Bristol, UK’s own Atmospheric Black Metal one-man army returns with a classy new EP inspired by Edgar Allan Poe’s famous Ratiocinations detective stories.
Less than one year after the release of the full-length opus Conqueror Worm, the talented Bristol, UK-based vocalist and multi-instrumentalist Ashley Shannon and his Atmospheric Black Metal alter-ego Sepulchre by the Sea are back in action with a brand new EP, entitled Ratiocinations. Recorded during the winter lockdown and inspired by Edgar Allan Poe’s famous Ratiocinations detective stories, this 26-minute EP brings to our avid ears another round of the dense, dark and absolutely captivating sound carefully crafted by Ash, keeping the gears of Sepulchre by the Sea turning smoothly and providing us a very good indication of the path that the project will follow with its upcoming releases.
A cinematic intro warms up the listener for the darkness that’s about to explode in Ghost of the Departed, with Ash screaming like a demonic entity nonstop while he extracts razor-edged riffs from his guitar at the same time. Put differently, this is classic Atmospheric Back Metal made in the UK, flowing smoothly until its Stygian finale; and Ash fires another dense and incendiary tune titled Beast Made Flesh, presenting elements of Scandinavian Black Metal added to its core. Moreover, Ash is simply on fire with his blast beats, mayhemic riffage and infernal growling, resulting in a more obscure and heavier sound than in the opening track. Lastly, get ready for 12 minutes of undisputed Atmospheric Black Metal in the form of the title-track Ratiocinations, with a gentle intro morphing into a demented feast of blast beats and sick guitar lines by Ash. It’s by far one of his strongest and most detailed creations to date, a multi-layered aria of darkness sounding like three or four songs in one due to all of its unique passages, breaks and variations, therefore putting a climatic ending to the EP.
Ash and his Sepulchre by the Sea are waiting for you on Facebook and on Instagram (and I’m sure he’ll love to hear what you have to say about his music), and don’t forget to also stream all of his first-class creations on Spotify and, above all that, to purchase Ratiocinations from his own BandCamp page or by clicking HERE. It’s always a pleasure seeing different bands and projects drawing inspiration from such important writers and poets the likes of Edgar Allan Poe, and in the case of Ash and Sepulchre by the Sea we can already say it’s getting harder and harder to identify if it’s a metal band inspired by Poe’s undisputed work or if it’s Poe’s poetry turned into top-of-the-line metal music, proving how talented Ash is and, consequently, leaving us eager for another round of his atmospheric creations in the near future.
Best moments of the album: Ratiocinations.
Worst moments of the album: None.
Released in 2021 Independent
1. Ghost of the Departed 8:24
2. Beast Made Flesh 5:45
3. Ratiocinations 12:00
Band members Ashley Shannon – vocals, all instruments
After such a difficult year for all of us, let’s start 2021 off with a bang to the sound of the rumbling, menacing bass by a woman that has been nothing but amazing to the metal community with her refined skills, her passion for heavy music and her immensurable contribution to the Heavy Metal, Hard Rock and Metalcore scene. Not only that, she’s also a very talented singer and pianist, showcasing all her versatility and allowing her to take part in any type of band from an array of styles. Born on January 11, 1979 in Springfield, Massachusetts, in the United States, Jeanne Sagan (also known as Jeanne Wawrzyniak) is the ass-kicking bassist and backing vocalist for American Heavy Metal band Crossing Rubicon, and also known as the former bassist and backing vocalist for American Heavy Metal/Metalcore band All That Remains from 2006 to 2015, having been embellishing the airwaves with her bass since 2001 and, more important than that, being ready to make this new year that has just been born a lot more fun with her music.
