Eaten by Sharks - Dead Weight (official music video) [deathcore from Canada]

The Canadian sailors first announced their shipwreck in 2013 when they had to throw overboard some heavy cargo that was endangering their trip. They left the flotsam called We're Gonna Need a Bigger Boat, but were still lost at sea for five years until 2022 when they made it to shores of Ontario once again. This time they brought back something called Eradication, which contains stories of their adventures at sea.

When will they do a cover of "Baby Shark"?

EATEN BY SHARKS - DEAD WEIGHT [OFFICIAL MUSIC VIDEO] (2022)

Eradication by Eaten by Sharks

https://www.facebook.com/eatenbysharksband

Upon Shadows - new music in 2022 [gothic extreme in Finland]

Finland-based gothic extreme duo Upon Shadows is hinting at a possible new album in the near future with a couple of singles in 2022. "Virtus Dormitiva" (see below) is a 2022 song. Below is their 2020 recording called Encuentro. For an additional and longer expression of their gothic extreme check out their 2019 album Modern Obscurantism. The duo began in Uruguay in South America and since 2013 they have been based in Finland.

Might a new full-length be on the way in 2022 or 2023?

Virtus Dormitiva by Upon Shadows

Encuentro by Upon Shadows

Modern Obscurantism by Upon Shadows

https://www.facebook.com/profile.php?id=100063636974177

Death Scythe - Killer Faith (official music video) [Mexican melodeath]

"Killer Faith" is a song from the 2022 album Killing For Pleasure Forever by Mexican melodeath Death Scythe. The album is a re-recording of their 2009 debut album Killing For Pleasure. They had been active from 2003 to 2009 and then ended. They returned in 2018 and in 2020 recorded their sophomore work Descending into Xibalba (10 songs in 42 minutes). The new version is meant to be a clearer, beter recording, which is safe to say that it is, as one would expect, with all the experience that has been accumulated in two decades.

The album might be the most enjoyable for the die-hard audiences that think fondly of 1990s Swedish melodeath, as this Mexican group is devoted to capturing the sound of that style as it was conceived in the earlier period of its rise in Europe.

DEATH SCYTHE - Killer Faith

Killing for Pleasure Forever by Death Scythe

https://www.facebook.com/DeathScytheMetal

Anthea - melodic prog power from California, U.S.

Anthea

Tales Untold

August 26th, 2022

Rockshots Records

Anthea (2015-present) has an EP in 2017, the debut album in 2020, and this new one (10 songs in 45 minutes). The California, U.S. band features, broadly speaking, a type of melodic songwriting that relies on the groove and keyboards for the skeleton of the tunes, while pushing to the forefront the guitar solos and especially the singing to make it memorable for the listener. The melodic singing is in the male midrange/upper midrange; melodic, strong, pleasant, without annoying traits. There are some higher passages, but they are brief, not abundant and with the voice controlled. The music is a balance between melodic, prog and rocking. It is not headbanging, but it’s not super proggy. Al the songs stay within 3-5 minutes. Most importantly, the songs have hooks and should not need more than a couple of listens to reveal themselves. On the other hand, they use some growling as a secondary vocal element, and here and there, the band launches into some headbanging moments, melodeath moments.

As is, the album is a strong statement and audiences into bands like Evergrey, Kamelot or Symphony X would enjoy it, one would think. The differences might be two: Anthea certainly sounds more youthful than those bands; and the second issue is the growling, which those other bands do not use as a part of their overall sound. Trivia: The last song is called “In Time,” a very nice Robbi Rob cover, the song from 1989’s Bill and Ted’s Excellent Adventure.

The album can go from mellow or melancholic songs like “Memoriam” and “In Time” to uptempo material like “Empyrean.” That’s a wide spectrum, especially for people not used bands with such a range of songs. Picky listeners opposed to metal with a pop music production will probably not like the synth/keyboards-happy neosymphonics. The drum sounds will not impress those strict listeners, either, given the soft, flaccid, plastic feel of the drum sampling/programming. The last potential problem is the growling. It is melodeath growling, and audiences against all growling will most likely not approve. In truth, the band would sound just fine without the growling, including for the fast, headbanging segments, which can be carried by the strength of the melodic voice (Can the singer carry these tunes for real in a concert or is it auto-tune/effects?). If the band were to eliminate the growling (which is competent), their appeal, with the right marketing, would open up considerably, as demonstrated by their cover of “In Time,” which is better than the original if the listener prefers a more ro-bust voice with more horsepower, as it were, and also with more energy.

