Archive for Judas Priest

Existance – Breaking the Rock

Posted in Uncategorized with tags , , , on 22nd October 2016 by izaforestspirit

Existance
Breaking the Rock
Released 15th October 2016
Heavy Metal
Released via Black Viper Records


‘Breaking the Rock’ is the second album from the French heavy metal band Existance. The band was formed back in 2008 by Julian Izard (son of Didier Izard from the speed metal band H-Bomb). Existance expressed their aim to “keep the spirit of the 1980s heavy metal alive”. Their music has been compared to the likes of Iron Maiden, Judas Priest and Saxon.

First off is Heavy Metal Fury with a deceptively slow and melodic guitar intro paving the way to some classic heavy metal in which most of the emphasis is on the guitar riffs and Izard’s melodic vocals. The 80s heavy metal influences are fairly easy to detect; the guitar patterns, riffs and vocal style reminds me of the more prominent bands from the NWOBHM movement such as Judas Priest and Iron Maiden. If it’s retro-style, heavy metal guitar riffs you’re after, you will find them in abundance on tracks such as All Is On Fire, Pain In Paradise.

As with most classic heavy metal albums, there’s usually at least one slow ballad to show the band’s ‘softer’, more melodic side and (hopefully) underline the skills and vocal range of their singer. On here we get Sinner of Love in which it’s definitely the vocals that enter the spotlight. Izard’s vocals are a good match to the guitar melodies giving the song a pleasant vibe. By contrast there’s the adrenaline-packed title track which really speeds things up in the riff department.

Overall, ‘Breaking the Rock’ is more than just a homage to 80s heavy metal. Existance did a great job of replicating the sounds of that era in metal music and their influences are fairly evident. It’s practically a genre-defining album. This is classic heavy metal in its purest form.

3.5/5

Iza Raittila

Judas Priest’s Rob Halford makes surprise appearance with Five Finger Death Punch on stage

Posted in News with tags , , , , , , on 6th December 2013 by Nico Davidson

Last night, metal legend Rob Halford, frontman for Judas Priest, surprised fans as he jumped on stage to join Five Finger Death Punch for a performance of their song Lift Me Up at the LG Arena in Birmingham. Halford is featured on the studio version of Lift Me Up, which appears on the first installment of Five Finger Death Punch‘s masterwork titled The Wrong Side Of Heaven And The Righteous Side Of Hell, released in July.

Later that night the band, Ivan Moody (vocals), Zoltan Bathory (guitar), Jeremy Spencer (drums), Jason Hook (guitar) and Chris Kael (bass), announced they would be returning to Europe next Spring for their most expansive headline tour of Europe yet.  The tour kicks off with a performance at the just announced Bandit Rock Awards in Stockholm, Sweden on March 8, 2014. UK tour dates are as follow:

March 2014
Friday 28th            Birmingham Academy
Sunday 30th          London Forum
April 2014:
Tues 1st                 Manchester Academy

The band wrapped up their European arena tour with Avenged Sevenfold last night and finish the year in Russia with four headline shows. They kick off 2014 at Florida’s ShipRocked in January, before heading over to Australia for the Soundwave Festival.

Five Finger Death Punch online:

http://fivefingerdeathpunch.com

 

Diamond Plate’s Pulse out now; Streaming on Terrorizer

Posted in News with tags , , , , , , , on 19th August 2013 by Nico Davidson

Chicago metal unit Diamond Plate have recently released their new album Pulse and is out now on all formats in Europe. Pulse was recorded with producer Neil Kernon (Judas PriestNevermore3 Inches Of Blood) in the band’s home town at Studio Chicago. The artwork was created by Gustavo Sazes (Morbid AngelArch EnemySepultura).

An exclusive bonus track, which is a cover of Power Thrashing Death originally performed by New Jersey thrash band Whiplash, is available on the iTunes format of Pulse. The iTunes version of Pulse is available at this location.

In celebration of the release of Pulse, UK magazine Terrorizer are streaming the full album at this location.

Diamond Plate online:

http://www.diamondplateband.com
http://www.facebook.com/diamondplate1
http://twitter.com/diamondplate

 

Kobra & The Lotus announce headline UK & Europe tour dates

Posted in News with tags , , , , , on 13th August 2013 by Nico Davidson

Fronted by vocal power house Kobra Paige, Canadian hard rockers Kobra & The Lotus have announced a headlining tour of the UK and Europe for October and November, later this year. The band will be touring in support of their latest, self-titled album: Kobra & The Lotus – an album that is regarded as 11 tracks of dramatic heavy metal that proves Kobra Paige is more than capable of holding her own against the HalfordsDickinsons and even the Dios in the metal world.

In related KATL news, the band will also be chronicled for US TV show Rock City, which will premier on Spike TV this autumn. The eight episode long season will follow the daily dramas of the rising metal outfit on their world tour, documenting their thoughts and deeds.  European and UK dates are as follow:

Europe

Oct. 19 Metal Female Voices Festival, Oktoberhallen, Belgium
Oct. 20 Cologne Underground, Germany
Oct. 21 Tilburg 013, Netherlands
Oct.22 Berlin White Trash, Germany
Oct. 24 Hamburg St. Pauli Rock Cafe, Germany
Oct. 26 Milan Factory, Italy
Oct. 27 Zurich Klub, Switzerland
Oct. 28 Paris Le Batofar, France

United Kingdom

ct. 30 London Borderline, UK
Oct. 31 St. Albans Horn, UK
Nov.1 Birmingham Academy 3, UK
Nov. 2 York Fibbers, UK
Nov. 3 Sheffield Corporation, UK
Nov. 5 Manchester Alter Ego, UK
Nov. 6 Bristol The Exchange, UK
Nov. 7 Southampton Cellar, UK
Nov. 8 Nottingham Rock City Basement, UK

Kobra & The Lotus online:

http://www.kobraandthelotus.com
http://www.facebook.com/KobraAndTheLotus

Grand Magus announce UK and Ireland 2014 tour dates

Posted in News with tags , , , , , , , on 10th July 2013 by Nico Davidson

After the highly-celebrated release of sixth studio album, The Hunt, Swedish gods of the riff Grand Magus are heading back to the UK and Ireland to embark on a 5 date tour in March 2014. The Swedish trio have always stuck to their own path of natural evolution – they’ve never casted off their early days’ groove nor their love for epic doom and extreme metal. These trademarks are now being paired with traditional riffs and melodies that rock in the same qualitative league as Judas Priest or Dio.

