, rollicking rhythms from Thomas Hewson’s bass and punching drum beats from Jani Pasanen, kick in we’re back in Blighty with some NWOBHM power. 

Back on tour again with KK’s Priest in August, I expect more of the same but each time the British metallers improve on their showing from last time, taking up the mantle laid down by the 80’s glory days with ease.

I’m doing this backwards now as like I said it wasn’t long since I’d seen Tailgunner, but last time it was two local bands that supported. This time it was some hand picked support from West Sussex classic rockers The Rattlebacks (7) who aren’t the sort of band you expect to be out with two trad/speed metal acts. Still they came on with attitude, drawing from the bluesy rock n roll swagger of Aerosmith, a bit of G’N’R and some grunge for those who love plaid. They played a good rock set with a weighty rhythm section, two skilled guitar players and a singer who had the right voice but clearly had never played Fuel before as he turned up in a fur coat! Sweaty, booty shaking Brighton rock that got the night moving.

After this though it was our first taste of British Steel, with a band named after a hardened type of Spanish steel that was used by Hannibal. I’d wanted to see Toledo Steel (8) for a while and with two albums, two EP’s and an early years comp for those that didn’t get the EP’s they were actually the most experience band on the bill forming in 2011. They made the most of what I think was their first show in Cardiff with a set drawn from both of their albums and a couple from their EP they showcased the NWOBHM sound they are very, very good at. 

Influenced again by Maiden/Priest, they are a little more rounded than Tailgunner with a few sleaze/glam elements creeping in on Visions In The Fire driven by Felix Dock’s bass. Founder member Rich Rutter (vocals) looks for the crowd to sing back as co-founder Matt Dobson (drums) keeps the beat. With the faster cuts such as the galloping On The Loose, Writings On The Wall, the speedy City Lights or the Priest-like Rock Nights the riffs of Tom Potter and Michael Lewis come thick and fast as Rutter explodes into falsetto screams. They closed with Speed Killer/Toledo Steel gave the headliners a bar to try and beat. I’ll be seeing them again as soon as I can!

On a Thursday in April it was proven that classic British metal and also classic hard rock are both alive and well.

Reviews: EYE, Loch Vostok, Fractal Gates, McPharaoh (Reviews By Matt Bladen)

EYE - Dark Light (New Heavy Sounds)

Relocating from her native Wrexham to be with her partner, fellow musician Gid Goundrey, MWWB's front woman/synth player moved into a Grangetown, Cardiff flat, feet from my own house just as the pandemic hit. 

They both started making music together, inspired by their situation feelings of being trapped and isolated, making this music in a tiny flat as the pandemic raged, heightened by Covid-related stroke suffered by MWWB guitarist Paul “Dave” Davies, who was left fighting for his life but slowly and sure is returning to health. All these factors inspire a dark, disturbing, introspective album that is not quite on the metal or rock spectrum but dances round it with shimmering electronica, ambient and trip hop soundscapes influenced by Björk, Tori Amos, Portishead and Chelsea Wolfe. 

Many of the songs date from before MWWB so they now finally see the light of day, having had plenty of time to be composed and created into what you hear on Dark Light. Most of the record is gothic, ambient, electronic music with Jess' trademark breathy vocals, but she also rediscovers her love of the guitar with the rhythmic playing of PJ Harvey or St Vincent, that incorporated angular alt rock, doom metal and shoegaze phrasing, this is dream pop that occasionally veers into a nightmare. 

Take the disquieting and meditative, In Your Night which builds into the apocalyptic doom of MWWB, See Yourself does something similar with euphoric vocals and heavily distorted repeating riffs and twitching electronics. It's all heavy in a manner of ways the production of Chris Fielding as deep and resonant as it is with sludge and doom bands, allowing Ball's vocals and guitars, Goundrey's drums and Jonny Eye's electronics and samples to stand resonant and powerful. 

With MWWB still on hiatus EYE is a band born out of near tragedy, seriously good musicians with a collective vision to experiment with what really is 'heavy' music. 9/10

Loch Vostok - Opus Ferox II - Mark of the Beast (ViciSolum Productions)

Swedish prog metal band Loch Vostok continue the concept they started with their previous album on Opus Ferox II - Mark Of The Beast, this is the second part of a trilogy and brings more darkness as we get into the mest of tne storyline. 24 years into their career, Loch Vostok are perhaps not as well known as some of the compatriots but they managed to highlight the more gothic, introspective style of Evergrey or Nevermore founding guitarist Teddy Möller providing harsh vocals to counterpoint clean singer Jonas Radehorn. 

Co-founding guitarist Niklas Kupper brings the twin axe attack to this album as they shifted between songs Loch Vostok balance simplicity and complexity, very similarly in instrumental and vocal approach to Evergrey, atmospheres on The Great Wide Open are given dramatic vocals while Children Of Science is drilled by Patrik Orwald's bass and William Parkstam's drums and gets a load of shredding solos to open as Senses makes it all darker as we shift to melodeath. Each song on this album adds something a bit different to their established prog/power metal style. 

With another entry to go, Opus Ferox may be the defining trilogy of Loch Vostok's career. A must for fans of heavy yet melodic progressive metal. 8/10

Fractal Gates - One With Dawn (Self Released)

After 6 years floating through the ether of deep space, the French sci-fi metallers Fractal Gates emerge like a comet with their new album. You can't fault their ambition as that time in the wilderness has resulted in an album that is 16 tracks long. 

Two of said songs are re-recordings of what they call "fan favourites" but the rest of the album is brand new with a lot of tasty melodeath morsels to sample. With the founding members Stéphane Peudupin (lead/rhythm guitars/synths) and Sébastien Pierre (vocals/synths) composing all the music here, as well as handing most of the production to, they brought in Juho Raïhä of Swallow The Sun to take on the mixing and mastering.