1. Tales Untold 04:09

2. Ascendence 03:21

3. Song for Winter 04:03

4. The Deceiver 05:11

5. Sapiens 05:29

6. Memoriam 04:13

7. Looking Glass 04:15

8. Empyrean 04:02

9. Sunder Heart 04:53

10. In Time (Robbi Rob cover) 05:33

45:09

Anthea - In Time

ANTHEA - Tales Untold (OFFICIAL MUSIC VIDEO)

ANTHEA - Empyrean (OFFICIAL MUSIC VIDEO)

https://www.facebook.com/antheametal/

Varlok - raging, traditional black metal from Kansas, U.S.

Varlok

Nefarious Arts of the Necromage

October 1st, 2021

Even though this is a debut full-length (eight songs in 35 minutes) (and Metal Archives and Bandcamp show no previous recordings), the music proves to be the work of an experienced squad. The sound quality and execution of the headbanging, traditional black metal leave no doubt. This Kansas, U.S. band is the sound of what traditional black metal is all about. True and fast, grim and necro, Varlok should be on the agenda of audiences looking for no-nonsense, classic-style black metal built for banging your head. The harsh, shrieking vocals; the frenetic drumming; and spiraling style of the guitar work all contribute to the traditional sound, which the band carries out in a skilled manner. Readers might like to know that this is not a one-person project nor a demo-level recording. Rather, the band consists of musicians with at least 10 years of experience in bands in their region of the country: Jotanar on bass and vocals [Cataphract, Verräter (live), ex-Stonehaven, ex-Typhon, ex-Mürderhead]; Ghargoyle on drums [Cataphract, Emerald Eye, Garoted, Verräter, Vänlade, ex-Typhon, Chafed Taint, Relic]; Beithir on guitars; and Strigoi on guitars [Cataphract, Garoted, Verräter, ex-Typhon, Chafed Taint, Dr. Fvck, ex-Ritual Combat]. A satisfying listen.

Nefarious Arts of the Necromage by Varlok

https://m.facebook.com/varlokblackmetal/

Deconsecration - cavernous death in Washington state, U.S.

Behold the Washington state cavernous death of unmelodic, simplistic low-growling barbarity. The first demo is from 2020 and a live recording in 2020 (six songs in 26 minutes), and in 2021 a split with fellow Washington reptiles Re-Buried. They have a new song in 2022 called “Buried under the House.” Along with song titles like “Dissected to Death,” this band won’t be writing lyrics telling you to “make sure you vote,” “rescue our democracy,” read the news or reduce the amount of water that you use in your 37-minute shower of growling along to Autopsy and Mortician. The best representation of their sound so far is the previously mentioned split (four songs by Deconsecration). Looking forward to more from these knuckle-dragging zombies. Trivia: Check out their best impression tribute to Obituary’s art of the cave voice. Deconsecration begins “Priestess of the Void” in the same way that Obituary ends “Infected” going into “Body Bag.” Good job, Deconsecration. Good effort on the art of the voice of the cave of death.

Crypt Lurker by deconsecration

Deconsecration​/​Re​-​Buried split by Deconsecration/Re-buried

https://www.facebook.com/deconsecrationseattle/

Rave in Fire - melodic, classic-style heavy metal from Spain

Rave in Fire

Sons of a Lie

April 8th, 2022

On Bandcamp there is a 2018 EP before this 2022 full-length (eight songs in 36 minutes). Metal Archives shows that the band is Jaime "Jimi" Susanna on drums, Jonjo Negrete on guitars, Sara Carretero on bass, and Selene Perdiguero on vocals. This melodic, uptempo heavy metal from Madrid, Spain may be a very good discovery for listeners looking for some catchy, rocking songwriting. Direct, uptempo and with good singing, the songs don’t need much to be remembered because they are written to hit the ground running with galloping rhythms, some shredding and plenty of rocking, melodic soloing. The band itself names Judas Priest, Dokken, Dio and Warlock as reference points. Their Dio-Dokken assessment is right on. The music is bass, drums, guitar and vocals. Therefore, it is easy to hear everything, including the guitar work and the good singing. One advantage for the band is that the songs remain uptempo and efficient. Here and there, there are some slower segments, but they are brief, and do not bog down the songs. The last song is more of a power ballad, but not a cheesy love song. Unfortunately, this drum sampling/programming sounds artificial and soft. Anyway, this is music for audiences looking for melodic songs with wide appeal, from the grandparents to the children, including as gateway metal for children. The lyrics are available on Bandcamp. I have not found the lyrical stupidity (cursing, horror, glorification of violence and other low-IQ buffoonery) that might make this inappropriate for kids and general audiences. In that respect, credit to the band for not shooting themselves in the foot.