Having also played for a band called The Acacia Strain in 2003, Jeanne originally worked merchandise tables for Prosthetic Records before being called to join All That Remains in 2006 to replace their former bassist Matt Deis, which was by the way a funny story according to Jeanne herself as she had moved out to Arizona thinking she was done with Massachusetts, but after meeting someone at the record label and started helping out she ended up getting back to her birth state. In addition, if you think she comes from a family of musicians let me tell you that you’re absolutely wrong. When asked if she grew up in a musical household, Jeanne said that she only started in the world of music when she was in sixth grade, picking up the trumpet as her first instrument during high school, also mentioning her younger brother is also into music, DJ’ing and touring with bands, despite the fact their parents are not musicians. It was only when she was in college that she started playing bass and jamming with bands, and from that moment on the world of heavy music gained a new badass bass player.
Jeanne Sagan is also known as Jeanne Wawrzyniak due to the fact she’s married to American vocalist Scott Wawrzyniak, better known by his stage name of Scotty Anarchy, the frontman for metal bands Crossing Rubicon and Piercing Immortality. In one of their interviews together, Scott and Jeanne said they met through two mutual friends, Ian Jones and Rusty Kupier, sometime in 2011, with Scott saying he was instantly attracted to Jeanne’s passion and kindness, but as he was married at that time it wasn’t the right thing to do (and Jeanne said she used to run away from him because of that connection she felt with him). A few years later Scott was single and playing a Buckcherry show, and Jeanne approached her after the show to talk, asking for his number, and they have not stopped talking since, saying it’s easy to play in a band with his wife as he gets to look to his right every night and see his best friend, his soul mate and the love of his life sharing his passion with him. Jeanne complemented by saying their bond is greater and stronger than they could have ever dreamed, mentioning important milestones like their mutual fight for sobriety as one of the things that strengthen their relationship every single day.
Regarding her 10-year stint with American Metalcore band All That Remains, from 2006 to 2015, as aforementioned she joined the band while working on the merch table for Prosthetics Records, having recorded her first single with the band that same year, the excellent The Air That I Breathe, proving she was the perfect choice for handling the band’s bass duties. After that first single, Jeanne recorded an array of first-class albums with the band, those being The Fall of Ideals (2006), Overcome (2008), …for We Are Many (2010), A War You Cannot Win (2012) and The Order of Things (2015), as well as a live album and DVD in 2007 simply titled Live, and you can enjoy her rumbling bass smashing your senses in songs such as What If I Was Nothing, This Probably Won’t End Well, Two Weeks, The Last Time, Chiron and This Calling, or simply go to the band’s Spotify profile to stream each one of those albums in full.
However, in 2015 Jeanne announced her amicable departure from All That Remains in order to pursue personal interests (and by that I mean playing bass and backing vocals in Crossing Rubicon alongside her husband), being replaced by Aaron “Bubble” Patrick, formerly of the band Bury Your Dead. At the time of her departure form the band, Jeanne commented, “It is with heavy heart that I depart from All That Remains. I’ve decided to follow my heart and pursue other opportunities in life. I truly appreciate the amazing experiences and the great fans over the last decade. I wish ATR all the best going forward.” She said that just like in every band there are ups and downs to everything, and in that particular case the negatives started to outweigh the good, which drove her away eventually. She does take away growing as a person and as a musician, though, becoming more outgoing and overcoming insecurities, standing up for herself and getting the courage to follow her own path.
Now as the bass player and backing vocalist for American Heavy Metal/Hard Rock band Crossing Rubicon, Jeanne seems to be enjoying a lot more freedom in her bass playing style and in contributing to the band’s writing process, having already recorded with the band their two full-length albums so far, those being No Less than Everything, in 2016, and more recently Seeing Red, in 2019. Formed in 2009 in Bristol, Connecticut, in the United States, and having their name inspired by the expression “Crossing (the) Rubicon”, which means to pass a point of no return after Julius Caesar’s crossing of the river Rubicon in Italy in 49 BC, the band offers a molten blend of 80’s hooks and musicianship with modern rock power and relevance, having already opened for renowned acts including Mötley Crüe, Queensrÿche, Pop Evil and many more. Hence, if you want to enjoy some of the creations by Crossing Rubicon, simply search for them on Spotify or watch their official videos on YouTube for songs like The Fallen, Who’s Gonna Save You, I Will Remain and Seeing Red.