The trio have created a record that really draws on cinematic, galactic melodic death metal where the Swedish founded sound is refined by these Frenchmen, the usage of synths really making things similar to Children Of Bodom, Scar Symmetry, Insomnium and Soilwork. The synths in union with the stunning virtuoso melodic guitar playing, as Jari Lindholm (Enshine) brings two additional solos. Peudupin also locks in very well with Antoine Verdier (bass) and Arnaud Hoarau (rhythm guitar) for some shredding, death metal riffs as Jérémy Briquet brings double kicks behind the kit. 

Yeah it's long with a lot of songs packed in to the album, special guest vocals from Deibys Artigas and Egan O'Rourke (Daylight Dies) bring yet more talent on top of the bands virtuoso performances. Fans of melodeath that is progressive and broad will love One With Dawn. 8/10

McPharaoh - The Rise And Fall Of McPharaoh (Self Released)

What do you get if you put Ray Kroc, Marty Friedman, Primus and Gioringio A. Tsoukalos in a blender add to it lots of Egyptian history/conspiracy, possible lawsuits, fast food induced diabetes and ramp up the silliness to Monty Python levels? Well you'd go halfway to expalinging what the hell is happening on the debut album from McPharaoh. 

Inspired by a terrible piece of A.I. art, virtuosos Ryan Martin and Ben Baljak, gained the inspiration to create a concept album based around the McPharaoh, telling the tale of Pharaoh who invents fast food and is then wrapped up in conspiracy, betrayal and rivalry with The Borg El King. They do this through progressive instrumental playing that merges metal with rock, blues and everything in between. Khanka Festival Conspiracy has a melody that's very similar to I've Got A Little Something For You by MN8. Papyrus Of Cornholio blends 8-bit with Beavis And Butthead. The swaggering Proper Giza Blues also reminds me of something but I can't put my finger on it as Khepri Sun is a lū'au. 

There's country picking, EDM and more and that's just on Kom Ombo, much of the album also having cutaway gags, samples from Ancient Aliens and even a bit of "Professional Geezer" Danny Dyer. The 10 songs and 12 segues making it a pretty hefty 24 songs and over 100 minutes of instrumental music, you could say it's showing off but these songs are all different, they tell the bat shit story in their own way within a designated musical genre. 

Shamelessly D.I.Y but absolutely professional, if you're a musician then it's all very moreish like 20 Chicken Nuggets at 3am, but non musicians may find it to be a little too long. Still I suggest you stick with it as the prog is very strong here. Check it out before they get sued! 8/10

Reviews: Folterkammer, Replicant, Verikalpa, Post Death Soundtrack (Reviews By Gavin Brown, Charlie Rogers, Zak Skane & James Jackson)

Folterkammer - Weibermacht (Century Media) [Gavin Brown]

Folterkammer are an interesting prospect indeed, a colossal melding of black metal and operatic/classical music that uses the grandeur of both these varying styles delivered in a way that is both elegant and devastating and with their second album Weibermacht, they do so in style.

With the bands lineup containing guitar maestro Zachary Ezrin of Imperial Triumphant, you can appreciate the decadent nature of the music of Folterkammer, but when you add in the stunning vocals of Andromeda Anarchia, you will be blown away by what the band do on this album.

Weibermacht contains eight tracks, and over them Folterkammer explore many different musical avenues, from the sublime to the brutal but the one thing that ties them all together is a desire to showcase the bands unique nature, and it does so in spades.

Folterkammer means Torture Chamber in German, and this is especially apt on the bands cover of Venus In Furs by The Velvet Underground that finishes the record off, but the whole album contains that vibe of BDSM elegance set to music especially on songs like Algonagnia and Die Unterwerfung.

One things is for sure, you won’t hear another album that sounds like this all year such is its unique approach to extreme music, and that innate uniqueness is something that should be roundly celebrated.

Weibermacht is a triumphant album and one that revels in its devotion to both classical music and black metal delivered with an air of dominance, which these differing sounds coming together and raising the bar for one another in a triumphant fashion. 8/10

Replicant - Infinite Mortality (Transcending Obscurity) [Charlie Rogers]

New Jersey death dealers Replicant are back with their third album Infinite Mortality - an angular, abrasive soundscape, that feels like the audio version of one of those colourful vibrating spiky balls you used to get as an infant. And by that I mean you turn it on, it shakes about in seemingly limitless anger, you can’t really tell if it’s the right way up (or even if there is a right way up in the first place), and it doesn’t really fit in with any of the other toys. It demands centre stage. You’re going to play with me now. Don’t ask how. Pay attention. Dissonant death metal seems to be having a renaissance at the moment, and Replicant are definitely doing their best to throw a bag of live grenades into the mix to keep things interesting.

Straight off the bat, opening track Acid Mirror jarringly crashes into the ear with discordant, obtuse riffing, tortured screaming, and a blitz of different drum attacks. There’s a good sense of groove between riffs, mixing the chaos in with moments to bob your head to. Captivating harmonic content alongside a vortex of unpredictable fret abuse. The song clumps together and comes apart like someone manipulating a piece of gum, or possibly like the fleshy mass depicted on the album artwork. 

Sticky, writhing, globular. It slides seamlessly into the next track, Shrine Of The Incomprehensible, which continues the same vibe. In fact, the whole album follows a similar pattern - that is, a pattern of pulsating, complex movements, sharing blistering blast sections with open noodling and sinewy, chewy riffs. There’s a brief atmospheric interlude for track 5, SCN9, which acts as the only real reprieve and respite, but at 61 seconds long it basically acts as an intro to 6, Pain Enduring, anyway. Like I eluded to in paragraph 1, this album insists on your attention, and refuses to compromise on that.