Sons of a Lie by Rave In Fire

https://www.facebook.com/raveinfire/

Intent - Victims of Conquest (OFFICIAL MUSIC VIDEO)

Intent

Exile

26 August 2022

Arizona, U.S. thrashers Intent (2016-present) lay out frenetic, shredding guitar work, with a bit melody in some places. Generally, it is the type of wrist-breaking intensity that starts movement and action amongst the listeners. Vocally, it is an intelligible semi-growl scream, similar to classic Sepultura from 1987 to 1993. The recording is rowdy, headbanging and sounds like gritty thrash. The band has its feet firmly planted in the riffing of aimed at the moshing, headbanging lunatics, the same as the band.

What is thrash in 2022? Intent answers that question with this, their second album. Here and there, the speed decelerates a smidge for some midtempo-uptempo segments. Lastly, some people have observed that the drum work sounds different from weak drum sound prevalent in sampled/programmed drumming in metal music. Listen for yourself and see what you think of Intent’s toxic waltz of an album.

Intent - Victims of Conquest (OFFICIAL MUSIC VIDEO)

Exile by Intent

Vox Populi by Intent

Intent Full Set - Live At Come And Take It Live Austin TX 12/9/21

https://www.facebook.com/Intentbandaz/

Tyrants of Chaos - OFFICIAL VIDEO - Slay the Hostages

Below is the video for "Slay the Hostages" by traditional heavy metal band Tyrants of Chaos (Canada). The track comes from their third album Relentless Thirst for Power released on 19 August 2022. As you can hear, bands like Judas Priest are influences in their direct, headbanging style of songwriting, certainly in the vocals. The music is a type of chunky, heavy grooving combined with traditional riffs, for sound that is more contemporary, as opposed to straighforward retro or vintage. If you like the song, perhaps you may really enjoy checking out the entire album that is up on Bandcamp.

Tyrants of Chaos - OFFICIAL VIDEO - Slay the Hostages

Relentless Thirst for Power by Tyrants of Chaos

https://www.facebook.com/tyrantsofchaos/

Splintered Throne - classic-style heavy metal from Portland, Oregon, U.S.

Splintered Throne

The Greater Good of Man

19 August 2022

The Portland, Oregon, U.S. classic-style band has been rolling out the albums since 2014: two studio works (2014, 2017) and a live one (2019). They are a veteran act and members have been doing music for decades in this and other entities. On this third studio album they have a new singer, Lisa Mann, replacing the original singer Brian Garrison. The new music provides rockers and anthems as the foundation, and some slower segments, everything that traditional, melodic heavy metal is supposed to deliver. The guitar playing is perfect for this style, with a solid, audible rhythm section; the soloing is very good, as is the singing. The recording sounds professional (not like a demo recording). The drum sound is not flaccid nor mechanical, which should please audiences tired of the pop rock drum sound in metal (I hope the band is actually using their human drummer’s real drum work!). The singing is a bit of a strange story, you see. Lisa Mann, a blues musician whose work I do not know enough to comment on intelligently, first came to my attention with White Crone, a cool project with which she manifested her love of metal in 2020, including a Venom cover. White Crone has also done a cover of Rainbow’s “Stargazer”. I mention these covers for a reason: Lisa Mann, according to Wikipedia, is a blues musician who has won a bunch of awards and has at least five studio albums. It turns out that her voice fits heavy metal splendidly. The singing voice has no annoying qualities. It is not nasal, not thin, and not showing off with irritating unnecessary high screams. It is strong but also melodic, a naturally pleasant, ear-friendly mature traditional heavy metal voice. When the voice goes higher, it does not peter out. Rather, it remains strong throughout. What a difference it makes when heavy metal is executed properly with strong singing.

Splintered Throne is professional-minded, serious heavy metal with melody, and good singing worth remembering.

The Greater Good of Man by Splintered Throne

https://www.facebook.com/splintered.throne

Hatemonger - death grind from Chicago, U.S.