With a new album due for release early 2014, this will be a great time to catch these Vikings at their finest! The band had a few words to say about this upcoming tour:

Warriors! When we last ventured across the sea to bring our steel to the UK and Ireland, our hearts were filled with joy from your response. It gave us such a rush that we wanted to come back as soon as possible. Well… We’ll be back in March! Expect the most ferocious viking power shattering the clubs and the, for us, aptly-named Hammerfest! Valhalla awaits!

The tour dates are as follow – Click the links for tickets!

12-Mar-14 UK NQ MANCHESTER

13-Mar-14 IRE The Pint DUBLIN

14-Mar-14 UK HAMMERFEST

15-Mar-14 UK Slade rooms WOLVES

16-Mar-14 UK UNDERWORLD LONDON

Grand Magus online:

http://www.grandmagus.com/
http://www.facebook.com/grandmagusofficial

Epitaph added to Metieval 2013 line-up

Posted in News with tags , , , , , on 13th June 2013 by Nico Davidson

Hard rocking metal band Epitaph from Sheffield have been added to this year’s Metieval Festival which boasts the likes of opera-goth metal band Aonia, trad. metallers Alice In Thunderland and NWOBHM legends Avenger, amongst others. The all-day event will take place at The Piper Club in Hull on 29th June. Tickets are available for £10 in advance. The festival will also feature the first ever Metieval Aftershow party hosted by DJs Skullcrusher and Paul Brady.

Epitaph online:

https://www.facebook.com/Epitaph2011

 

Witherscape reveal artwork and tracklist for debut album The Inheritance

Posted in News with tags , , , , , , , on 6th June 2013 by Nico Davidson

Witherscape, the stunning new dark metal outfit formed by Swedish singer, multi-instrumentalist and producer extraordinaire Dan Swanö together with fellow Swedish multi-instrumentalist Ragnar Widerberg, will be releasing their debut album The Inheritance on July 29th 2013 in Europe and August 6th 2013 in North America via Century Media Records.

After having recently launched a first song sample for Witherscape to much online acclaim, it is now time to reveal the artwork and tracklisting details for The Inheritance:

1. Mother Of The Soul
2. Astrid Falls
3. Dead For A Day
4. Dying For The Sun
5. To The Calling Of Blood And Dreams
6 .The Math Of The Myth
7. Crawling From Validity
8 .The Wedlock Observation
9. The Inheritance

The Inheritance is a pretty thick concept album split into different episodes and very briefly, the Witherscape story takes place in a remote village in northern Sweden in the late 1800’s. The central character lives in Stockholm and comes from wealth, and upon the death of his family he’s informed by the family lawyer that he has inherited a large estate up north. Having been oblivious to the estate’s existence, he decides to investigate, and once he’s there all kinds of weird shit happens…, according to Dan Swanö.

The hauntingly beautiful cover artwork for The Inheritance, which can be seen above, was created by Travis Smith, who has worked with bands like Opeth, Nevermore, Death and also Katatonia before.

Dan Swanö also checked in to comment about the artwork as follows:

Both me and Ragnar are fascinated by old abandoned buildings and it was pretty clear from the start that we would have the estate our main character inherits on the album cover. We used Travis Smith as a “medium” for our visual ideas and he did a spectacular job transforming our written wishes into a real image.

Witherscape marks the long overdue return as active composer and recording artist for Dan Swanö in the world of extreme metal, after having mostly been involved on the studio mixing end of things in these past years. Granted, The Inheritance is not purely a Death Metal release, but it smoothly showcases both the heavier and the mellow sides of Swanö’s creativity and should consequently not only please fans of his earlier efforts like Moontower or the Edge Of Sanity catalogue, but also attract friends of progressively atmospheric contemporary Metal in the vein of Opeth, Katatonia or Amorphis.

According to Swanö, Witherscape has been in planning for a long time, spawned as a result of his working relationship with Widerberg, which began at a Swedish music store. The two multi-instrumentalists discovered that they had so much in common musically that brainstorming for a full-on metal project of their own was the next logical step. Widerberg quotes acts like early Judas Priest, Rush, King Crimson and Mercyful Fate as far as his inspirations in regards to Witherscape and Swanö elaborates his list to also include Judas Priest (1975-1989), Voivod, Queensryche, Rush, Marillion and Mercyful Fate.

Witherscape’s The Inheritance is the first release under a longterm worldwide recording deal signed between Dan Swanö and Century Media Records earlier this year.

Witherscape online:

http://witherscape.com
http://danswano.com
http://facebook.com/witherscape

 

Chinese artist Ai Weiwei to release Heavy Metal album

Posted in News with tags , , , , , , , on 15th March 2013 by Paul

Surprising news this week as controversial Chinese artist Ai Weiwei, whom Salon.com calls “the most influential artist in the world” has announced plans to release a Heavy Metal album. The BBC reports that the album will be entitled Divina Commedia – which is the epic poem Divine Comedy by Dante, a typically heavy metal concept, and is written by musician Zuoxiao Zuzhou. The content however, is said to be political with at least two songs being about Chen Guangcheng, a Chinese activist and friend of Weiwei who recently took refuge in the USA, causing concerns over human rights in China. Weiwei also stated that some of the songs would be “more punkish” and “more pop” so I suppose a blackened funeral doom album is out of the question.

This news follows other strange happenings in the world of Metal in recent years, such as Metal album releases by Christopher Lee, Friar Brother Cesare Bonizzi, as well as the humorous news reports about the granddad who listens to Heavy Metal. This also has implications for Metal on the international stage, with the genre becoming popular in such far-flung and politically turbulent areas as Israel and Baghdad. Is Heavy Metal a useful political tool for activism in countries with oppressive regimes and political strife?

With Heavy Metal now in its fourth decade of existence, showing no signs of slowing down, and having attained a dedicated international cult following; perhaps the time has come in which the genre will be accepted as less of a passing trend but a fully-fledged musical style such as Jazz, Blues and Rock ‘n’ Roll (all of which were derided as the Devil’s music in their time). After all the founders and innovators of the original Heavy Metal genre – Judas Priest, Black Sabbath, Iron Maiden, Led Zeppelin, Deep Purple and so on are now well into the third or fourth decades of their careers, or split-up/retired; with the majority of their fans being of older generations and much of their musical style being categorised as “Classic Rock” despite being extremely dissonant, heavy and largely rejected by the mainstream in their prime.