Apart from her career with All That Remains and Crossing Rubicon, Jeanne is also featured in several other bands and projects, all hailing form the United States. For instance, she has been the bass player for a Mathcore band called Blood Has Been Shed, known for having two members of Killswitch Engage (Howard Jones and Justin Foley) in the band, since 2012, but nothing official has been released with Jeanne on the band so far (and no one knows if that will ever happen). She’s also a member of a Heavy Metal band called Piercing Immortality under the moniker Jeanne Anarchy, also with her husband Scotty Anarchy on vocals as mentioned before, playing bass and backing vocals on their 2018 EP Systematic Global Poisoning and on their 2019 EP Risen from the Ashes, and in her years before All That Remains she was the bassist for Metalcore band Ligeia, for Technical Metalcore band Light Is the Language (having recorded with them the EP The Void Falls Silent, in 2001), and for Metalcore band The Acacia Strain in 2003. In addition, you can also find Jeanne as the guest bassist for Stoner/Sludge Metal band Oxen in their 2015 album The Vanishing.
As any true rock and metal fan, Jeanne has a lot of different influences and idols regarding not only her playing style but also her looks. She said that apart from her past in the Hardcore scene, which has obviously had an impact on her style, she also considers both of Tool bass players (Paul D’Amour and Justin Chancellor) and Jason Newsted-era Metallica as her biggest influences in music. Furthermore, although she has always looked up to rock stars with larger than life personas like David Bowie, being a little envious of all his bright and vibrant hair colors, she said she’s never done anything too extreme with her appearance, considering herself more of a Janis Joplin than a Lady Gaga, and when asked about which bands or artists she enjoys listening to, she mentioned amazing options from the rock and metal scene including Hatebreed, Nine Inch Nails, The Cure, Smashing Pumpkins, The Smiths and so on. Her equipment is also a very important part of her career, and you can see her in different stages of her life using several ass-kicking pieces such as a black cherry Spector Legend 4 Classic four-string bass with EMG 35DC active pickups and Ampeg SVT bass amplifiers, a Soundgear 4-strings and an ARTB100 four-string (the latter of which can be seen in the music video for the song Hold On), Orange amplifiers and Omega speaker cabinets, Tiny Terror 1000 watt, Boss tuner, Darkglass B7K, and Shure wireless system.
Touring is obviously a crucial piece in the career of any rock and metal musician, and it couldn’t be any different than that with Jeanne. In one of her interviews, she talked about how important it is not only to put on a great show on stage, but also to hang out with the other bands, to meet new people, to do great interviews and to convince people who are seeing the band for the first time how great their music is. Apart from festivals like Graspop and Ozzfest, where not only she said she had an amazing time and was able to watch performances by bands she enjoys a lot like Dragonforce, Jeanne mentioned that she would like to return to festivals such as Download and Rock Am Ring, and to explore a little more countries like Japan. She also said that playing a lot of shows in a short span of time plus all the traveling can be a little exhausting, but that in the end she feels great after seeing so many happy fans attending the concerts. Moreover, in order to stay fit and put on a kick-ass show on stage, Jeanne and her bandmates said that they try to stay in shape by running a lot (around the parking lots), going to the gym and cooking on the bus (instead of eating junk food), usually having much healthier eating habits than if they were all at home.
Our dauntless bassist also has some interesting thoughts about the current state of metal in the digital age we’re all living in, saying that although metal is alive and kicking, a lot of people refused to change and got stuck in their old mentalities, fighting and ignoring downloading music instead of finding a way to use it as an advantage. However, if there’s one thing that annoys Jeanne is the fact that people keep taking pictures, recording everything and posting that online when her band is playing live instead of enjoying the show. “What does get annoying is people just staring at their phones when we’re playing and I wonder, are we doing our jobs right? What can we do to get their attention? We’re there to put on a show and that’s our focus,” complained our skillful bass player, and we must all agree with her that such behavior is indeed quite disturbing. Jeanne also talked about the fact she’s been doing a lot more vocals both in the studio and on stage, both clean and harsh ones, something that she used to be insecure about and learned how to overcome by practicing and preparing until making herself more confident.