I’m so far not familiar with Replicant’s previous work, but given the strength of this record, it’s caustic yet oozing melodies, and it’s similarity to bands I adore (Demilich, Diskord, Chthe’ilist) - I better get listening to their other records. If you also enjoy chaotic death metal, you’ll dig this record. If you don’t, it might feel like someone trying to shove a star shape into a circular hole. 9/10

Verikalpa - Tuomio (Scarlet Records) [Zak Skane]

Hailing form Northne City of Oulu in Finland, the Troll/Beer metal band Verikalpla have made a name from forging groovy riffs and rhythms whilst infusing twisting styled folk melodies to accompany the Finnish lyrics that are sung in an Oulu accent. The band have continued their journey with their fouth 12 track instalment Tuomio.

Through out this album the band have proven that can they can still hold up with the greats such as Turisas, Sabaton and Finntrol. The battle metal sprit energy on this album comes in strong with its reckless double kick and blast beats especially on tracks like Noijan Sauna and Hakkaa Hakkaa. 

The guitars on this album deliver this type of Yin and Yang approach through track to track, from providing us neo classical styled licks filled riffs in the open track Arvon Tuomari, full thrashastic wrist snapping riffs on songs such as Noijan Sauna and Sammalsynti, then go full death and black metal inspired riffage with harmonised tremolo picking locked in with reckless blast beats. 

The orchestration of accordion and violins really makes a perfect marriage between the guitars keeping up with some of the neo classical flavoured licks especially in songs like Laulava Vinaja, the accordions can also provide polka influenced melodies in songs like Sammalsynti and can provide additional melodies non linear to the guitar riffs to in songs like Tulimerten Taa. Finally the snarling vocals throughout this album provide this classic Scandinavian snarl that is so prevalent from singers like Alexi Laiho (Children Of Bodom), Tomos Lindberg (At The Gates) and Mathias Lillmåns (Finntroll).

From the triplet-grooved tracks on Arvon Tuomari, the thrash and death grinding assaults on Sammalsynti and Hakkaa Hakkaa to the festival ready hits like Laulava Vainaja and Tulimerten Taa. This band keeps true to the modern battle formula but will still please the masses. 7/10

Post Death Soundtrack - Veil Lifter (Self Released) [James Jackson]

The info that comes with this one is a bit sparse, however the genre tag of Doom Grunge seems to offer an interesting, if not slightly odd, combination. In fact, the more you listen to the album from the Vancouver based duo, that tag seems quite restrictive, there’s actually so much more going on, that to define it, you’d find it easier to list genres they’ve not covered.

Whilst researching the band I’ve found references to Grunge, Alt Rock, Doom, Industrial and something called Doomtronica (note to self: look that up). After a purely instrumental and experimental intro, The Die Is Cast kicks off and the initial feeling is that of the kind of Stoner style Doom that has been often inspired by Black Sabbath, it’s dark but with a groove to it.

Killer Of The Doubt, the second track upon the album is pure Grunge, most evident within the chorus. And such is the template for the album, genres and styles thrown together to pretty much great effect; I wouldn’t class this as Doom by a long shot but the influence is certainly there, as is Electronica, the aforementioned Grunge and Classic Rock/Metal; compartmentalising this album, or pigeon holing if you will, is as easy as catching smoke.

There’s such a lot happening to good effect, the riffs are catchy, the vocals poignant and importantly, it’s cohesive, I’ve heard plenty of albums which attempt to mix genres, some to great effect whilst others fail at the first hurdle, this however is very much a good example of how taking different styles can work when done properly. 8/10

M2TM South Wales 2024: Swansea Heat #4 Interview With Catalysts By Paul Hutchings

Interview With Catalysts – Heat 4 Swansea, M2TM 27th April 2024

1. Let's start with introductions. Who is who and what does each person do in the band?

We're Catalysts!  A 5 piece band of best mates from South Wales.  

David Challenger - Vocals

Elliot Blake - Guitar

Craig O'Connor - Guitar and Backing Vocals

Paul Owen - Bass

Haitham Alhardan - Drums

2. Where are you from and how long have you been together?

We're all born and based in South Wales.   A spread from Newport, to Monmouth, to Ebbw Vale.  We've been together for 8 years.  

3. Describe your music in five words.

Energetic.  Melodic.  Loud.  Electronic.  Riffy. 

4. What prompted you to apply to be part of Metal to the Masses - South Wales?

We played M2TM's in 2022 and LOVED the set up M2TM's created.  I believe I applied for us to play this year but we couldn't make one of the dates.  Luckily for us, a spot became available for Swansea April 27th, so we jumped at the chance.  (Thanks again!)

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you've returned!

As per above, love the set up and competition.  It's an event that's organised really well.  With people that are friendly, passionate for music and support local artists who may not have a large following.  

6. Bloodstock is a big festival - have you attended the festival in the past? If so, what would you say are the best things about the weekend?

Never attended bloodstock but would love to go!  Would be even better to attend as an artist ;) haha  

7. Apart from Metal to the Masses, what do you have planned for 2024?

We'll soon be filming to star in BBC's Casualty for a rock concert scene.  We have new material ready to record and will start filming music videos for them songs also.  We also want to gig as much as we can.  

8. What can we expect from you in your heat?

Energy.  Passion.  

9. And what are you expecting in your heat and journey through the competition?

We're expecting from all bands, what we deliver.  As above, energy and passion.   If i'm being completely honest, whilst we do want to do well in this competition, for us it's about having a great time, showcasing our music, meeting new local artists and ensuring the audience leave that venue entertained with great value for their entry fee.  