With Heavy Metal occupying an increasing awareness in the public consciousness, is Heavy Metal – at least in its broadest sense and it’s more mainstream, arena-rock style being more accepted by the world at large? And should it be? Perhaps only time will tell, but this announcement certainly adds to the ever increasing recognition of Metal in the world today.

 

Enforcer – Death By Fire

Posted in Review with tags , , , , , , , on 28th January 2013 by Nico Davidson

Enforcer
Death By Fire
Released 1st February 2013
Heavy Metal
Released via Nuclear Blast

Dominating the Swedish metal scene for almost a decade, Enforcer have proven that old school metal isn’t dead yet. With two albums already under their belts, Death By Fire, which is the band’s latest album, is due to be released through Nuclear Blast next month.

I’m not familiar with Enforcer’s previous material and I’m not going to pretend that I am either. Death By Fire really did take me by surprise as the last “old school” Swedish metal album I listened to was basically a copycat version of Iron Maiden. Passing on from the eerie introductory track that is Bells Of Hades, Enforcer’s Death By Fire takes you on a rollercoaster ride of neck breaking tracks and 80’s styled metal, in the same vein as bands like Judas Priest and Saxon, only with more speed and fury. Some of the tracks have infectious choruses and melodies which feature prominently while some of the other tracks take a slight change in musical direction but still wail out the old school influences. Take Me Out Of This Nightmare is definitely a favourite of mine on the album due to the memorable hook and catchy lyrics. Crystal Suite offers a break from the vocals and instead offers up a palate of fast and furious musicianship. Another track that I find to stand out is Death Rides This Night because of the typically classic sounding vocal work and the violent onslaught of percussion and guitars that would no doubt causes faces to be melted at the right volume.

Sacrificed has a gentler yet more majestic approach in the opening few bars before the fierce snarling guitar playing kicks in like a bulldog with anger management issues. Another track that caught my attention was Satan, not because of the name but because of howling fiery energy that just explodes with each lyric, each riff and each hit of the drums. Seven the solo has a vehement turbulence that just wants to burst out and smash things up. The album finishes with A Break From Tradition and it is quite literally a break from the band’s traditional sound. The melo-death sound of the song really is a wake up call for the listener – in this case, a damned brutal one.

As I mentioned earlier, I’m not familiar with Enforcer’s previous material but after hearing Death By Fire, I really wish I was familiar with their music now. The album offers up a grand feast of truly classic riffs and hooks, as well as vocals that rival the likes of Judas Priest’s Rob Halford or Manowar’s Eric Adams and has enough thrills to keep your ears on the edge of the proverbial seat.

5/5

Nico Davidson

 

Rival Sons announce UK tour

Posted in News with tags , , , , , on 16th January 2013 by Nico Davidson

After a successful 2012, including being voted  Planet Rock’s New Band of the Year, scooping up Breakthrough Artist at last year’s Classic Rock awards, and releasing a top 20 album, Rival Sons return to the UK this April, including dates at O2 Shepherd’s Bush Empire and Cardiff Solus. Tickets are on sale now priced at £12.50 (Cardiff) and £14 (London) (subject to booking fee) from this location or from TicketMaster.

Rival Sons are a raucous, maximum-blues-infused, rock ‘n’ roll band, who explode with the rhythm and thrill of some of the greatest rock acts of all time. From their 2011 album Pressure & Time to last year’s breakthrough Head Down the strength of their live performances has gained the band major attention everywhere. Recent accolades include, a stint opening up for Guns ‘n’ Roses last year, plus legends like Judas Priest, AC/DC and Alice Cooper, and playing the likes of Download, Rock Am Ring, Sonisphere, T in the Park, to name a few.

Rival Sons’ intense work agenda (with an aim to release an album a year), plus their gruelling live schedule, have won the band a reputation for hard-graft. In the studio, the band commits themselves to creating an experience that closely matches the attitude and excitement of their live performance. Right off a four week stint on the road, Rival Sons wrote, recorded, and mixed the album in just twenty days; ensuring a rawness for both the listener and the band.

In October 2012, Rival Sons finished up their UK leg of the sold out “Head Down” tour with a fantastic show at the Electric Ballroom, introduced on stage by legendary presenter Bob Harris, and with Jimmy Page in the audience.

Rival Sons – April UK Tour

Tues 9             London, UK – Shepherds Bush Empire

Wed 10             Cardiff, UK – Solus

Thurs 11            Birmingham, UK – Institute

Sat 13               Leeds, UK – Met. University

Sun 14             Edinburgh, UK – Liquid rooms

Mon 15             Preston, UK – 53 Degrees

Tues 16             Cambridge, UK – Junction

 

Interview with Jan Bünning [Paragon]

Posted in Interview with tags , , , , , , , on 19th November 2012 by izaforestspirit

This year marks the 22nd anniversary since the formation of the German heavy metal powerhouse that is Paragon. Iza caught up with bassist Jan Bünning to discuss their latest album ‘Force of Destruction’ and find out more about the band’s long history.

Iza: Hi there!
Jan: Hello!

Iza. It’s been 22 years since the birth of Paragon. How do you think the band has evolved since the early 90s?
Jan: Before I joined Paragon in 1997 the band almost split up and Martin Christian the founding member hired our singer Buschi and me as new members. About half a year later we already entered the studio and put out two albums in a very short time. To be honest looking back now I consider “Final Command“ and “Chalice Of Steel“ more as demos and would say “Steelbound“ is our debut. “Law Of The Blade” is the album on which we found our style and the next milestone was “Revenge“ where sound and songs are in perfect harmony considering our playing abilities we had at that time. “Forgotten Prophecies“ in my opinion had good songs but they are not arranged very well and the sound is terrible. I didn´t play on “Screenslaves” but the sound is better as on “Forgotten Prophecies”and it had some good songs on it like “Screenslaves” and “Hellgore” but also some average stuff.

We worked a lot on “Force Of Destruction” e.g. Wolle had riffs for about 25 songs and I then collected the most fitting and arranged them for Buschi to write lyrics and vocal lines. So we had a full pre-production, something we have never done before. We also evolved as players so we were well prepared when we entered the studio and we need less time for the recordings of “FoD” than for other albums. I would say “FoD“ has everything a Paragon album should have and also some new influences from our new guitar players Wolfgang Tewes and Jan Bertram.

I. What have been the biggest highlights of your career to date?
J: There are many highlights like playing the main stage in Wacken 2004 in front of 40000 Metalheads, opening for Gamma Ray on their tour and of course the very good reviews we get for “Force of Destruction“.