Hatemonger

The Vile Maxim

April 16th, 2021

1.Perpetual War 03:31

2.Death Age 05:44

3.Famine Driven Thirst 04:01

4.Plague for Days 04:41

5.Disinformation Campaign 04:24

total time 22:21

The Illinois, U.S. death squad Hatemonger enters Metal Archives with this five-song 22-minute recording. Bouncing between uptempo brutality and blazing speeds, the contrast keeps the highs high, with a few well-placed high valleys to remind the listener to appreciate the differences. The Chicagoland band does a good job of keeping a heavy but uptempo, downtuned guitar buzzsaw speed, including blasting. Certainly, fans of no-nonsense, headbanging extremity should consider finding out what this recording has to offer. It is not melodic, but it is also not technical nor prog, which means that the energy and the solid songwriting keeps the moshing listener entertained. The vocals are rather low, a bit more like a cavernous style, as is the whole recording. However, it does not sound like a no-experience-no-money bedroom death grind demo, and there is a level of seriousness and professionalism that is easy to notice. Fans of downtuned buzzsaw guitar and blasting may want to turn their steering wheels towards Hatemonger.

The Vile Maxim

by Hatemonger

https://www.facebook.com/hatemonger.band

Exaltation - cavernous death from New Zealand

Exaltation

Under Blind Reasoning

July 29th, 2022

Sentient Ruin Laboratories

New Zealand knuckle dragger brutes Exaltation decided to show up in 2022 with their debut full-length, with eight tracks in 31 minutes. Metal Archives shows nothing else besides a 2017 demo. They generally prefer shorter songs for the low-tuned, low-growling minimalistic cavernous concoction of doom, death and blast barbarity. It is not a complex cacophony of multiple layers that require repeated attempts at exegesis. I listen to this because apparently the thick dumb sound of blasting death doom goes perfectly with my simple-minded way of appreciating a racket. I’m not sure that my neighbors are enjoying the Exaltation hullaballoo blasting out of my apartment window as much as I am, but what am I supposed to do on a hot summer day with no air conditioning?! I have to have the window open, sit around drinking ice-cold tea and listen to Exaltation so that I do not drop dead in a hot smelly Lynnwood apartment.

This band is unmelodic, uncatchy fugly savagery, and only people like you could ever enjoy this “music.” You know how society has this stereotype that metal music is just loud noise? Yeah, well, it’s a stereotype for a reason. The name of the reason is Exaltation.

Gosh, this is awful stuff. I want more of it.

Under Blind Reasoning by EXALTATION

https://www.facebook.com/exaltationnz/

Amon Amarth - new album, new tour, Seattle included

Amon Amarth

The Great Heathen Army

Metal Blade Records

5 August 2022

Studio album number 12 from the hard-working Swedish band (1988-1992 as Scum; 1992-present as Amon Amarth) surely means that they are about to head out on road again. Their sound was more along the lines of death metal until their third album The Crusher in 2001, but with 2002’s Vs the World they went for galloping rhythms, while keeping the vocals growled and the guitar heaviness but with less speed. Their resulting blend worked very well as they became devoted to touring as much as possible in their quest to be successful. They achieved their goal.

Priding themselves on being consistent, making small changes for every album, these Swedes have their own way of doing things. If you are new to the band, expect quality and carefully crafted catchy songs, almost like heavy metal with good, deep, gentle growling, with strains of both melodic death and black metal, in a subtle way. On the other hand, if you already are familiar with their albums, grab something to drink or snack, and let the music play. It’s more like an extension, a continuation of the sound in the form of nine songs in 43 minutes.

They get criticized for not being true death metal and for not changing enough from album to album. Well, the band’s response could be the same as AC/DC’s Angus Young, “I’m sick to death of people saying we’ve made 11 albums that sound exactly the same. In fact, we’ve made 12 albums that sound exactly the same.” (Plus, if you want true death metal, there are tons of maggot zombie-themed brutal bands in your own town playing on Tuesday night at the local bar and each year at your local American “Brutality Zombie Deathfest” with pig squeals, cupped microphone vocals and breakdowns.) However, the drum sound on this recording is typical of the contemporary sampled/programmed drum sound: flat, mechanical, sanitized and soft. The listener cannot hear the cool noisy craftmanship that you hear while listening to an actual drummer playing the drum set, whether in rehearsal or at a show.

To conclude, it’s been an awesome career and the story continues. It’s not easy to last 30 years playing metal; and yes, they are going out on tour and will be coming to Washington state again (12/12 - Seattle, WA - Showbox SoDo). Trivia: There is here a song called “Saxons and Vikings” and guess who they invited to do the melodic singing? Biff Byford from Saxon, of course.

The Great Heathen Army by Amon Amarth

https://www.facebook.com/amonamarth/

Versus the World by Amon Amarth

The Crusher by Amon Amarth

Noroth - cavernous death in Washington state, U.S.