10. Finally, where can people find details of the band promote your socials here

LinkTree:  https://linktr.ee/CatalystsUK 

Instagram:  https://www.instagram.com/catalysts.uk/ 

YouTube:  https://www.youtube.com/@CATALYSTSUK 

Spotify:  https://open.spotify.com/artist/1zcCikpGRcl1GlbQGFzgYg?si=iKj_daxvRTSlPODJMU1Cjg

Reviews: Couch Slvt, Hollow Blessings, Rad, Motions (Reviews By Matt Bladen)

Couch Slut - You Could Do It Tonight (Brutal Panda Records)

This is a hard listen. In a lot of ways. Musically Couch Slut are aggressive, uncompromising and relentless in their extreme noise terror, lyrically they rage about self harm (Wilkinson's Sword), killing sprees (The Weaversville Home For Boys), bloodbaths and assaults on women. It's ferocious and fiery, Megan Osztrosits' firebrand vocals that alternate between unhinged screams, guttural growls, hardcore roars and spoken word manifestos. It's thrown at you without trigger warnings and without hesitation. Confrontation through characterisation is what Couch Slut do, paying tribute to things personal to them, such as a local bar on Ode To Jimbo, a home invasion on Laughing And Crying and Megan's journey with self harm, all hard to hear all viscerally performed.

Along with Megan is co-founder Theo Nobel (drums), Kevin Hall (bass), Dylan Diella (guitar) and Amy Mills (guitars), the band are now well skilled having been together for over a decade and they produce their noise very slickly, throwing huge amounts of musical curve balls featuring members of Imperial Triumphant, Pyrrhon and Uniform adding vocals, synths piano and more. I'll be honest my head hurt when I first listened to You Could Do It Tonight but after repeated listens it really opens up itself as the extreme music classic it really is. If Couch Slut are half as antagonistic live as they are on record (by all accounts they are), then it will be something to behold. Until then though make sure that You Could Do It Tonight cleaves your ears. Not for the faint of heart but worth the audio abuse. 8/10

Hollow Blessings - Who Will Dig The Graves When There Is Nothing Left Of Us (Self Released)

Hollow Blessings play nasty, abrasive hardcore which often delves deeper with feedback drenched noise. Formed by members of South Wales sludge/hardcore outfit They Live We Sleep, Hollow Blessings play music that is shorter, more direct but every bit as abusive to the ear drums. As Charonium crashes into life, it's obvious that Hollow Blessings have a lot more to them usually than just hardcore bluster and noisiness. Instrumentally there's a lot going on as this track creeps out with anguish cries, From Nothing is driven by some gut punching basslines, choppy guitar breaks and even something that resembles a melody on the chorus. 

Breakdowns are juxtaposed by arpeggios, as we get some angular riffs and more pained shouts on Host Disorder. It's visceral stuff, mixed so it sounds filthy to the ear, relying a lot on the bass for it's main rhythms as the guitars are heavily distorted and fizz like white noise. Those of a nervous disposition best not listen as Who Will Dig The Graves When There Is Nothing Left Of Us, wields a rawness suitable only for a dead planet killed by hubris, Hollow Blessings have tapped into melancholic acceptance with their debut. 8/10

Rad - Demo (Self Released)

Were you like me brought up with Tony Hawks Pro Skater? Great Rad have a demo that you'll love! Just three tracks of crossover skater thrash which is inspired by D.R.I or Suicidal Tendencies, it's actually more like 2 songs and an intro, the band formed by a member of hardcore punk band Barriers. 

They say they're inspired by all thing bodacious, chunky breakdowns and thrash riffs are the order of the day on Dying To Live which is the longest cut here closing the demo strongly. There's lots of promise on Rad, gnarly skate thrash from Brighton. 7/10

Motions - Paralysis EP (Self Released)

Recorded at homes in Teeside, Motions recorded their EP based around the psyche of a person contemplating suicide, each part of the EP telling another chapter of this story. They hope the EP will help them support and push suicide awareness and that people may find catharsis through the modern metalcore Paralysis gives you. 

With so much riding on it conceptually, musically it delivers atmosphere and introspection from the off. Pugnacious on Deathgrip, Never Enough has grooves while Save Myself is more emotive with electronics fizzing. Paralysis brings a modern metalcore sound with pertinent lyrics, emotional and powerful. 7/10

Review: Flamebearer (By Matt Bladen)

Flamebearer - Brazen (Self Released)

I'm usually pretty good with talking to bands, I mean they are just people, I even managed to sit through breakfast with Steve Harris without going full fan boy. But at Masters Of The Riff 2023 I made a tit of myself in front of Flamebearer frontman Andy Valiant (formerly of Oak and currently 1968), but that's only because I had seen them totally destroy Hackney with their own rip snorting rock n roll and their explosive cover of W.A.S.P's Wild Child. (And I'd had a few ales)

So when this album landed in my inbox I could barely contain my excitement. It came to the top of the pile and was played several times before I even sat down to write this review. The organic nature of Brazen means it gets the blood pumping, brash and indeed very brazen. Inspired by 70's heavy rock (See The Lies), 80's traditional metal as well as stoner/doom. All three are woven seamlessly through Flamebearer, for every moment of heaviness, there's a melody, every mountainous doom slab, a traditional metal gallop. 

The riff worship begins in earnest, that simple drum pattern from Thiago Pinho, direct and driving, his percussive power sturdy and steadfast. He's underscored by a grooving bass from Dom Bailey, the rhythmic heart of the band. Closing out the instrumentals are the distorted, dirty riffs from scene veteran Alastair Riddell. On Seed Is Sown these riffs weave into a harmonic guitar solo, the classic metal style bleeding into their muscular doom rocking. 

This is their full length debut, following a debut cassette/digital EP and the Wild Child single release, several tours with big names honing the Flamebearer sound enough to get them back in the studio with Wayne Adams for just two weeks and launch the next phase of the Flamebearer story where they want to make music that is a vital and vibrant as their live show. 