I. Where do you see yourselves in the world of power metal? Which bands would you compare yourselves to?
J: I would not say we are Power Metal. When we started with Paragon, Power Metal was something like Overkill – a cross between classic Heavy Metal/Speed & Thrash Metal. Today stuff like Sonata Arctica are called Power Metal and that is something totally different.

I: Your style is an interesting mix of power and speed metal. I can also detect elements of thrash metal in some of your songs. Which of these genres, would you say is the most applicable to Paragon? How would you describe your sound?
J: I would say we play Heavy Metal with some Thrash & Speed Influences. We try not to have the same song over and over on our albums so we have fast stuff like “Iron Will” & “Rising From The Black“, doom songs like “Blood & Iron“, stompers like “Gods Of Thunder” and even ballads like “Demon´s Lair”. So in the end it´s all Heavy Metal only that one song is more Thrash Metal like “Rising From The Black” and the other Song is more Heavy Metal like “Gods Of Thunder“.

I: Have your influences changed since the formation of the band or are they still the same as they were all those years ago?
J: Our Influences are still bands like: Judas Priest, Accept, (old) Iron Maiden, Overkill, Metal Church, Mercyful Fate, Vicious Rumors, Candlemass, Agent Steel and even some Slayer. They have not changed too much and I guess we will even try to get more back to the roots on our next album.

I: If you were to pick one song from the new album ‘Force of Destruction’ to act as a teaser for all those new to Paragon, which one would it be & why?
J: Really hard to say because it´s our first album where I like each and every song. But if I had to chose it would be “Iron Will“. It´s the last song we wrote just before we entered the studio and we did not have time to do a vocal demo with it but when I heard it for the first time I knew it´s already a Paragon classic. When you hear it for the first time you can sing along the chorus when we play it the second time and that how a good song should be. In the lead section you hear first Wolle´s more melodic leads and after that Jan Bertram´s more technical lead guitars.

I: In the past you have paid tribute to other German metal bands such as Tankard and Helloween. Have these bands had any influence on your music?
J: No. the only German band which has influenced us is Accept.

I: Are there any plans to compile a ‘Best of Paragon’ album to celebrate your long career?
J: That would be a question for our old record company Remedy Records because they have the rights for our older stuff. But the only thing I know that they will re-release “Steelbound” very soon with a bonus disc full of all our tribute songs because I made the new layout for the re-release.

I: What are your plans for the future?
J: Getting tighter as a band, writing and recording another killer album and doing a lot of shows.
I: Ok. That’s great. Thanks!
J: Thank you!

 

Doro–Raise Your Fist

Posted in Review with tags , , , , , , , on 11th October 2012 by Nico Davidson

Doro
Raise Your Fist
Released: 19th October 2012
Metal
Released via Nuclear Blast

Since the beginning of her career, Doro has gone fought and won every battle in the metal scene, eventually gaining her the unofficial title of the Queen of Metal, as well as influencing several bands in the process. With a vast and extensive discography already under her belt, Raise Your Fist, which features the likes of Lemmy (Motorhead) and Gus G (Firewind), is the latest chapter in the German singer’s legendary career.

Raise Your Fist In The Air starts the album with a powerful sound and take no shit attitude. Belting out punchy riffs and domineering vocals, the track is unrelenting from beginning to end while Coldhearted Lover lashes out with a slow, more frozen sound (pun not intended). Unsurprisingly, Doro’s vocals adapt well to the lyrical change of sound, still belting out powerful vocal sections that are really emphasised by the guitar stylings of Bas and the subtle keyboards of Luca. Some of the lines that Doro belts out are more than memorable.

Rock Til Death thrashes about with the hard rockin’ party feel while still blasting out the hard-hitting sound that has become associated with Doro’s music. I’m left with mixed feelings about the ballad track It Still Hurts. While being an enchantingly performed piece, Lemmy’s vocals just don’t seem to sound right with the soft, emotive sound of the song om the first few listens but after a while, Lemmy’s vocals really do grow on you during this track. Moving on from the slower, softer sounds, Take No Prisoner bursts in, wielding around an old-fashioned, antagonised sound which will no doubt go down a treat with fans of NWOBHM bands such as Judas Priest. The use of sirens in the song add that a certain prison-break feel and mysticism to the song as well.

Grab the Bull (Last Man Standing), which features Gus G, carries on the aggressive tone of the previous track but at a slower pace – And it still packs more punch than a leather belt across the face. Gus’ part on the album throws in a crisp, clean bit of metal, contrasting well with the raw, callous sound of the song. Engel (German for “Angel”) has all the makings for an instant classic ballad, soothing and seductive vocals and a magical piano medley. The use of German lyrics add a touch of untamed power to the sound, echoing well throughout the song. The contrasting use of keyboards and guitars do a lot to enchanting the listener as well, throwing in a certain despair that add the emotion to the lyrics and really make the vocals stand out.

Freiheit (Human Rights) continues the use of German lyrics – The track overall requires a couple of listens before you can really appreciate the composition and beauty of the song though it may be a little soft for those that are wanting something heavier like Little Headbanger (Nackenbrecher) which unleashes a fury of guitars and violent drums topped with belting vocals and face-melting basslines. Doro’s vocals morph into something more furious sounding for Revenge, dancing well with the storming guitars and raging drums. It certainly is one of the stand-out tracks on the album, crashing back and forth like a vehement ocean.

Free My Heart is a drastic change in pace and sound from the previous song, calling back the docile elements while still echoing its own grand, majestic sound complete with with powerful, grandiose keyboards and vocals that really pack a good walloping. Victory sounds like a good ol’ fashioned anthem of victory, really displaying some of Doro’s vocal talents before the album ends with the acoustic whisperings of Hero, another powerful and emotive track that is a fitting tribute to the late, great Ronnie James Dio. The guitars and keyboards call out beautifully, reflecting the emotions in the lyrics while at the same time screaming out with an epic sound.

It’s not hard to deny Doro’s title as the Queen of Metal and by the sounds of Raise Your Fist, she’ll be holding onto her crown for a long time to come. The album is one to write about about, with some memorable anthems and more emotion invoking tracks, so get ready to Raise Your Fist!

4.8/5

Nico Davidson

KATL announce album launch show

Posted in News with tags , , , , , , on 25th June 2012 by Nico Davidson

Kobra And The Lotus – the five-piece group fronted by powerful vocalist Kobra Paige – are set to play Bloodstock Open Air Festival on Sunday August 12th. The band will open the Ronnie James Dio stage, the main stage at the event.