Both Jeanne and her husband Scott have mentioned in several interviews about their fight against alcoholism, their struggles and how they managed to get clean and sober, something both are really proud of. Jeanne said that she used to drink to numb herself from things that were bothering her, and that after some time she talked to Scott about sobriety and they inspired each other to get sober and stay sober, having a reason to want to wake up every single day, open their eyes and live life together to the fullest. In addition, she mentioned their involvement with Road Recovery, an organization founded in 1998 that helps addiction through music, which is very inspiring and humbling from a sobriety standpoint, and we must all celebrate everything the couple has accomplished in their lives and career by getting clean and, therefore, having more energy, creativity and focus to apply to their music. Hence, if you want to know more about Jeanne, her career, her relationship with Scott, her adventures on the road and so on, go check some of her interviews on YouTube such as this one at Carolina Rebellion in 2013, this one at Rockstar Energy Mayhem Festival in 2008, and this one at Rockstar Energy Mayhem Festival in 2009, among several others, where you can see why Jeanne is not only a badass bass player, but also an awesome human being and a fantastic metalhead.
“I think that Metal is alive. It seems that people are stuck in mentalities and refuse to change. The industry fought and ignored downloading rather than finding a way to make it work for them. Also because of the Internet, people think they are going to be overnight stars—that goes for TV also. No one wants to put their nose to grind, but we will. We believe in ourselves and we believe in the scene.” – Jeanne Sagan
Showcasing an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, this UK-based one-man army is ready to stun you with his debut full-length album.
“Lo! ’t is a gala night Within the lonesome latter years! An angel throng, bewinged, bedight In veils, and drowned in tears, Sit in a theatre, to see A play of hopes and fears, While the orchestra breathes fitfully The music of the spheres.” – Edgar Allan Poe – The Conqueror Worm (1843)
Formed in early 2019 by vocalist and multi-instrumentalist Ashley “Ash” Shannon with an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, Bristol, UK-based Atmospheric Black Metal one-man army Sepulchre by the Sea has quickly grown from a single idea into a fully-fledged studio project, incorporating many different sounds from atmospheric soundscapes and traditional Black Metal riffing to more eclectic areas such as shoegaze and folk-based pieces. As a matter of fact, the project’s name was inspired by Annabel Lee, the last complete poem composed by Edgar Allan Poe, while another poem, The Conqueror Worm, which by the way is about human mortality and the inevitability of death, was the inspiration for Sepulchre by the Sea’s debut full-length, six-track opus Conqueror Worm, the follow-up to the 2019 demo …And So It Crumbles, creating something larger and more ambitious in scale, spanning nearly an hour and crossing multiple sub genres along the way.
And the project’s Edgar Allan Poe-inspired feast of melancholy and darkness begins in a truly atmospheric way in the opening track I Loved Alone, venturing through the realms of contemporary Post-Metal before Ash begins firing dirty, scorching riffs from his stringed axe and anguished gnarls in paradox with the song’s serene background piano notes. Then Ash hammers his guitar, bass and drums mercilessly in the furious title-track Conqueror Worm, blending the mystery of Atmospheric Black Metal with the violence and heaviness of Black Metal and even Punk Rock, not to mention his growls get even more demonic than before as the music progresses; and you better get ready for 12 minutes of fulminating blast beats, vicious riffs and an endless sense of despair and obscurity in And So It Crumbles, where Ash does an excellent job mixing classic Black Metal with Atmospheric Black Metal and Doom Metal nuances, also presenting Stygian, austere passages that perfectly represent his passion for the work by Edgar Allan Poe turned into extreme music.
Slices of Death is a pensive and enfolding composition by Ash where he focuses on the melody and all small details of the song instead of the usual harshness of extreme music; furthermore, it’s quite easy to sense how personal this harmonious ballad is to him, whereas our talented lone wolf and his Sepulchre by the Sea put the pedal to the metal in the visceral and austere Behind the Walls, enhancing his aggressiveness and rage through his hellish roars and fulminating Black Metal riffage, and ending in the most melancholic way imaginable. And last but (definitely) not least, you better be prepared as Ash will crush your senses for over 17 minutes with the closing tune Plutonian Shores, the icing on the cake in this multi-layered album of Atmospheric Metal where after four minutes of ritualistic sounds Ash comes ripping with his scorching riffage, also showcasing so many breaks, variations, changes in tempo and obscure passages it’s hard to describe the complexity of such grandiose tune in just a few words.