So what else does Brazen offer us? Well on Taste Hell they have some 80's style gang vocals with a sleazy chug to the riff, we get our first slab of doom on Walls Crumbling. Valiant addressing his followers with his Osbourne/Wyndorf reverbed vocals on this psychedelic tinged number. It leads into the thundering The Grey, which is yet more more doom but this time with a NOLA wooziness. 

Flamebearer sweat talent from every pour, hitting what is a sweet spot for me. Insecure for example is just a wild bit of doom rock, Sabbath worship but with bigger choruses. Then on Holy Rose they totally blindside you with what is similar to a Thin Lizzy Celtic macho ballad. The lyrics of Flamebearer are used to uplift the listener, they don't dwell in the maudlin, always focusing on conquering adversity than being consumed by it. 

Holy Rose recalibrates this album, segueing into the truly evil sounding Black Tower which again hints at Sabbath but also Cathedral with its slow, brooding riff and airy drumming. If you don't gurn to this your definitely dead, just as you get into a groove it speeds up into the goth punk of Misfits (it's the gang vocals). 

The wildness of Clutch, the Brit Grit of Orange Goblin (Kiss The Veil) and a singer who channels the snarl of Point Of Entry/Hell Bent For Leather Rob Halford, Flamebearer are on fire with this record!! Gather ye Greebos and hail the riff! 10/10

M2TM South Wales 2024: Swansea Heat #4 Interview With Gyro By Paul Hutchings

Interview With Gyro – Heat 4 Swansea, M2TM 27th April 2024

1. Let’s start with introductions. Who is who and what does each person do in the band?

I’m Ethan, I’m the long haired, pretty one, I play 8 string guitar and vocals and the bald, broad shouldered one is Marc, he plays the drums.

2. Where are you from and how long have you been together?

I’m from Bridgend originally but have since moved to Abergwynfi and Marc grew up in Neath, moved to Bridgend, then Birmingham and now he’s back in Neath.

We started Gyro in late 2022/early 2023 but prior to that we had a mostly online instrumental prog metal band called Earthen that we worked on together on and off for about 8 years, eventually we realised that playing a G minor scale at 300bpm is all impressive but no one wants to bounce their hips to that so we started Gyro with the intention of gigging and making crowds move.

3. Describe your music in five words.

Progpunk Grungecore up your batty.

4. What prompted you to apply to be part of Metal to the Masses – South Wales?

We were in the market for gigs that would spread our kind of dirty music to audiences that wouldn’t normally hear it but that we thought would be receptive to a new sound and also the opportunity to network with other bands and get some more fun gigs organised down the line.

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you’ve returned!

First time for us but we’ve got a lot of friends who’ve played previous years and previous heats this year, thought we couldn’t let them have all the fun.

6. Bloodstock is a big festival – have you attended the festival in the past? If so, what would you say are the best things about the weekend?

Never attended bloodstock ourselves but we have friends who go religiously and alcohol aside everyone is there to have a good time and to go as hard as possible which we abide heavily.

7. Apart from Metal to the Masses, what do you have planned for 2024?

We’re going to release an EP or 2 and just try to grow as much as possible and play as many great gigs as we can.

8. What can we expect from you in your heat?

Other bands will try to make you headbang, we will get your hips moving too

9. And what are you expecting in your heat and journey through the competition?

Regarding our heat there’s some great bands who’ve played m2tm before and are very talented people and artists, we don’t really see it as a competition more so an opportunity to get our name out there and mingle with some of the other festival headliners of tomorrow?

10. Finally, where can people find details of the band – promote your socials here!

A. On everything we are @gyrocymru, this is all our links in one convenient place https://linktr.ee/gyrocymru

Reviews: Vanden Plas, Praying Mantis, Valley Lodge, Drudge (Reviews By Matt Bladen & Rich Piva)

Vanden Plas - The Empyrean Equation Of The Long Lost Things (Frontiers Music Srl) [Matt Bladen]

German progressive metal band Vanden Plas awaken after a four year hiatus and have made sure everything on this new album is long and complex. The title, the songs, the run times, its six tracks clocking in at 54 minutes of music. The final track March Of Saints a whopping 16 minutes! If this is a case of ‘beat this’ to other prog metal bands I don’t know but The Empyrean Equation Of The Long Lost Things really highlights what a brilliant and perhaps under-rated prog metal band Vanden Plas are. 

Guitarist Stephan Lill wrote all the music on this album with singer Andy Kuntz provided the lyrics, these founder members, alongside co-founder drummer Andreas Lill and long term bassist Torsten Reichert are joined by Mr Frontiers Music Alessandro Del Vecchio on keys. It’s been a while since Del Vecchio has been a part of something this heavy and progressive so he’s really on form, an ideal foil for Stephan’s virtuoso guitar while adding cinematic touches to songs such as My Icarian Flight. Though he didn’t co-write the record, his addition adds a new element to the Vanden Plas style and his production is top notch like usual. 

On Sanctimonarium there’s huge organs, which add Deep Purple-isms alongside Dream Theater comparisons too, the 10 minute playtime making it an epic mid-point. I’ve always enjoyed Vanden Plas as a band, their last four albums were quite dense conceptual pieces with and overarching story, so with a Del Vecchio on board and no need to write conceptual songs, this new album sounds a bit more free and expressive. Vanden Plas hit the mark again on this eleventh studio album, are they still underrated? In my opinion yes, should they overlooked? Not on the strength of this record. 8/10

Praying Mantis – Defiance (Frontiers Music Srl) [Matt Bladen]

Still touted as one of the NWOBHM originators, in recent years Praying Mantis have been much similar in their music to the melodic rock/AOR scene. Leaving a lot of the NWOBHM bands behind as they become more increasingly melodic and proggy, this is more Saracen or Saga that Maiden or Priest. On their 13th album this doesn’t seem to changing anytime soon, with the duo of From The Start and the title track fixed in the melodic rock/AOR sound. 