 

KATL – who recently guested with Judas Priest and legendary Yorkshire rockers Saxon at the Hammersmith Apollo in London – will release their self-titled album on August 6th 2012 via Spinefarm Records.

To celebrate this release, the five-piece will play a one-off, headline show at The Borderline in London on August 13th, tickets available here.

 

Produced by Kevin Churko (whose previous credits include both Five Finger Death Punch and Ozzy Osbourne), the 10-track album has an intentionally grand-scale dynamic, revelling in the glories of the genre and making its mark as arena rather than garage rock; precisely delivered music, still heavy with emotion.

Some of the songs do have specific meanings,” states Kobra. “For example, ‘Heaven’s Veins’ is about addiction, and ‘50 Shades Of Evil’ is about greed, about the constant desire for more… but, by and large, the theme is one of hope, of finding a way through dark situations…

 

“I do have broad musical tastes, but by choice I’m a heavy metal fan, and I’m truly excited with the album we’ve just finished. It’s rooted in the great history of the music, the escapism and the larger than life imagery, which is something I’m very comfortable with, but it’s for a new generation too, and it’s delivered 100 per cent from the heart!”

 

Signed to Simmons Records and released internationally via Spinefarm, Canadians KATL already have lead single/video ‘Forever One’ on release, and will have a second single out shortly; titled ‘50 Shades Of Evil’, the song will be accompanied by a brand new video, and follows in the wake of an intense run of European shows that has seen the band making festival appearances in the UK, Spain, Germany, Austria, Sweden, France, Belgium & Italy, as well as guesting with Black Label Society.

 

UK dates are as follows:-

 

August

 

12th – Ronnie James Dio Stage, Bloodstock Open Air Festival, Derbyshire
13th – Album launch show, The Borderline, London

Kobra and the Lotus–Kobra and the Lotus

Posted in Review with tags , , , , , , , on 19th June 2012 by Nico Davidson

Kobra and the Lotus
Kobra and the Lotus
6th August 2012
Metal
Spinefarm Records

Kobra and the Lotus have been on the rise in the Canadian metal since their formation, they’ve gone onto support the likes of Judas Priest and Slash, as well as play some of the world’s most renowned festivals including Download and Hellfest. August will see the release of the band’s self-titled album.

50 Shades of Evil opens up sounding like a sped up version of Iron Maiden and Dio. The vocals are beyond powerful, bringing back memories of the NWOBHM era. The guitar sections ring out some strong, aggressive riffs along with some great licks, enforcing the NWOBHM sound of the vocals. The song title Welcome To My Funeral really does give off the impression of some form of cheap doom metal composition however the track is far from being cheap or doom metal sounding. The guitars belt out some very exotic sounds through out the song while the vocals add a dash of sobering melody to the piece, that balances out well with the aggressiveness of the drums and the exotic riffs.

Forever One starts off sounding much like the beginning of a Rob Zombie track before it morphs into something more power metalesque. The vocals prove to be a fierce force to be reckoned with, bouncing off the Rob Zombie-like and power metal-styled riffs and drum patterns. Musically speaking, Heaven’s Veins, takes the album down the hard rock route of savage guitar riffs and raw, domineering vocal work mixed in with a callous use of drums and bass. My Life takes the album back down the path of metal, bringing in some more thrash-like elements and an extra dashing of aggression. Nayana (My Eyes) begins with a punchy riff before the track becomes a fast-paced demonic force of snarling guitars and thunderous drums. The vocal sections are solid as they have been in the previous tracks.

Sanctuary is a breath of fresh air for the album, straying partially from the vicious stylings of the songs that preceded it with a harmonic piano and vocal section. The subtle calmness of the track is chased away by the eventual roar of guitars and drums, which does lessen the sound and effect of the song. Lover of the Beloved is another track that strays from the dominating and violent sound of the album. The track revolves around a powerful, awesome bass section that rings out louder than the bells of Notre Dame. No Rest For The Wicked is an interesting track, sounding like a dark power metal anthem. The last track of the album is none other than Aria Of Karmika. The introduction is brilliant composed atmospheric passage that leads gently into an assault of well-played riffs and punchy vocal melodies. The keyboard sections add a bit of harmony to the chaotic mixture of drums and guitars, balancing the song out just right.

When it comes to female fronted metal, most people will automatically think of Nightwish, Epica or Lacuna Coil – and in some circumstances, Arch Enemy – but following the release of Kobra and the Lotus’s self-titled album in August, that soon could change. Kobra and the Lotus have proven that female fronted metal doesn’t need to be symphonic to kick some serious ass.

4.5/5

Nico Davidson

Kobra And The Lotus Set To Release New Album and Guest Slot with Judas Priest

Posted in News with tags , , , , , , , on 18th May 2012 by Nico Davidson

Kobra and the Lotus; the five-piece group fronted by powerful vocalist Kobra Paige, will release their debut, self-titled album on August 6th 2012 via Spinefarm Records.

The album is produced by Kevin Churko (whose previous credits include both Five Finger Death Punch & Ozzy Osbourne), this 10-track outing has an intentionally grand-scale dynamic, revelling in the glories of the genre and making its mark as arena rather than garage rock; precisely delivered music, still heavy with emotion.

Commenting on the record, songwriter & no-holds-barred performer Kobra divulged: “Some of the songs do have more specific meanings – for example, ‘Heaven’s Veins’ is about addiction, ‘Calm Before the Storm’ is about children born into troubled situations, ‘pearls in the ashes’, and ‘50 Shades Of Evil’ is about greed, about the constant desire for more… but, by and large, the theme is one of hope, of finding a way through dark situations… I do have broad musical tastes, but by choice I’m a heavy metal fan, and I’m truly excited with the album we’ve just finished. It’s rooted in the great history of the music, the escapism and the larger than life imagery, which is something I’m very comfortable with, but it’s for a new generation too, and it’s delivered 100 per cent from the heart!”

Kobra And The Lotus, signed to Simmons Records, and released internationally by Spinefarm, will be coming to the UK to guest with both Judas Priest and Guns N’ Roses in late May, then appearing at the Download Festival in June.

In support of this activity, ‘Forever One’ – the lead single / video from the new album – will be released digitally on May 28th.

