The Answer – Sundowners Golden Robot Records Release Date: 17/03/23 Running Time: 43:07 Review by Paul Hutchings 8/10
It’s been a long time. Seven years on hiatus, and a day that many feared would never happen is looming large. The return of Northern Ireland’s The Answer, with their brand-new album “Sundowners”. If ever there was an example of a band who were always on the verge of greatness, it’s probably The Answer. Formed in 2000, the band were hailed as the best new band by Classic Rock magazine in 2005, not long after the release of their debut album “Rise”. A tour with AC/DC on their “Black Ice” tour in 2008/9 seemed the perfect springboard to launch the band into the stratosphere. Live they were virtually untouchable, and yet despite solid albums in “New Horizon”, 2015’s “Raise A Little Hell” and their most recent release, 2016’s “Solus”, the band hit a metaphorical wall. The hiatus has allowed them to regroup, deal with family joy and sorrow, and return to the studio in April 2022 for the first time since 2015.
Singer Corman Neeson. “We’ve been through a lot as a band, toured the world, made six great records we’re all proud of, and always done our best to make honest and timeless music that connects with rock and music fans in general. After six albums and a lot of road miles we felt we needed to step back from it all and reset. Whilst that wasn’t an easy decision, with retrospect it’s possibly the best decision we’ve ever made because after seven years away we all came back fired up and the end result is an album we’ve been waiting to make our whole lives…full of good time rock n roll and positive energy created by four brothers who quite frankly just really missed each other. We’re back and we’re ready to bring our best album ever to you!”
First impressions are good. The title track is moody, a six-minute statement that The Answer are back. Their traditional, Blues-soaked style very much in evidence. A first spin through the release is reassuring. The Answer are in form, with each of the component parts working collectively. Neeson’s Plant-esque delivery remains pleasingly smoky. His range is as good as ever. Paul Mahon’s guitar playing brings that old-time swagger whilst the rhythm section of Waters and Heatley is locked tight. Everything sounds tight, yet natural and organic. “Sundowners” isn’t an album that’s been forced.
But let’s backtrack through the album a little. ‘Sundowners’ isn’t your usual bombastic opener. It begins with an almost Western vibe before Waters’ bass lays down the beat, Mahon shimmers over the top of the building tempo and Neeson comes in with his understated tones. Mahon’s slide work is fantastic, the beat continues, and this sounds every inch a signal of confidence. It takes balls to open with a six-minute track that veers away from their more mainstream sound and The Answer have proved they have big ones. This has a magical echo and vibe.
‘Blood Brothers’ is more The Answer of old. A big stomping song, Neeson’s allowed to let go and the whole band just jumps along. It’s anthemic, with a delicious hook and switch of pace. The tempo changes direction completely on ‘California Rust’, which benefits from some thick Hammond organ which gives the song great depth. This one is going to be a cracker live, with its Deep Purple feel.
The Answer have always drawn deep on their gospel tendencies and ‘Want You to Love Me’ sees them back in that glorious style with female backing singers and more lush keyboards. ‘Oh Cherry’ brings in harmonica, a thumping, driving bass line and another earworm. It’s hard to be unimpressed by the Northern Ireland quartet on this form. ‘No Salvation’ drops back to the band’s bluesy roots, with Neeson allowed space to really use that magnificent voice to full potential. It’s a laid back, chilled song that demonstrates the versatile nature of the band. It contrasts with ‘Cold Heart’ that follows, another classically crafted song that grabs you with its energy and vibrancy.
There’s an excitement here as you listen, for these songs should fit neatly alongside staples in the live show. There’s more to come though, with the groove of ‘All Together’, the triumphant Rock ‘n’ Roll stomp of ‘Livin’ on the Line’, which is sure to tear a hole in those summer festivals, and the Zeppelin/Royal Blood edged ‘Get back on It’ all propelling the band along with style. Of course, it wouldn’t be right to have an album by The Answer which doesn’t contain at least one more gentle song and closing track ‘Always Right’ is just the one. A beautifully crafted semi-acoustic finale, it’s the perfect song to bring the album to a close.
“Sundowners” is not only a fabulous piece of work, but also a sign of hope. My heart dipped when the band went on hiatus, and it skipped a beat when I heard the band were back in the studio. It hasn’t disappointed and the forthcoming tour with Oli Brown in support will only cement the experience. It’s a huge welcome back.