Big keys, dramatic vocals and some searing emotive guitars Praying Mantis continue where Katharsis left off celebrating 50 years as a band in 2024, brothers Timo (guitar/vocals) and Chris (bass/vocals) still lead the band into their fifth decade, joined by a professional band made up of drummer Hans in’t Zandt, guitarist Andy Burges and vocalist Jaycee Cuijpers, whose pipe make Feelin’ Lucky sound like a Graham Bonnet number, useful then that the next track is cover of Rainbow’s I Surrender, which was sung by Joe Lynn Turner but retained that latter day Rainbow melodic rock format. 

Not a shred of NWOBHM so it makes me think why they still refer to it in their PR, Def Leppard don’t, anyway that’s a personal thing as Praying Mantis’ in their current guise play appealing melodic rock, showing off their guitars chops on instrumental Nightswim and channelling Giorgio Moroder on Standing Tall but overall Defiance is a little too ballad heavy for me. However you have to give the band props for being able to make a living in the music industry for 50 years. Suited perfectly to Frontiers Praying Mantis continue their legacy wit Defiance. 7/10

Valley Lodge - Shadows In Paradise (Tee Pee Records) [Rich Piva]

Valley Lodge is a power pop band out of New York that wear their love for bands like Cheap Trick, The Raspberries, and Big Star on their sleave. With a former member of Cobra Verde in the band I bet they may have some Guided By Voices records too. Maybe the Fountains Of Wayne records too. They have released four records till date, with Shadows In Paradise, their new one and their fifth, an excellent addition to their discography.

In my power pop I want catchy, like the opener, Daylights, that also reminds me of my favourite power pop band, Sloan, I Wrote A Song, with a melody that will not leave my head, and Trouble that has a slick as hell chorus that will leave you humming it. Hanging Around sounds like The Cure meets GBV and I am here for it for sure. 

 Give me song jangle in my power pop too, which you get with Secret Lover, which also sounds like a 70s disco song at times including the cheese yet wonderful lyrics. Doorstep leans towards 70s psych pop, executed excellently, while After School gives off some fellow nice dressers Urge Overkill vibes. I mentioned Sloan before, I will mention them again as I listen to Dyin’. Out Of Time sounds like a hit from the 90s for sure and is probably my favourite track on Shadows In Paradise.

Valley Lodge is a band that doesn’t take themselves too seriously but does seem to take their love for all things power pop extremely so. Try not to hold the fact that they do the theme song to Last Week Tonight against them, because if you dig power pop check out this and the other Valley Lodge records. 7/10

Drudge - Into The Blue EP (Self Released) [Rich Piva]

UK stoner/metal/grunge band Drudge bring to us the follow up to their 2021 debut in the form of an EP, Into The Blue. I missed the first record the first time around but the four songs on Into The Blue had me immediately correct that mistake because these guys bring the heavy rock in a style right in my wheelhouse.

What style would that be you ask? Well, check out the opening track, Swallow The Sun, where you get some fuzzy stoner goodness with hints of early QOTSA and Fu Manchu. Can’t get too much more in said wheelhouse. This is high energy fuzzy goodness with a great riff and cool drums that, at least in the files I have, are way too low in the mix. This doesn’t ruin the track but I would love to have the production a bit more even. The guitar work however is excellent and right in your face. The title track leans more grunge, with a Thayil type low end riff and more of a plodding track that complements the opener nicely. This one has the Pacific Northwest all over it, and that is, of course, a good thing. 

Covert Betrayal has a simple but effective fuzzy riff and is just a sweet straight-ahead rocker that would fit nicely on any stoner and/or modern grunge playlist. I especially like all of the cool tempo changes on this one. I heard you wanted to hear an eleven-minute stoner/grunge epic? I am here to please, so check out the closer, Unrivalled Sin, where you get slower doomy grunge, a tempo change to a more straight ahead stoner feel until a more atmospheric stoner vibe transitions us back to the front and then home.

These are four high quality tracks from a band that you should be hearing more about soon, because Drudge brings it. I wish the production was a bit different to really extenuate the band’s strengths, but overall, the four songs on Into The Blue are great and will be a nice placeholder until we get album number two. 8/10

M2TM South Wales 2024: Swansea Heat #4 Interview With Kill By Mouth By Paul Hutchings

Interview With Kill By Mouth – Heat 4 Swansea, M2TM 27th April 2024

1. Let’s start with introductions. Who is who and what does each person do in the band?

Cassar - vocals, guitar

Lee - guitar

Rich - bass

Gregg - Drums

2. Where are you from and how long have you been together?

We are all from Swansea. We've known each other for decades and have all shared a stage in our different bands over the years.

In this incarnation, Kill By Mouth have been together just over a year. Last year's M2M heat was our first gig, and we made it through to the finals!

The band in various lineups has been around for years though, but this version is the secret sauce. It's a more diverse sound now, with everyone bringing something new. If you've never heard us before, you won't quite know what to expect, but you'll like what you hear.

3. Describe your music in five words.

Metal (obvs), Groovy, Complex, Explosive, Dynamic

4. What prompted you to apply to be part of Metal to the Masses – South Wales?

It's great exposure really. Can't fault the top prize either! 

The competition is a stepping stone to bigger and better things too. Seeing previous winners guest headlining the rounds and going on tour is certainly an incentive to up our game professionally speaking.

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you’ve returned!

We played it last year, and got all the way to the final. We got a taste for the competition, and we need to improve on that result!

It's nice that the final is in Swansea this year too, although that means there'll be no Kill By Mouth party bus this time! An all dayer is always good, especially with the lineup. Possibly the best Welsh M2TM ever?