The UK dates are as follows:

May 2012

26th – Hammersmith Apollo, London (with Judas Priest & Saxon)
29th – MEN Arena, Manchester (with Guns N’ Roses & Thin Lizzy)
31st – O2 Arena, London (with Guns N’ Roses & Thin Lizzy)

June 2012

10th – Download Festival, Donington Park (Encore Stage)

A second single, ‘Heaven’s Veins’, and more UK dates from the Canadian outfit will follow, in the wake of key European festivals in Spain, Germany, Austria, Sweden, France, Belgium and Italy.

Katana – Storms of War

Posted in Review with tags , , , , , on 14th May 2012 by Nico Davidson

Band: Katana
Release: Storms of War
Release Date: 2012
Genre: Traditional Metal
Label: Listenable Records

Sweden – Known to be the home of acts such as Arch Enemy, In Flames, Bathory and Abba. The last of which is probably the most known musical export from the Scandinavian nation. Yet Sweden is also home to the metal quintet that is Katana. The band have been described as being in the same vein as the early days of the NWOBHM era. Having only heard of them recently, in my dark corner of the interwebs, I have not set familiarised myself with their sound.

The Reaper is the starting track of the album and straight away the Paul Dianno-era Maidenesque riffs begin roaring blended with a deeper sounding style of Rob Halford-sounding vocals mixed with a slight hint of Manowar influenced vocal melodies. The drums race along the guitars, keeping that old school, hard rocking energy flowing. The solo is insanely played, making you want to bust out the air guitar and begin rocking out in your bedroom. As the track comes to its close, it’s finished off with the addictive classic screams, conjuring up fond memories of the golden days of the NWOBHM scene.

The intro for Wrath of the Emerald Witch sounds eerily like the main riff in Maiden’s song Wasted Years. The vocals take a new form, this time in the form of Yorkshire’s own NWOBHM heroes Saxon. The guitar sections morph, somewhat lycanthropically, into a more thrashier assault of riffs and crunchy bass work. The lyrics take up more of an early day power metal feel, fortunately without the extra side dish of cheese. The third track, Kubilai Khan, rings in a similar vein to Priest’s song Victim of Changes, only faster paced while the vocals have that power metal feel echoing through them. A lot of the riffs are catchier than the cold – the bonus being that they’re a damn sight lot better than having a snotty nose and feeling like death warmed up.

Lyrically, The Samurai Returns, fits in perfectly with the band’s name and the album art while musically and vocally, it almost embodies those old school attitude and sounds that the band demonstrate ever so well in their music. City on the Edge of Forever literally screams with NWOBHM era influences from Saxon and Maiden to Judas Priest and a tasty dash of Blitzkreig. The lyrics provide the paint and the music provides the canvas for what the vocals turn into a beautiful song that is so vibrant and powerful that very few songs can ever compare to it. No Surrender feels more chilled out compared to the other tracks yet it still brings a certain thundering war-like sound to the eardrums. The vocals certainly bring a charismatic tone to the song, blending creatively with the music.

The Land of the Rising Sun is one of the more creatively genius songs on the album, with the Asian styled riffs softer use of percussion yet I feel it doesn’t quite live up energy and magnitude of the rest of the album when it first begins. The vocals still do a great job at telling a story with masterfully penned lyrics. The song progresses, eventually, into a very Maiden-stylised piece, almost feeling like Katana’s own Rime of the Ancient Mariner. The most obvious difference being that it doesn’t last as long as the aforementioned song. The Asian based riffs make a second appearance in the song, keeping the concept of the song alive and kicking like an underdog boxer who refuses to go down.

The Gambit tears its way through, like a toned down version of Motorhead topped with the usual lyrics that dominated the 80s metal scene. Modesty Blaise is another song on the album bringing about the classic power metal musicianship. The bass work has a nice sounding twang to it, giving the song a very distinct appeal. And finally the album comes to a hard rocking halt with The Wisdom of Emond’s Field, that oddly sounds like the previous track before almost recreating a faster version of Tyr’s Hold The Heathen Hammer High. Fortunately, Katana soon bring the song back into its classic metal groundings with a brilliant use of melodic riffs and memorable hooks. The second half of the song brings about a vocal section similar to that of Maiden’s Charlotte The Harlot before morphing back into its old high energy anthem self.

In recent years, it seemed like the only good thing to come out of Sweden was Kopparberg. It would seem, that after listen to this album, I’ve been proven wrong. I’ve always liked classic and traditional metal and Katana have come so close to virtually perfecting the old school sound in one album, which is Storms Of Wars. I think Sweden now have their own Iron Maiden.

4.8/5

Nico Davidson

Iced Earth – Dystopia [2011]

Posted in Review with tags , , , , , , , on 15th October 2011 by Nico Davidson

Band: Iced Earth
Album: Dystopia
Release year: 2011
Genre: Power Metal

Iced Earth are perhaps one of the most well known and well regarded American power metal acts, having toured both the US and Europe. Dystopia is the first album to feature new vocalist Stu Block [Into Eternity], following the departure of Matt Barlow.

The first track of the album is none other than the title track “Dystopia”, beginning with a mighty guitar riff combined with drums. The joining of a second guitar adds more power to the music of the song. The first wail of the song that is heard sounds likes a poor attempt at imitating Gaahl. The tempo increases, adding a thrash element to the music. The vocals aren’t what they’re expected to be – Stu is clearly trying to imitate his predecessors. Though he sounds similar to Barlow in some parts, his attempt to perform similar high pitch vocals to The Ripper do spoil the track for the listener. Already, the album is at an okay start.

“Anthem” has a mesmerising soft introduction that only gets better with the slow, thundering sound of the bass mixed with the tapping of cymbals. The soon turns heavy with a partially melodic twist. The bass stays powerful and thunderous throughout the song working well with the drums – Which is no surprise for an Iced Earth track. The guitar solo adds some new life to the album as well, helping the listener forget about the vocals for a short while. The gang vocals towards the end, with all due respect to the new vocalist, are much better. “Boiling Point” storms its way next like a furious thrash metal anthem. The riffs are violent and angry whilst carrying a certain touch of classic metal. The use of church bells at the beginning adds a very dramatic tension to the music. The use of constant double bass pedals gets tiring after a while as they can be heard from beginning to end. The vocals don’t really add anything special to the song either.

The acoustic beginning of “Anguish Of Youth” takes the listener by surprising and the vocals sound so much different and more distinct. Even when the song takes that heavy twist the vocals don’t change their sound – Its good to hear Block using his own vocal style. The contrasting acoustic and heavy sections are truly brilliant, as is the solo. Following straight after is “V”. The introduction is monstrous – in the good sense – and has a very traditional metal feel to it. The vocals are a let down as they are back to sounding like Barlow. The melodic sections and solo are typically Iced Earth sounding, which will no doubt be a bonus for the more hardcore fans of the band.