‘Livin’ On The Line’ Official Video
TRACKLISTING: 01. Sundowners 02. Blood Brothers 03. California Rust 04. Want You to Love Me 05. Cherry 06. No Salvation 07. Cold Heart 08. All Together 09. Livin’ on the Line 10. Get Back on It 11. Always Right
LINE-UP: Cormack Neeson – Vocals Paul Mahon – Guitars Mickey Waters – Bass James Heatley – Drums
Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Hanoi Rocks – Oriental Beat (40th Anniversary) Svart Records Release Date: 17/03/23 Running Time: 35:48 Review by Simon Black 9/10
Imagine if you will a teenaged version of me starting to get into Hard Rock and Metal music for the first time in the late 1980’s. Although I came from the Prog and Rock end of things originally, the more raucous sounds, wild image and excessive lifestyle of the Glam movement caught my ear for a while, although you will be pleased to know I grew out of it quite quickly. By the time that brief dalliance occurred, Hanoi Rocks were already gone, unable to keep going for long after the death of drummer Razzle at the hands of Mötley Crüe’s Vince Neil driving under the influence. The fact that he got away so lightly in the eyes of the law is as much of a crime as the early death of this hugely influential act in the eyes of many.
Whether they would have kept going for much longer is debatable anyway – excess, substance abuse, a bit more excess, back-to-back albums, a little bit more excess, a gruelling touring schedule and divisive egos were already working away at their foundations after a whirlwind four years since their debut album hit the racks and the band relocated to London from Stockholm. I didn’t come across them until the fag end of the 80’s when a dear late friend, who loved the band unequivocally educated me with a worn-out VHS copy of their seminal performance at London’s Marquee Club (it’s long since deleted but you can find it on YouTube, and the soundtrack at least is available on the “All Those Wasted Years (Live)”). It’s an electric and insanely lively performance, and musically fuck all to do with Glam Metal, fusing instead British Punk sentiment and attitude with good old-fashioned Rock ‘n’ Roll, which is why people still talk about them now (Guns ‘N’ Roses debut album is a straight fusion of Hanoi Rocks and Aerosmith for a start).
I was on board from that point, despite having ditched anything else with a whiff of hairspray and eyeliner by that point. The trouble is by that then their discography had become as rare as rocking horse poo… I caught frontman Mike Monroe’s solo efforts in the early 90’s once, and a previous reunion happened a while ago, but for most of the last 40 years things have been quiet.
Cut to 2023. With another reunion on the horizon, the band have reduxed their 1982 classic, and have gone right back to the masters and remixed and remastered again from scratch. To be fair they’ve done a fab job, given the age of the source material which retains the frenetic energy, rawness and sheer unique sound of their songs whilst still sounding pretty darn rich on modern sound equipment. One in the eye for all the retro wannabees desperately trying to mix ancient and modern…
The challenge with all of Hanoi Rocks studio albums is that the relentless rate of writing and production (five studio albums in four years) meant that song writing consistency was always something of a challenge. So, although classic belters like ‘Motorvatin’ or ‘Oriental Beat’ blast things off fantastically here, a lot of the remainder of the album is a lot more stylistically experimental than the house sound they have subsequently cemented in the audience consciousness. That’s the band finding their feet true, and throwing all sorts of other influences that living in London at the turn of the 80’s would have brought in, with Monroe’s pure Punk vocal arrangements, Reggae back beats and rhythm riffs, Ska’s hybrid experimentalism (and saxophone) spliced with the more 70’s Hard Rock elements howling from Andy McCoy’s guitar all illustrates the band’s ethos of throw it all at the wall and see what sticks perfectly.
Having never actually managed to track down a copy of this record at the time, I was hearing it fresh when this re-issue landed and I am really struck by how well it has aged, regardless of the redux that’s been done in the studio. Having just last night watched Monroe playing a support slot with Black Star Riders, the same seems to apply to the frontman who does not seem to have aged much and retains the stamina of his much younger self to this day.
I’m hoping the reunion happens, but I’m also hoping they keep at it long enough to give the same treatment to their back catalogue. One down, four to go pretty please.
‘Oriental Beat (2022 remix)’Official Audio
TRACKLISTING:
01. Oriental Beat 02. Motorvatin’ 03. No Law Or Order 04. Teenangels Outsiders 05. Sweet Home Suburbia 06. MC Baby 07. Don’t Follow Me 08. Visitor 09. Lightnin’ Bar Blues 10. Devil Woman 11. Fallen Star
LINE-UP:
Michael Monroe – Vocals, Saxophone, Harmonica Andy Mccoy – Guitar, Backing Vocals Nasty Suicide – Guitars, Backing Vocals Sam Yaffa – Bass Gyp Casino – Drums
Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Hi everyone! Welcome to another EMQs interview with UK Rock band, So Long, Space Girl. Huge thanks to their Drummer, Anina Barrett, for taking part.