Noroth is traditional death in Washington state, U.S. with the following recordings so far on Bandcamp: It Dwells Amongst Us (2020; eight songs, 23 minutes) and Harbinger (2021; nine tracks, 27 minutes). It’s low, gruff growling with simplistic heavy riffing for those galloping rhythms. The slower parts do not generally slow down to a crawling pace, and stay in midtempo, grooving stomps, while the fast parts can go fast, but not into blasting paces. The effectiveness of the music is direct: one listen pretty much gives the audiences a rather good picture of the proceedings. If you enjoy deep growling and cavernous riffs, and midtempo/uptempo heaviness, then Noroth might be a fun listen or a fun show. Both recordings are the same style and sound, suggesting that the band knew exactly what they wanted from the beginning. Metal Archives does not show that the three members Itzhak (drums), Mike (guitar) and Biaggo (vocals, bass) are involved in any other projects, but I am unable to confirm whether that information is fully accurate. Whatever the case may be, fans of the more primal and simplistic forms of death are the desired demographic for this good stuff.

Harbinger by Noroth

https://www.facebook.com/norothovcascadia/

Bodybox - Florida men form trailer park metal band

Imagine a bunch guys named Bubba Lou, Big Earl, Lazy Jed and Fat Bobby living down by the swamp in Florida listening to Pantera, Lynyrd Skynyrd, Pantera, Hatebreed and then some more Pantera, talking about forming a “heavy band, man,” while they’re out on the boat with their shotguns trying to find some alligators to barbecue later on tonight while they’re blowing up fireworks, chewing tobacco, and eating alligator beef jerky with Tabasco. It’s big, huge, enormously dumb stomping death brutality. The way they’d like to describe their sound is “Pantera’s I’m broken” combined with “deathcore” with some good ole trailer park grooves. It’s mostly animal farm noises, grunting and playing the three chords they know to the best of their hillbility. All they know is that if they can sound heavier than Pantera, than would be a good reason to go to the local Circle K and buy some beverages to pass out on Friday night and wake up some time on Saturday afternoon. These guys, whose real names their parents never told them, may not be good at reading, writing, arithmetic, speaking, thinking, staying out of jail, chewing alligator beef jerky and walking at the same time, but they sure make Florida proud with the death groove brutality of their 2021 EP “Through the Bongfire” and the 2021 demo “Microwaved Weed.” Bodybox can gallop in the old-school death way and can slow things down to grimace-face nasty heaviness breakdowns. The vocals are low and gruff, and lower and gruffer, while the music is dedicated to the art of the chugga-chugga-chug. Put away that calculator, you won’t need it to figure out the sound big belly tattooed hillbilly trailer park extreme metal. Alright, alright, alright.

THROUGH THE BONGFIRE by BODYBOX

MICROWAVED WEED by bodybox

Θλίψις - raging black metal from Greece

Θλίψις

Θλίψις

August 15th, 2021

1.Θλίψις/Thlipsis 03:50

2.ΝΙΧ 04:16

3.Love's Blood 03:23

total time 11:29

Θλίψις is raw, traditional raging black metal from Greece. It is Nick Sidiropoulos on drums; Felix Argus on guitars, bass, and vocals; Tumultus on guitars and vocals. Lyrically, their focus is on anti-capitalist ideas, stating that “the rich, the royals those in charge are drinking the blood of the working class.” Musically, it is vocal chord-ripping moon mad black metal howling. The guitar work is fast, as is the drum work, and once the listener gets past the frenzied speed and vocals, there is lots of fast black metal melody to be found. It is such a brief recording of three full songs that audiences might find themselves listening to the recording repeatedly for several times. FYI, Metal Archives shows the drummer as a member of other entities like Dødsferd, Grab, Herald, Insanity Cult, Isolert, Leeches, Nihilsect, Sores, Sørgelig, Sorry..., ex-My Deathbed, ex-Sordid Dogs, ex-Voidness, Ghetto Gospel, ex-Convicted, ex-Nefarious Dusk, ex-Belief, ex-Y. This recording is recommended for the dedicated fans of the sound of traditional black metal.