As I like to say, it’s always a pleasure to review the work by one-man bands like Sepulchre by the Sea, mainly because you can easily feel and enjoy all the hard work, all the passion for the music he plays, the musical evolution from song to song and, above all, all his respect and admiration for one of the greatest poets of all time (and the most beloved one by the metal community hands down). Hence, in order to show your support to Edgar Allan Poe’s right-hand man in extreme music, go check what Ash is up to on Facebook, and purchase your copy of Conqueror Worm from his own BandCamp page, from the Anthrazit Records’ BandCamp page, or from Amazon, and don’t forget you can also stream this fantastic display of Atmospheric Black Metal in full on Spotify anytime you want, savoring every single second of it like you would enjoy each word from Poe’s vast collection of amazing tales and poems.
Best moments of the album: Conqueror Worm and Plutonian Shores.
Worst moments of the album: None.
Released in 2020 Anthrazit Records
Track listing 1. I Loved Alone 6:40
2. Conqueror Worm 6:40
3. And So It Crumbles 12:07
4. Slices of Death 7:34
5. Behind the Walls 7:49
6. Plutonian Shores 17:14
Ashley Shannon – vocals, all instruments
These Bristol, UK-based veterans are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year.
Synonymous with the brilliance and endurance of today’s Thrash Metal movement, Bristol, UK-based veterans Onslaught are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year, the excellent Generation Antichrist. Their long-awaited new album was recorded at Dugout Productions in Uppsala, Sweden, with Grammy Award winner Daniel Bergstrand (Behemoth, In Flames, Meshuggah) at the helm, capturing Onslaught’s classic sound with a pristine modern production. Not only that, Generation Antichrist is the first album to feature new vocalist David Garnett, replacing longtime frontman Sy Keeler, delivering a vocal performance on par with the brutal musical attack crafted by guitarists Nige Rockett and Wayne Dorman, bassist Jeff Williams and drummer James Perry. Influenced by second-generation Hardcore Punk bands and inspired by a world full of hatred, megalomaniacs and political madness, Onslaught are eager to unleash the new beast that is Generation Antichrist, one of their best efforts since their inception in the distant year of 1983.
Tune in to an old school Thrash Metal intro titled Rise to Power, starting in a visceral and heavy-as-hell way with James demolishing his drums while newcomer David showcases his growling abilities, setting the tone for Strike Fast Strike Hard, bringing forward modern thrash the likes of Exodus during their Rob Dukes-era that’s more than perfect for slamming into the mosh pit like a maniac, with Nige and Wayne being unstoppable with their shredding and wicked solos, making the song’s electricity and aggressiveness go through the roof. And they keep hammering our heads without a single drop of mercy in Bow Down to the Clowns, with Jeff firing sheer thunder from his bass while James’ drums dictate the song’s headbanging rhythm. In addition, the song’s backing vocals provide an amazing support to David’s sick screams in great Thrash Metal fashion.
The title-track Generation Antichrist couldn’t have sounded darker and more austere than this, a brutal and high-octane extravaganza tailored for diehard fans of Thrash Metal showcasing a fantastic job done by both Nige and Wayne with their axes while James continues to pound his drums manically, and get ready to crush your skull into the pit together with Onslaught in the modern-day thrashing tune titled All Seeing Eye, where David’s vocals match perfectly with the message from the song’s lyrics and the band’s vicious sounds, proving why he was the chosen to be Onslaught’s new frontman. Following such devastating tune we have Addicted to the Smell of Death, a great title for a frantic display of Thrash Metal led by James’ machine gun-like beats accompanied by a demented riffage, also bringing to our avid ears classic backing vocals and endless stamina, with David once again going berserk on vocals.