What is your name, what do you play and can you tell us a little bit about the history of the band?
I’m Anina Barrett and I play drums for So Long, Space Girl! We Also have Paul Coppock on bass, AJ Willis vocals / guitar, and Rob Mauro on lead guitarist. The shell of the band was formed after years of failed bands, Paul and I put out an advert for a singer to join our acoustic project, AJ responded, and we had a few practices, he showed us some of his own material and it was just TOO good to just let it pass, so we elbowed the acoustic project for the time being to focus on the works of AJ
How did you come up with your band name?
So this is a direct quote from AJ “The band name is a misquote and comes from a 10 second Simpsons gag where they throw a fake parade. Lisa is on a makeshift float with a bucket on her head under the flimsy pretext of being an astronaut. As she passes by on her float waving to the crowd, Chief Wiggum wipes a tear from his eye and says, “Welcome back, Space Girl!”
What Country / Region are you from and what is the Metal / Rock scene like there?
We are from Oxford, UK!
What is your latest release?
Our latest album is called ‘Your Heroes Are All Dead’, we also released a single from the album called “Like A Bomb”.
Who have been your greatest influences?
I would have to say bands like Placebo – Green Day – My Chemical Romance.
What first got you into music?
I don’t really think there was a catalyst for me, it was something I just always wanted to do, even as young as four I was tapping things and seeing how I can manipulate sounds.
If you could collaborate with a current band or musician who would it be?
Emily Haines from Metric, she is fantastic in all respects, songwriter musician and singer, so versatile!
If you could play any festival in the world, which would you choose and why?
Download but isn’t that the sort of thing any punk or metal band would say! (Laughs)
What’s the weirdest gift you have ever received from a fan?
I don’t think I ever have, but if someone would like to give me my own recording studio I really wouldn’t complain.
If you had one message for your fans, what would it be?
We love ya!
If you could bring one rock star back from the dead, who would it be?
Tough question, I guess John Lennon, he was just hitting his stride as his own person when he was murdered, would be interesting to see where he would have gone from there.
What do you enjoy the most about being a musician? And what do you hate?
I enjoy being in the position where I have an outlet for my creativity, when you have no band, it feels like suffocating when you are sitting on all these ideas and no way to express them. What do I hate? not enough funds to be able to record as often as I would like.
If you could change one thing about the music industry, what would it be?
It would be far easier for unsigned unknown bands to make some kind of impact, the industry is too geared toward “pretty” you know, the ones the fat cats and bigwigs can sell, the popular industry is mindless and vapid, not everyone is going to fit that ideal, and their contribution to music is no less valid so give them a damn chance!
Name one of your all-time favourite albums?
Dookie by Green day
What’s best? Vinyl, Cassettes, CD’s or Downloads?
This is going to be from an entirely biased point of view but I grew up with CD’s ,don’t get me wrong here downloads and streaming are great but there was this excitement about picking up a physical copy of your favourite bands brand new release, with all the cover artwork and the lyric book and all that good stuff, it was just far more complete as an experience (the same can be said for vinyl and cassette of course).
What’s the best gig that you have played to date?
Supporting Trash boat and Modern error at the Bully in Oxford.
If you weren’t a musician, what else would you be doing?
Astrophysicist, I have a major fascination with everything outer space, either that or meteorologist.
Which five people would you invite to a dinner party?
Vera Farmiga – Billie Joe Armstrong – Jeremy Corbyn – Edward Snowden – Pete Burns (if he was still alive) I reckon the conversation would be very interesting.
What’s next for the band?
Gigs…and lots of them, sadly there’s a complete lack of venues after the lockdown, most are now out of business which is crippling for local music…and indeed music on the whole.
What social media/website links do you use to get your music out to people?
Time for a very British question now. As an alternative to the humble sandwich, is the correct name for a round piece of bread common in the UK either a Bap, a Barm (or Barm Cake), a Batch, a Bun, a Cob, a Muffin, a Roll or a Tea Cake?
A Bap.
Thank you for your time. Is there anything else that you would like to add?
Yes, come check us out, follow our Insta for gig updates and general band-related news!
Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Trapeze – Don’t Stop The Music – Complete Recordings Vol 1 1970 -1992 Cherry Red Records Release Date: 24/02/23 Running Time: Trapeze: 40:11 Medusa: 40:15 You Are the Music … We’re Just the Band: 37:52 Live In Dallas – Part 1: 47:00 Live In Dallas – Part 2: 37:00 Welcome to the Real World: 59:05 Review by Paul Hutchings 8/10
I’m ashamed to admit that despite my huge admiration for Glenn Hughes, my knowledge of his music is patchy at best. I’m fully on board with his work with Deep Purple and The Dead Daisies, love his collaboration with Tony Iommi on 2005’s “Dopamine”, and have dipped in and out of his solo work. But there’s a whole world of work that he recorded 50 years ago with Trapeze that’d I’d never really touched upon.