“Dark City” is another song to have a soft introduction. The high pitched vocals sound almost like The Ripper – To as whether this is a good thing or bad thing will be left for the fans to decide. The riffs pack a truly powerful punch. The guitar solo has a very old school sort of sound to it, like a Black Sabbath meets Judas Priest meets Saxon kinda sound. The melodic-like riff towards the end teases the listener’s ears with excitement – It’s a shame it comes to a sudden end. The start of “Equilibrium” seems a tad like a slowed down Judas Priest track til the tempo increases. For the most part, the song is as bland as a cucumber sandwich. The solo is the one of two exciting parts of the song – The second exciting part of the song being the vocals after the solo.

The beasty intro of “Days Of Rage” tears its way next as the album draws closer to the end. The vocals are rage-fuelled and raw while the guitars just scream with angst and energy. The one and only flaw to “Days Of Rage” is its short lived length. “End Of Innocence” is the second track on the album to start with an acoustic section. The vocals are lacking the Barlow-Ripper-esque sound though they do become more rough sounding when the heavier sections of the song kick in. The album finishes with “Tragedy and Triumph” which sounds similar to the title track at the beginning. The song feels heavier when the tempo gets turned up by a few notches. Everything during in this song seems to gel well together drums. This one would definitely be the perfect song for driving down the motorway at 70MPH.

For most of the album, the vocals are off-putting due to their similar sound to Barlow and The Ripper though towards the end of the album they work well with the music. Block’s use of his own vocal sound helps improve the album and most of the songs are well composed and have the typical Iced Earth sound. However, there probably will be some division between the fans over this album – Something that generally happens with a new vocalist.

3.5/5

Nico Davidson

Pictures Of Pain – The Reckoning [2011]

Posted in Review with tags , , , , , , , , , on 25th July 2011 by Nico Davidson

Band: Pictures Of Pain
Album: The Reckoning
Release year: 2011
Genre: Melodic Metal

Pictures Of Pain are described as a “melodic metal band with a unique sound”. They hail from grim and frostbitten lands of Norway, a country renowned for its history, mythology and black metal. Originally, forming in 2005, Pictures Of Pain have gone on to support bands such as Kamelot, Ensiferum and Leaves’ Eyes.

The introduction of “Betrayal” is certainly a unique one. Its calm, melodic and slightly progressive with sudden, short-lived sections of heaviness which are combined with black metal styled vocals. The track does turn aggressive. The vocals are different to how one would expect them to be to they sound to be a combination of both power metal and black metal styled vocals. There is a major use of clean vocals throughout the song as well, which helps keep the track interesting. The drums are precise and intelligently played. In some sections, the cleaner vocals do spoil the song a bit when they begin to scream in the old skool metal way.

”Far Beyond” begins in a similar fashion, only the introduction has more of a hypnotic yet eerie sound to it. The vocals are more clean on this track as well, whilst the guitars have lightened up a little bit but still bring that driving force of metal with them. The melodic riffs are also featured, which is a good thing for those who are fond of the more melodic sections. “Eternal Rage” is more slow paced to begin with, with a slight progressive feel to the drums. The vocals can be scarcely heard to begin with which is slightly disappointing, though they soon become more audible. They contrast brilliantly between harsh and bloodthirsty to clean and powerful-sounding. The slow, calming section towards the middle is certainly a refreshing sound from the onslaught of heavy, face-melting metal found in the majority of the first track. The guitar solo is well composed and a brilliant addition to “Eternal Rage”. The only issue as such with this one is the length, as the casual listener would possibly get bored after the first half of the track.

”Deviator” blasts its way next, with a an old skool meets modern metal sound. The vocals are reminiscent of Judas Priest and Venom. The riffs and drum work are very savage yet well composed at the same time. “Sign Of Times” is another slow-paced song yet just as epic as the tracks before it. The melodic riffs are just brilliant and the drums certainly bounce off the guitars very well. However, the clean vocals are lacking a fair bit compared to the music. The clean and eerie introductory riff of “Years Of Disgrace” which suddenly transforms into an aggressive and barbaric assault of metal upon the listener’s ear drums. Interestingly, the track switches between the soft, clean sections and the heavily aggressive sections very well.

Next is the title track, “The Reckoning”. The intro is more brutal than expected whilst keeping the smoothness of the melodic riffs. The vocals are strong and powerful, almost operatic sounding. “The Reckoning” certainly has a very power metal sound to it. The screams aren’t too bad on this track, they just don’t seem to go with the riffs. The drums are almost machine like in their precision and power. “Final State” follows after with a majestic intro. The vocals are mesmerising and epic. The riffs can only truly be described as sagaic whilst the screams are somewhat demonic sounding, mixing well with the more aggressive sections of the track.

The final two tracks of the album are demos form 2005 and 2006. “From The Ashes”, the demo from 2006, is next. It certainly is very different from the rest of the album and shows how much Pictures Of Pain’s sound has evolved. “From The Ashes” seems to have more emphasis on the harsh screaming and the rough and raw riffs as opposed to a clean and crisp sound. The final song of the album is “Guardian Of Tears”, the demo from 2005. Again, it is different to the rest of the album due to the raw, untamed sound of the guitars and drums. The sound is also more distorted as well, giving it a more underground and in-your-face sound.

There is no doubt that Pictures Of Pain have a very unique sound. Each track seems to be different from the other whilst retaining that certain sound that Pictures Of Pain are working hard to create. Even the vocals seem to be different on each track. “The Reckoning” is clearly an album for those bored of the same old generic sound that most bands seem to have these days as it is fresher and more exciting than most albums out at the moment.

4.5/5

Nico Davidson

66crusher – Blackest Day [2011]

Posted in Review with tags , , , , , , , , , , on 20th June 2011 by Nico Davidson

Band: 66crusher
Album: Blackest Day
Release year: 2011
Genre: Progressive Thrash Metal

66crusher have been on the rise since the release of their debut album “in 2005. Since then they have been fighting their way to the top of the worldwide metal scene, gaining new fans each year. “Blackest Day” is the next step in their journey.