Θλίψις by Θλίψις/Thlipsis

Fellowship - power pop from England

Fellowship

The Saberlight Chronicles

Scarlet Records

15 July 2022

Fellowship is a new band of poppy power metal from Harwich, Essex, England, U.K. Metal Archives shows an EP in 2020, a cover of “Can You Feel the Love Tonight?” (from the animated movie The Lion King [1994] sung by Elton John) in 2020, another single in 2021 and now the debut album. With the cover they announced that their pop-oriented style. The new album is a celebration of ear-friendly melodic, pop-oriented power metal. It often seems that European metal musicians have a secret passion for electronic, dance and pop music that they try to work into their music. That’s the case here. There are shredding and fast tempos, but it’s all done very melodically. Fans of super catchy pop and happy rock may find a very interesting album here. Just in case it is not clear: fans that do not enjoy this style probably will dislike this album strongly. It has a soft, programmed or sampled drum sound. It is melodic rock music with a pop sound, and this may not please fans that want the sound of a real band playing their own instruments, as opposed to autotune sampled music that sounds very artificial or plastic and super soft.

The Saberlight Chronicles by Fellowship

https://www.facebook.com/FellowshipUK/

Begrime Exemious: Rotting in the Aftermath

Begrime Exemious

Rotting in the Aftermath

Dark Descent Records

8 July 2022

Begrime Exemious is a Canadian death metal band that Metal Archives lists as being in the style of Order from Chaos, Axis of Advance, Ares Kingdom, Deströyer 666, Dire Omen, Vastum and Vircolac. In other words, a raw type of extremity based on tradi-tional and classic thrash, death and black metal. For an extreme metal band to be thought of as in the spirit of cult acts like Order from Chaos and Axis of Advance, then that is a good thing. Begrime Exemious began in 2005, says Metal Archives. Their first EP was in 2009, in 2010 and 2012 they did albums, then later on three EPs, and in 2016 another album. Now they have this new one.

The last few days I have been listening to the album and this is what I have found. It is classic-based extreme metal of the old-school underground mentality. Considering that they are Canadian, and play raw music, it is almost guaranteed (I don’t know it for a fact, as I am not sure that I have ever seen interview with them) that they respect a cult band like Blasphemy, which, I guess, it is almost like a national tradition for Canadian raw metal bands. They are not as lo-fi as Blasphemy and prefer a clearer sound to let the energy, heaviness and frenzy be heard in a more detailed manner. The vocals are low and gruff and also have a higher, black metal tone, too, for that dual combination. The guitars work with thrash, death and black riffs, and the speeds can go to blasting, too. There are also some pretty cool guitar solos throughout the album. It’s just a solid album that gets better with each listen, and not necessarily because the listener needs more than a few listens to understand the music but because the songs are written well, the execution is good and the production fits the sound. With music like this, this band will become cult themselves, if they are not already.

Rotting in the Aftermath by Begrime Exemious

https://www.facebook.com/begrimeexemious/

Rising Revolution - symphonic power metal from the U.S.

Not knowing anything about the band, I decided to listen to their interpretation of symphonic power metal wondering how the young Americans would approach the genre. Well, for one thing, it seems like U.S. metal youth are not very interested in this type of musicianship, and seem to prefer the less complex and less challenging sounds of groove-core-based genres. Having to come up with melodies, figuring out the matter of having melodic singing and working on the development of a symphonic sound is probably a lot more work than one may imagine at first.

This year has seen Rising Revolution follow up their 2018 demo song called “Power Forever”. In 2022 they have two new songs, “Beasts of the Night” and “Freedom & Glory.” The band continues to grow in vision and capabilities towards the achievement of their sound.

As a different proposition in U.S. metal, Rising Revolution shows a great imagination of what they want to create, and now we are getting a glimpse of the potential. It is refreshing to hear a young band from the United States with an interest in good musicianship and songwriting in the style of melodic metal. The band says that it all began in 2014 in Richmond, Virginia with the two friends Ashwolf Grayson and José Díaz working on music in the band room at their school. Before they knew it, they had Ash (bass) and José (lead guitar) joined by Fletcher Harrell (drums), Marvin Ward (keys), and Kevin Potter (vocals & rhythm guitar). As it often happens, there have been line-up changes and nowadays only Ash, now doing vocals, remains from those early days leading the ship into new waters. Nowadays, the complete crew is Ashwolf (male vocals & keytar), Artemis Wray (female vocals), Zephyr McGrath (lead guitar), Zeldris (rhythm guitar), Ka-dir Elliotte (bass), and Ariel & Seraph split drum duties.

Their 2018 song “Power Forever” (4:36) already pointed to their ambition of an elegant type of rocking melodic symphonic style. It sounds like a young band finding their feet. Now in 2022 two new songs are called “Beasts of the Night” (3:39) and “Freedom & Glory” (6:01) and are from their upcoming debut album Revengeance: “a concept album from the perspective of a samurai from the 23rd century called by the mighty guardian deity Titan to vanquish his demonic foes, the Apocrypha.”