Then it’s time to break your neck headbanging to the sound of Empires Fall, again presenting elements form the current thrash blasted by Exodus, Testament and Death Angel, proving why Thrash Metal doesn’t need to be played at the speed of light to sound infernal, whereas the demolishing hurricane titled Religiousuicide is an ode to 80’s and 90’s Thrash Metal that will make your blood boil without a shadow of a doubt, all spiced up by its acid, blasphemous lyrics (“Sacrament or Sacrifice / Holier than thou / Anti cult or Antichrist / Messiah take a bow / Hanging on the Holy Cross / Judicious parasite / Religion takes it up the ass / Is Jesus Fucking Christ”) barked by David while Nige and Wayne are on fire with their strident solos from start to finish. And last but not least, the band offers a new version of A Perfect Day to Die, originally released in 2019 as a single still with Sy Keeler on vocals, sounding just as incendiary and visceral, with Jeff and James making sure Onslaught’s kitchen remains rumbling and metallic.
In summary, the reinvigorated old school Thrash Metal platoon known as Onslaught are simply kicking some serious ass throughout the entire Generation Antichrist, with newcomer David bringing a huge dosage of adrenaline to the band with his raspy vocals and, therefore, pointing to a bright future in their already awesome career. You can find more details about Onslaught, their music and their tour dates (whenever this COVID-19 madness is over, of course) on their official Facebook page and on Instagram, listen to more of their crushing thrash on Spotify, and purchase your copy of Generation Antichrist from the AFM Records webstore or by clicking HERE. I’m sure all fans of classic and modern thrash like myself are going to be truly impressed with the high quality of the music found in Onslaught’s new effort, urging us all to slam into the circle pit even if we have to do it by ourselves while isolated in our homes.
Best moments of the album: Strike Fast Strike Hard, Generation Antichrist and Religiousuicide.
Worst moments of the album: None.
Released in 2020 AFM Records
Track listing 1. Rise to Power 2:05
2. Strike Fast Strike Hard 4:38
3. Bow Down to the Clowns 4:50
4. Generation Antichrist 5:43
5. All Seeing Eye 3:50
6. Addicted to the Smell of Death 3:55
7. Empires Fall 5:34
8. Religiousuicide 3:29
9. A Perfect Day to Die (2020 version) 3:50
Band members David Garnett – vocals
Nige Rockett – guitar
Wayne Dorman – guitar
Jeff Williams – bass
James Perry – drums
A 17-minute nonstop head crusher of cacophonous chaos, furious, catchy riffs and inhumanly ape-like shrieking vocals. That’s how good primeval Grindcore should always sound.
When the total running time of an album with 21 songs is only around 17 minutes, you know those 17 minutes will be as intense as hell. Founded in 2006 in Bristol, a city and county in South West England, Grindcore/Hardcore Punk trio Atomçk has evolved from their primitive noise roots into a uniquely eccentric and offbeat brand of Grindcore, culminating now in 2017 with the release of the full-length album Every Room In Britain, a nonstop head crusher of cacophonous chaos, furious, catchy riffs and inhumanly ape-like shrieking vocals, as if Cornelius, the son of Caesar from Planet of the Apes, decided to rebel against his father in his teens to form a Hardcore band.
Most probably the shortest intro of all time, the quick sonic havoc Rot Induction wakes our inner monsters up for the boisterous one-minute tunes Full Of Sell and Fuck Off Back To London, both presenting a solid Grindcore devastation with brutality flowing from all instruments. Furthermore, just try to follow the lyrics of the latter with the band (“Graffiti tours / Fuck off back to London / Moustache barbers / Fuck off back to London / Bad film clubs / Fuck off back to London / Cultural erosion / Fuck off back to London now”). In Back Office Savings we have the ultimate shrieking and slamming feast, courtesy of the demented “apes” Linus, Luke and Carl, and then you might wonder how they could possibly sound more violent than this in less than a minute, right? Well, their answer comes in the form of the songs Preston Slayer Fans and Young Professionals. And when you least expect, you’ll begin to deeply enjoy their primate-inspired screeches.