6. Bloodstock is a big festival – have you attended the festival in the past? If so, what would you say are the best things about the weekend?

Cassar goes every year. There aren't many (any) decent UK metal festivals any more, so the fact that there is even one is something to be celebrated.

The diversity of the lineup is great too. You can always discover some new favourite band or another to buy merch off.

7. Apart from Metal to the Masses, what do you have planned for 2024?

More gigs, more recording, more videos, more everything.

8. What can we expect from you in your heat?

Riffs to make you headbang, though not necessarily in 4/4. We can make anything groove, and to see the crowd react to our songs is always an amazing feeling. 

9. And what are you expecting in your heat and journey through the competition?

It's always great to meet new bands. Last year we made loads of friends and we still get to share a stage with some of them. We'll be supporting those guys in their heats this year too.

We get to find new fans as well, every band brings their mates, and if we can win them over too then so much the better!

10. Finally, where can people find details of the band – promote your socials here!

We are on Instagram, Facebook and there are some old videos on YouTube (until we make some new ones). Here are the links:

facebook.com/KillByMouthBand

instagram.com/killbymouth

youtube.com/@killbymouth9617

We are most active on Instagram and Facebook, there's old videos on YouTube, but we'll be updating that with new stuff soon.

Reviews: Melvins, Big Wolf Band, Quantum, Haust (Reviews By Rich Piva, Paul Scoble, Matt Bladen & Mark Young)

Melvins - Tarantula Heart (Ipecac Recordings) [Rich Piva]

To say that the new Melvins record is “quite possibly the band's most unconventional, catchiest and imaginative work yet, continuing a legacy celebrated for its eccentric and extraordinary output” like the promo material for album number 32-ish, depending on how you are counting, says, is the definition of a bold statement, because unconventional, catchy and imaginative pretty much sums up the band who have been at it since the mid-1980s. Tarantula Heart, however, is petty close to said quote, and not only that, it is my favourite Melvins record since my favourite, A Senile Animal.

Tarantula Heart starts out with a familiar sounding riff and a pretty conventional song structure, then you look a and realize Pain Equals Funny is almost twenty minutes long, but it flies by and is their version of A Quick One, where The Who told a story going in all sorts of musical directions, always different and always exciting. 

You could have ended the first part at the five-minute mark, but instead let’s retched up the double drums and the grungy riff and continue down the route of something you may have heard on one of their outstanding records from their run in the second half of the 2000s. 

Instead of continuing down that path or even onto the next track, let’s go really sparce and weird out for a couple of minutes to build up to a complete rhythm section driven freak out. Great stuff. Working The Ditch has some Houdini vibes to it which I will always be here for. This is low end chunky Melvins at their best and one of my favourite tracks by the band in a while. 

She’s Got Weird Arms lives up to its name, as it is a strangle little track but also incorporating the catchy side of the band that always sneaks up on you. Did I say weird, well Allergic To Food is also wonderfully strange, with some frantic guitar, unconventional tempo, and next level (double) drumming. Smiler closes us with a ripper of a freak out, but never without melody, a super power of the band.

Don’t fret, Melvins are not trending towards conventional in the latter years of their career if Tarantula Heart is any indication of their future direction. This record is another bold statement that incorporates everything you want from something new by Melvins. If you love this band, you will love Tarantula Heart. If you are new to the band, do not let the twenty-minute opener scare you, and also go listen to Houdini, Stoner Witch, and A Senile Animal ASAP. 8/10

Big Wolf Band – Rebel’s Journey (Self Released) [Paul Scoble]

Big Wolf Band have been making a big noise on the British Blues scene since their forming in 2014. The band, based in Birmingham, are made up of Jonathan Earp on Lead Guitar and Lead Vocals, Mick Jeynes on Bass, Tim Jones on Drums, Justin Johnson on Rhythm Guitars and Backing Vocals and Robin Fox on Piano and Hammond Organ. 

On this album they are joined by Zoe Green on Backing Vocals, Tracey Earp and Sheena Sear on Additional Vocals on the song Rise Together and Mark Stuart played Shaker, Tambourine and Kitchen Sink (not sure if that’s an electric Kitchen sink or acoustic Kitchen Sink, acoustic would probably be safer).

In the time the band have been together they have released three albums before Rebel’s Journey; their debut A Rebel’s Story, a second album in 2019’s Be Free and the band released a live album last year called appropriately Live And Howling.

Jonathan Earp has a connective tissue disorder called Ehlers-Danlos Syndrome (HEDS)
that has needed at least one operation and did, for a while, stop him from playing the Guitar. Several of the songs on Rebel’s Journey are about this and have given some of the album a dark lyrical theme, however several of the other songs have more positive subjects, thereby giving the album a balance.

The album opens with Empire And A Prayer, a driving up-tempo piece of Blues Rock where the Guitar and Piano take the main riffs. The song has a great Guitar solo and has a perfect head nodding tempo for Blues Rock, it’s a very positive way to start the album. Next comes the track Valley Of The Fallen Kings, a measured piece of Blues with a great chorus. The main riff has a slight country twang about it, lyrically it touches on the Robert Johnson, Crossroads legend.

Lay It On The Line has a downright Funky main riff that is tight as it gets. The chorus is really good and has some great Backing Vocals by Zoe Green. Rise Together is a gorgeous little ballad, a love song with very positive lyrics. The song is melodic and tuneful with a great Guitar solo, it’s a sweet song, you’d have to be a very cynical person to dislike it. The song features Backing Vocals by Tracy Earp and Sheena Sear.