What caught my attention about the band is that Rising Revolution seems like they are just getting warmed up and that their best work is still ahead of them. They sound like a promising young band to keep an eye on and see how they develop the musical vision in the coming years. After hearing their songs with some more attention to detail, I still feel that they are a promising band and we will be pleasantly surprised when these wild horses harness their strength and begin to run with all their might. I like what I’m hearing, but I sense that this book’s first chapter is not even complete. This story is about to start.

Finally, the band says that they have been preparing for the 30th Annual Cutting Edge Music Conference in New Orleans, Louisiana and on kicking off a local metal festival Revolution Metal RVA in their area. Seems like they have been busy, right?

Prelude to REVENGEANCE by Rising Revolution

https://www.facebook.com/RisRev/

SOLE SYNDICATE - Brave Enough (Official Video)

Sole Syndicate

Into the Flames

Scarlet Records

17 June 2022

Today is the release date for the third album by the Swedish band Sole Syndicate. Below is a video for a song from the album and the Bandcamp link that is streaming another song. I do not know much about the history of the band, but I have been listening to this album. It is contemporary melodic heavy metal, with a bit of a chunky guitar sound in places, with melodic male singing but without screaming and yelling, including not much in the way of high notes. It is not retro heavy metal, although they do have some classic influences. These two songs are good examples of their sound: an ear-friendly type of heavy rock that would appeal to hard rock fans in general. The songwriting and their style keep things rather direct; therefore, it is not necessary to hear the music several times to understand it. In short, listeners that want something that sounds contemporary and melodic, and without glass-shattering yells, just ear-friendly vocals. Sole Syndicate is good at their interpretation of adult contemporary heavy metal.

SOLE SYNDICATE - Brave Enough (Official Video)

Into The Flames by Sole Syndicate

https://www.facebook.com/solesyndicatemusic

Tank (U.K.) - LP and CD reissues of 1980s albums

TANK - the High Roller Records reissues LP and CD

Don't Walk Away EP 6. May 2022 (1981)

Filth Hounds of Hades 6. May 2022 (1981)

Power of the Hunter 6. May 2022 (1982)

This Means War 27.05.2022 (1983)

Honour & Blood 27.05.2022 (1984)

[The music below from YouTube is here for your information. See below for the links for the official High Roller Records full recordings. This commentary is based on the High Roller Records versions provided to this publication.]

The background leading to the formation of Tank (U.K.) involves Motorhead and punk rock icons The Damned. After The Damned’s hot 1977 debut Damned Damned Damned and another 1977 not-so-well-received album called Music for Pleasure, the band broke up, but soon three of the members, without guitarist Brian James, returned as The Doomed and then went back to calling themselves The Damned: lead vocalist Dave Vanian, bassist-turned-guitarist Captain Sensible, and drummer Rat Scabies. Now they needed a bassist. Enter Algy Ward, formerly of Australian punk rock band The Saints. With Algy The Damned recorded their fan-favorite album Machine Gun Etiquette (1979), an entertaining collage of punk, goth, classic rock and vibes of oldie rock and roll. The band also recorded some additional songs that were released separately. One of those is their cover of the Sweet song “Ballroom Blitz,” which features Motorhead’s Lemmy Kilmister as a guest on bass and backing vocals. The protagonist of our story, Algy Ward, seemed to be doing pretty well in The Damned, but it was not to be. He played bass on the album (he’s also on the cover of the album; he’s the one wearing a leather jacket), seems to have done some performances (Old Grey Whistle Test [available on YouTube]) and he also appears on the video of the classic song “Smash it up,” amongst other things with The Damned, but he did not last and was reportedly fired due to personality conflicts.

The Damned - Melody Lee

The Damned - Smash it up

Now out of The Damned, Algy forms Tank in 1980 with brothers Peter (guitar) and Mark Brabbs (drums) with him on vocals and bass. In 1981 they give everybody a warning of what’s come with the EP produced by Motorhead guitarist Eddie Clarke, who also produced the 1982 debut album Filth Hounds of Hades. The EP title track, as fans of German thrash know, has been covered by Sodom, and then later on Sodom again covered another Tank song from the debut full-length. The debut is basically a form of Motorhead heavy metal rock and roll rambunctiousness. The EP is cool, but Tank tightened up the speed and intensity on the full-length. Today the full-length sounds more like a greatest hits compilation because all the songs are good. The album sounds like a real band playing right in front of the listener. So full of energy, as the band says, of blood, guts and beer. Some of the songs are basically speed metal numbers, right there for the taking by the young American and German bands to retool it and repurpose it as thrash. The album in general has a wonderful energy to it.