The title track, “Blackest Day”, is the first track of the album. It begins with a very thrash-influenced guitar riff whilst the drums are more laid back in comparison. The vocals are classic metal in their sound, standing out from the music – In an epic way. The vocals work well with the soft riff about half way through the track, giving the track a slight progressive edge. The track ends in true thrash metal style. “Recreated Destiny” has a slower, more emotional sounding introduction. Both the guitar riff and vocals are soft yet majestic, whilst touching a very deep emotional level not usually found in thrash metal. The track’s pace increases with the appearance of the drums, which again are quite laid back compared to the guitars. The vocals sound more powerful later on during in the track.

Following after is “Unsaid”. The intro is slow, heavy and dominating. The vocals, again, are soft to begin with, as is the piano medley that joins them. The drums slightly overpower the piano, which is somewhat disappointing. The track switches between light and heavy – Which is a nice emotional effect for the song. Next is “Concept of Elimination”, beginning with a choppy guitar section, which soon replaced by a more consistent, melodic guitar riff and an acute drum pattern. The vocals are strong, with a hint of a Judas Priest-sound. There is a good blend of progressive-sounding softer sections and heavier, savage thrash-styled riffs throughout the track, which makes up for it being almost ten minutes long.

”Recreated Reality” blasts next with an immense riff of violent proportions. The drums are barbaric yet precise to the beat. The vocals are still going strong, keeping the track interesting. Some of the riffs leave much to be desired though it is mostly a decent track. “Borderline” is another track that begins with a choppy riff, which can be off-putting for new listeners and just seems to drone on for the first few minutes. Another issue with the track is the length of it – Just over twelve minutes – Which again, can be off-putting for new listeners. The other riffs are well composed and sound great, as do the vocals and drums.

Nearing the end of the album comes “Shipwrecked”. Like some of the other tracks, the intro riff is soft and melodic, though it is short lived. The heavier riff certainly brings more excellence to the track though the drums are lacking in comparison. The vocals seem deeper yet more defined. They seem suitably combined with the acoustic riff. One thing that stands out the most about this track is the emphasis on the acoustic riffs, though the heavier riffs do play an important part of the track. “Shipwrecked” is certainly the best track of the album.

”Diminished Mind” starts with a mediocre sounding riff, which is a let down compared to the previous track. The vocals seem weaker as well and the drums also are lacking in power. The track does improve later on however, with some very Megadeth-styled riffs. “Us Beneath The Sea” is the final track of the album. Like some of the previous tracks, its intro is a soft riff, as are the vocals and drums. The riffs later become more wild west-sounding for a short while but they stay soft for the majority track, making for a good chill out track after eight brutalising tracks. The guitar solo towards the end does make the track slightly heavier though not by much.

”Blackest Days” features a strange yet wonderful mixture of progressive metal and thrash metal combined with some old skool sounds. 66crusher have certainly out-done themselves with this album, though there are some sections that could have done with more work.

4.5/5

Nico Davidson

Emerald Sun – Regeneration [2011]

Posted in Review with tags , , , , , , , , , , , , , on 19th March 2011 by Nico Davidson

Band: Emerald Sun
Album: Regeneration
Release Year: 2011
Genre: Power Metal

Emerald Sun have been a part of the Greek power metal for thirteen years now, with a surprisingly small discography. “Regeneration” is the newest addition to said discography.

The album begins with the track “We Won’t Fall”, which begins with a rhythmic drum intro which is soon accompanied by a rock sounding riff. The guitar goes slightly more metal when the synths make themselves heard. The vocals have a very Judas Priest-meets-Iced Earth sound to them. The synth riff gets irritatingly repetitive throughout the track. There is a technical use of guitar work which improves the track a fair bit. However, the highlight of the track is the guitar solo. “Theater of Pain” follows after. It begins with the sound of clapping followed by a drum intro. The guitar riff that follows has a slight Dragonforce sound to it. There is a great use of double bass pedal throughout the track and the synth riffs work well with the guitars. The guitar solo sounds choppy to begin with but soon improves. There is a line of narration towards the end of the track, which gives the track a little bit of a Gothic novella sound.

Next is “Where Angels Fly” which begins with a heavier riff than the past two tracks. The vocals sound a tad lower as well and the synths work extremely well with the guitars. The drums on the other hand do sound quiet compared to the synths, guitars, bass and vocals. Some of the guitar sections on this track aren’t exactly impressive, as they lack technicality and musicianship. The solo, however, is good. The title track “Regeneration” comes after, being composed entirely of eerie and epic sounding synths. “Starchild” comes blasting in next with a fierce combination of guitars, drums and keyboards. The vocals, again, sound slightly lower. The keyboard riffs are more impressive on this track than they have been on the previous ones.

“Speak of the Devil” is next, beginning with a synth-and-drums intro. The guitars soon make themselves heard. The vocals sound like a harsher version of those found on a Manowar album to begin with and go back to sounding like a Judas Priest-Iced Earth combination. The synth sections sound great, especially when combined with the vocals and drums. Next is “Planet Metal” which begins with a heavy intro which is soon accompanied by synths and vocals. There is a slight use of squeaky vocals as well which kind of ruins the song. Aside from that, it is an okay track.

“Chasing The Wind” is next, which begins with a mixture of guitar, drums and synth. It isn’t exactly a heavy track, as it sounds more like a hard rock track rather than a metal track. The guitar solo, however, does add an element of metal to the track. Next is “Fantasmagoria” which begins with a slow synth intro, which is soon accompanied by a slow guitar riff and female vocals. The male vocals come in when the track turns heavier. There is also a use of harsher vocals, which sound eerily familiar to that of Marco from Nightwish. The guitar solo is similar to that of something that Megadeth would perform. After the guitar solo, there is another vocal section in which a new set of vocals come in, which sound a tad bit like those of the late, great Dio. The only problem with this album is that it’s far too long.

The last track of the album is the bonus track, which is a cover of Bonnie Tyler’s “Holding Out For A Hero”. It begins with a few chords played on the keyboard and a few quick blast-beats. After that the main keyboard riff begins. The guitars soon come in, bringing the metal element to the track. The vocals soon follow, sounding very much like Bonnie Tyler, almost to the point where the the vocals sound like female vocals. The guitar solo, however, is absolutely immense. If anything, this cover is probably more of a comical cover than a serious tribute to Bonnie Tyler.

Most bands normally get their sound perfect by their third album. Emerald Sun however have failed to do so. “Regeneration” is a great album but it sounds as if it is lacking in parts. Hopefully, Emerald Sun will have their sound perfected by the next album release.

3.5/5

Nico Davidson