Every Room sounds slightly more rhythmic than its predecessors, but still insanely brutal, with its demonic guitars going along really well with their demented gnarls; followed by the incomprehensible, anarchic chant titled Community Payback, the thunderous bass lines of the “bridge” Bare Minimum Customer Service, and the amazingly violent, fast-paced tempest named Robot Cannibal. What about those lyrics, can you follow them (“What to do / I’m not sure / Might as well / Kill something / Didn’t work / The last time / Never mind / We have to / Do something / Someone must / Be murdered / Blind idiot god / Demands meat”)? Or should I ask if you’re still alive after so much savagery?
Misery Trance presents menacing low-tuned sounds accompanied by their trademark monkey-frog-hybrid screams, while in Waiting For Junko they speed up their pace and offer more of their Grindcore dementia. And the slamming party goes on with Two Grand Bro and Glass Floor, showcasing Mike Patton/Barney Greenway-inspired vocals in a turbulent manner, which is also the case in the demented Pro Area 1. Then after four seconds of noises in Micro Aggressions we’re treated to Self Defeater, with its fun lyrics (“No tolerance / For dogma / But be careful / With the use / Of language / Or thou shalt / Be cast out”) and deranged drumming. In Purged the trio proves why they’re the masters of sick Grindcore, destroying everything and everyone that crosses their path in less than one minute, whereas Another Nails In The Coffins brings forward more of their insane Mike Patton-ish vocals. How can Linus screech like that during their live concerts? That should be an interesting event to watch. Anyway, there are still two more minutes of pure aggression and wicked growling in Every Room In Britain, starting with Fastard and followed by Anguish Champion, closing this berserk and totally crazed album on a high note.
Portraying an elegant artwork by Luke Oram, Every Room In Britain can be relished in full on Spotify and purchased at several different locations such as the SuperFi Records BandCamp or webstore, the WOOAAARGH! Records BandCamp or webstore, and the Rip Roaring Shit Storm Records BandCamp or Big Cartel, as well as on iTunes, on Amazon, at the Boomkat webstore or at Discogs. It definitely feels like there are more places where you can buy the album than minutes of music in it, don’t you agree? Now please get up from that couch, stretch your muscles and get ready to jump up and down and slam like an ape to the hurricane of extreme sounds blasted by Atomçk, because that’s what entertaining high-end Grindcore is all about.
Best moments of the album: Fuck Off Back To London, Preston Slayer Fans, Robot Cannibal and Waiting For Junko.
Worst moments of the album:Misery Trance and Bare Minimum Customer Service.
Released in 2017 SuperFi Records
Track listing 1. Rot Induction 0:04
2. Full Of Sell 0:54
3. Fuck Off Back To London 1:07
4. Back Office Savings 0:49
5. Preston Slayer Fans 0:46
6. Young Professionals 0:53
7. Every Room 0:51
8. Community Payback 0:34
9. Bare Minimum Customer Service 0:09
10. Robot Cannibal 1:48
11. Misery Trance 0:55
12. Waiting For Junko 0:55
13. Two Grand Bro 0:55
14. Glass Floor 0:38
15. Pro Area 1:01
16. Micro Aggressions 0:04
17. Self Defeater 0:38
18. Purged 0:56
19. Another Nails In The Coffins 0:53
20. Fastard 0:42
21. Anguish Champion 1:11
Band members Linus – vocals, machines
Luke – guitars
Karl – drums
If you think Rock N’ Roll is dead, think again. At least in the United Kingdom it is not only alive, but also stronger than ever.
Do you know that sad and annoying feeling when the specialized media insists on saying that Rock N’ Roll is dead, which gets even worse when we turn on the radio and realize the great majority of bands being played in Rock N’ Roll stations are too pop or commercial, not depicting at all the true essence of rock music? Well, if you’ve been suffering from that horrible “illness” lately and don’t know what to do, I have the perfect “remedy” for you: The Hunt, the awesome new album by British Hard Rock band BlackWolf.