Tank - Turn your Head Around

Sodom - Turn Your Head Around

Tank - Shellshock

They followed up with another album in 1982 called Power of the Hunter. It is the same sound. The masculine but melodic Lemmy-like singing, and in Tank the vocals are singing; it’s not shouting nor screaming, but it does have a rough edge to it while never forgetting to sing. The difference between the first and second album is that on the sophomore work the guitars have been pushed back some. There is less of a crunch, and also less of that urgency that makes the debut compelling. Perhaps it could be summed up this way: The second album did not push Tank into that next phase of songwriting. There are a couple of songs that seem less developed than perhaps they would have liked. Releasing two full-length albums in the same year is not easy, and Tank must also have been on the road at this time trying to make a name for themselves.

Tank - Set Your Back On Fire

Tank - Power Of The Hunter

Some of the Tank lyrics veer too much into joke-band and x-rated territories, making some people dismiss them as a potty-mouth band of drunks. The first two Tank albums have typical rock and roll lyrics. It’s possible that politically-correct people will not like Tank lyrics for the same reasons that they might not like Motorhead or Venom lyrics. It is also possible that Tank realized that they had two problems: they needed to step up their songwriting and needed better lyrics. It’s not good to get dismissed as a joke or stupid band, and they must have sensed it.

They rectified on both counts with This Means War (1983), and also with the next one Honour & Blood (1984). Overall, they focus more on their war and personal lyrics, and step away from the I-think-alcohol-is-the-best-thing-ever lyrics and got further from the x-rated lyrics, too. Two improvements. The new phase of the band features two guitarists and with new personnel after the Brabbs brothers left after the recording of This Means War. How was the music different? One finds the best answer to the question with the opening song “Just Like Something from Hell.” It sounds like Tank. The drumming, the speed and the singing is all Tank, as is the sound of the riffs and guitars. Clocking in at a total of eight minutes and thirty seconds. This is the new Tank. The biggest sign of change is that this song boldly features a solo of dueling guitars going at each other. Tank has taken their game to the next level. Everything about it sounds 100 percent like Tank, but compared to the previous album, these just sound like better riffs, better solos and a more professional presentation, including better lyrics. While the majority of the album is not as ambitious as the first song, and some of the songs would fit perfectly fine on the first two albums, it is, considered as a work, Tank upping their game, and recognizing that they understand that heavy metal music in 1983 equals better guitar playing, more professionalism and a tighter sound. All these matters also apply to the next album Honour & Blood. Once again, Tank continues their transformation into a band that can hang with younger thrash bands that they influenced. The 1984 album has plenty of war-themed songs, and an interesting cover of the soul classic “Chain of Fools” by Aretha Franklin. The music itself would not lead many people to identify it as a cover because it sounds like another Tank song.

Tank - Just Like Something From Hell

Tank - The War Drags Ever On

TANK - Chain Of Fools

Aretha Franklin - Chain of Fools

In conclusion, in 1984 Tank has made some changes with guitarists Mick Tucker and Cliff Evans joining. Who would have thought that just some five years earlier this same Algy Ward was the bassist in a punk band playing a rather different type of rock music? These High Roller Records versions of the albums have extra songs that the devoted Tank collector may be interested in. As expected, they are extra songs for the die-hard collectors. The bonus songs do not make or break these albums, and the albums stand on their own just fine without the extra songs, some of which are good, and some of which are ok, and others do not add anything to the album. For example, This Means War has a bonus song called “The Man That Never Was.” It’s a good Tank song, but then there is “Whichcatchewedmycuckoo,” which is Algy showing his prankster and punk personality. This track is very underdeveloped. There is a reason why this “song” was not included on the album. It’s because it’s stupid, that’s why. Hear it one time so that you can hear for yourself that it is not a real song, and then never listen to it again. Regardless of these shenanigans, the album itself, the official album, is worthwhile for the enthusiasts of 1980s British heavy metal bands, especially the ones forgotten by time. Tank did not survive the 1980s. By the end of the decade, they were gone after another album in 1987. Nowadays, there seem to be two Tanks. One Tank is Algy doing everything himself in a solo project, and the other Tank is former members Mick Tucker and Cliff Evans calling themselves Tank without Algy in the band. However, in the 1980s Tank was a worthy band and these High Roller Records reissues are a good reminder of that.

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