After Rise Together comes Six Strings Loaded, a slow and brooding piece of Blues that is subtle and measured. The song does build up for the Guitar solo but ebbs back to brooding and subtle afterwards. Black Dog Blues has a pulsing bassline that drives the song forward, it’s a walking pace, but has an unstoppable feeling to it, if you blocked this song’s path it will just walk right over you. The song is Smokey Blues with a great chorus with wonderful Backing Vocals and some great Guitar / Organ interplay.

Standing In The Rain is a great Blues Ballad with a really dramatic and emotive chorus. The song is a little reminiscent of Gary Moore’s Parisian Walkways, and that can only be a good thing. Next comes Living On Borrowed Time an up-tempo rocker, which is tight as anything with a very purposeful feel to it and a great Hammond solo. The song reminds me a little of Steamy Windows by The Rolling Stones. Got Me Reeling has got a swagger the size of a mountain, the chorus is nice and rhythmic and the verse has some great Hammond Organ riffs. 

Up next is Crazy Love which brings back the Funk! The song features a great main riff that could have been written by Nile Rogers, there is a real Freddie King feel to the song, its full of energy and I found it impossible to keep still whilst listening to Crazy Love.

Darker Side Of You as the title suggests is a dark and emotional Ballad. The song has a great chorus with those lush Backing Vocals and a very emotive Guitar solo. The song is Gentle, Beautiful and Affecting. Just A Little Bit is another funky piece of Blues with a great main riff and really enjoyable leads. The chorus is great and full of Zoe’s awesome Backing Vocals which on the chorus become Lead Vocals. The song has a great Keyboard solo and a really good Guitar solo both of which are full of melody, but no matter how impressive the rest of the song is, the chorus is what you end up remembering as it is so good!

The album comes to an end with the song Too Many Times a Blues Ballad with a very melancholy feel to it. The chorus is much bigger than the verse and is very effective, the song also boasts very impressive Organ and Guitar solos. Too Many Times builds as it reaches its end giving the song a big ending and making it a very good to end the album.

Rebels Journey is a great piece of Modern Blues. The album sounds very good, the production and mix are pretty much perfect, in particular the Lush Backing Vocals in many of the chorus’s sound perfect with a great balance with the backing instruments. The songs were all interesting musically and lyrically, and this album is full of great solos from both Guitars and Hammond Organ / Piano. 

The material has a nice verity whilst at the same time always feeling like the same band, there a continuity of sound that connects everything together. I also think that considering the health issue that Jonathan Earp has had to deal with, which could have stopped him from playing the Guitar, we are lucky that Rebel’s Journey exists at all, and for that we should all be thankful. 8/10

Quantum - Down The Mountainside (Black Lodge) [Matt Bladen]

In 2014 Swedish progressive metal veterans Opeth release Pale Communion, stripping nearly all of the death metal sound for a more natural, organic style of classic progressive rock inspired by their love of Camel, Jethro Tull et al, it put many into a spin, the hardcore death metal lovers vowing never to return while the majority went with it as these influences could always be heard in Opeth’s music. Since Pale Communion, this is the path they have continued upon, never tempted to return to the crushing extreme metal of Watershed or Ghost Reveries. 

I mention this as Quantum, another band from Sweden formed just two years after Pale Communion and if Down The Mountainside is anything to go by, they are directly influenced by this sonic shift for Mr Akerfeldt and company. 

Now I will say Quantum do veer a little more into metallic harshness at points, influences coming from Haken on both parts of the title track, both Richard Henshall and Tom MacLean from the Brit prog heroes appearing on the album. There’s the weirdness of Dillinger Escape Plan and The Mars Volta on the jazzy/brassy Moths – Leaves particularly. They also add acoustic, pastoral, string laden moments on Dots which brings in those classic Yes/Genesis compositions. 

Formed by bassist/singer Anton Ericsson; the current line-up has him joined by drummer Marcus Lundberg along with guitarists Samuel Walfridsson and Kalle Segerborg, Quantum do retro classic prog well, just enough metal, just enough rock and technical ability that everyone will be a little bit jealous of. It does owe a lot to Opeth and Haken but that’s not to their detriment at all. 8/10

Haust - Negative Music (Fysisk Format Records) [Mark Young]

The clue is in the title. If music has a colour associated with it, then here it would be black. At least that is the feeling I get from it. However just having one colour makes for a dull experience.

 
Fans of Haust should not be surprised by this new release, which sees the original line-up reunite to follow on from the 10th anniversary of Ride The Relapse in 2018. Being honest, I know nothing about them other than what I have read online and was expecting a full-on assault. I wasn’t expecting the down and dirty approach that lies more within the punk / hardcore genre than black metal.

The songs themselves occupy that mid-paced tempo, allowing them to really get under the skin. Left to Die kicks off, not with the expected hyper speed arrangement but with an almost standard punk attack which is continued with Dead Ringer. 

As the openers go, they are both ok, but I was expecting something more aggressive in all honesty and being straight I’m not finding a lot to really engage me here. The Burning continues in that mid-paced approach, filthy sounding guitars dropping riffs, but something is missing. Turn to Stone is a fine example of a lolloping arrangement but by now the songs are blurring into one due to that constant occupation of that middle speed.

 
It’s disappointing really that by Oh Take Me, I hadn’t really heard anything that was markedly different from Left To Die which started us off. Maybe it’s just one of those releases that I don’t get on with. So, when the interlude of The Vanishing comes in and hints of something else in their tool shed and they follow it with more of the same music then it’s time to skip forward.

 
I’m struggling to remember the last time I reviewed something that didn’t have anything about it that I loved. There is nothing here that warrants a re-listen just to make sure I haven’t missed anything. I didn’t. As they say themselves, their music isn’t entertainment for the masses. You like it or you don’t, and they aren’t forcing it on you. Again, fans of them will know exactly what they are getting and will buy it regardless. I cannot find anything here that makes me recommend it to anyone. 4/10