It’s simply amazing how many excellent bands and albums are coming from the UK in the past few months, which is also true for this Bristol-based “Soulful Hard Rock N’ Roll” band as they like to call themselves. Mixing some great elements from classic bands such as Led Zeppelin, Lynyrd Skynyrd, Black Sabbath and Aerosmith, with a more contemporary sonority from Airbourne and Avenged Sevenfold, they were able to create “music from the 70’s” without sounding outdated or nostalgic, all thanks to the professionalism and creativity from all band members.
Their influence from the 70’s/80’s Hard Rock is evident from the very first notes of Mr. Maker, a song that could have been easily recorded by a band like Velvet Revolver, with highlights to its strong vocal work, or in the brilliant Keep Moving On, a song that was born to be a Rock N’ Roll radio hit due to its catchy chorus (you’ll start singing it without even noticing), lots of feeling and an excellent guitar solo. The groovy Moving Mountains, with its old school Black Sabbath riffs and an excellent work done by bassist Ben Webb and drummer Tom Lennox-Brown, will just make you more addicted to this album without any doubt and eager for what’s next.
And what comes after that is, of course, also very pleasant: Faith In Me is a kind of ballad with many elements used by bands like Led Zeppelin and Lynyrd Skynyrd, with singer Scott Sharp elevating the overall quality of the song with a great performance, while the fast and heavy Trouble, which is absolutely perfect for a road trip, presents a band entirely on fire. Moreover, it’s quite impossible not to get pumped up with this song and its awesome guitar solo. Things slow down a little with Only Said In Silence, a semi-acoustic ballad showcasing a more modern Hard Rock (with another powerful guitar solo by the end of it), but the band quickly gets back in full force with House of Emerald Wine, another memorable tune with an outstanding touch of Blues Rock added to it.
If after all that awesomeness you still agree with the “specialists” that say Rock N’ Roll is dead, simply listen to Raised On the Sun and you’ll change your mind. this song is classic Stoner Rock at its best, with vocalist Scott Sharp killing it once again. Or maybe you should take a listen at the fast beats and awesome riffs from Black Hole Friend, another above-average Hard Rock track? But wait, there’s still more Rock N’ Roll to come with the very traditional approach and lots of feeling found in Dragging Ghosts and Relief, the latter being a very good proof that this band never gets tired of playing true rock music.
There are two more songs to go in The Hunt, the first called Sleepwalking, a ballad that will please most fans of that pure classic Rock N’ Roll, and Sea of Mercy, a high-end track that sounds more like a tribute to the 70’s than just a regular song. Besides that, the nice album art also seems totally inspired by some of the old Black Sabbath albums, such as the classic Sabbath Bloody Sabbath.
In short, all I can say about this album is that if BlackWolf were born let’s say about 30 or 40 years ago, they would be for sure one of the greatest Rock N’ Roll bands of all time, a reference in traditional Hard Rock, and we would see lots of grown-ups and kids wearing their T-shirts on the streets today. And if you got excited with this review and, more important than that, with BlackWolf’s thrilling and passionate music, you can purchase The Hunt as a shrink-wrapped 4 panel Digipack packaging with CD or as a digital copy on iTunes. It’s because of bands like BlackWolf that we can joyfully ignore the media and rest assured Rock N’ Roll will never die.
Best moments of the album:Keep Moving On, Trouble and House of Emerald Wine.
Worst moments of the album:Only Said In Silence and Dragging Ghosts.
Released in 2014 Independent
Track listing 1. Mr. Maker 4:00
2. Keep Moving On 4:10
3. Moving Mountains 3:28
4. Faith In Me 4:35
5. Trouble 3:16
6. Only Said In Silence 4:40
7. House of Emerald Wine 3:28
8. Raised On the Sun 4:48
9. Black Hole Friend 3:22
10. Dragging Ghosts 4:47
11. Relief 4:05
12. Sleepwalking 4:10
13. Sea of Mercy 4:50
Band members Scott Sharp – vocals
John Greenhill – guitars
Jason Cronin – guitars
Ben Webb – bass
Tom Lennox-Brown – drums