That’s been put right with this comprehensive collection from Cherry Red Records which features the first three albums from Trapeze released from 1970-72 and recorded for the Threshold label. It’s complimented by two live shows, a 1973 set in Dallas and an intimate Borderline show in London in 1992.
Originally formed from two bands in the Midlands, Finders Keepers and The Montanas, the band’s first album was the self-titled “Trapeze”. It’s by far the most experimental of the collection, with plenty of psychedelic rock and progressive pop than the other records. In fact, at times, it’s hard to distinguish it as a rock album. The sound is more sixties than seventies, with Hughes taking lead vocals, bass, and trombone! Dave Holland is the other well-known name in the band, the man who later go on to spend nearly a decade in Judas Priest. The line-up also features Whitesnake guitarist Mel Galley. It’s an interesting release, with plenty of vocal harmonies and Hughes bass lines dominant.
A mere six months later the band’s second album, Medusa was released. It’s a harder edged record, with more of the blues, funk and soulful rock that the band would establish as their sound. Medusa saw the band down to a power trio, with John Jones and Terry Rowley having left after the release of Trapeze. The songs are longer, with opener ‘Black Cloud’ ticking along at 6:14 and second track ‘Jury’ over eight minutes in length. The latter is a definite early seventies sprawling rock fest, with plenty of tempo changes and extended musical workouts. Galley’s playing is exceptional. You can hear similar styles in the early Judas Priest albums, which is suggestive of the styles around at the time.
Their third album “You Are the Music … We’re Just the Band” saw Trapeze include some special guests and really move into the funk-induced groove that Hughes has always carried. There are several guests on the album, including B. J. Cole on steel guitar, plus Rod Argent on electric piano. It’s the best album of the three, with tracks like ‘Keepin’ Time’, ‘Feelin’ So Much Better Now’ and the dance fest that is ‘You Are the Music’ all grabbing the attention.
The two live albums showcase Trapeze at different stages of their career but both show that Hughes’ powerful and distinctive vocals were a major highlight of the band. The “Live in Dallas 1973” comes in two parts but both see Trapeze go full expansion with tracks drawn predominantly from the last two studio albums. There are several lengthy live workouts which see Trapeze in full flow. ‘Jury’, ‘Your Love is Alright’ and ‘Medusa’ all roll in at over ten-minutes in length, with a couple also clocking over nine-minutes.
Of course, Hughes departed Trapeze to join Deep Purple in 1973, and the band continued without him. It’s the final release here, the 1992 Borderline show that sees Hughes back with the classic line-up recording “Welcome to the Real World”. It’s a demonstration of the power that this trio could truly bring, and whilst Trapeze never really gained the heights they should have, this collection is an ideal introduction to one of the most innovative and essential outfits of the time.
TRACKLISTING: Trapeze 01. It’s Only a Dream 02. The Giant’s Dead Hoorah! 03. Over 04. Nancy Gray 05. Medley: Fairytale/Verily Verily/Fairytale 06. It’s My Life 07. Am I 08. Suicide 09. Wings 10. Another Day 11. Send Me No More Letters 12. It’s Only a Dream
Medusa 01. Black Cloud 02. Jury 03. Your Love Is Alright 04. Touch My Life 05. Seafull 06. Makes You Wanna Cry 07. Medusa
You Are the Music… We’re Just the Band 01. Keepin’ Time 02. Coast To Coast 03. What Is a Woman’s Role 04. Way Back to The Bone 05. Feelin’ So Much Better Now 06. Will Our Love End 07. Loser 08. You Are The Music
Live In Dallas – Part 1 Recorded live at the Majestic Theatre, Dallas, Texas, USA, 27th April 1973 1 Way Back To The Bone 2 You Are The Music 3 Jury 4 Seafull 5 Your Love Is Alright
Live In Dallas – Part 2 (1973) Recorded live at the Majestic Theatre, Dallas, Texas, USA, 27th April 1973 1 Medusa 2 Black Cloud 3 Keepin’ Time 4 Touch My Life
Welcome To the Real World – Live Recorded live at The Borderline, London, 16th May 1992 1 You Are The Music 2 Way Back To The Bone 3 Welcome To The Real World 4 Coast To Coast 5 Midnight Flyer 6 Homeland 7 Touch My Life 8 Your Love Is Alright 9 Black Cloud
LINE-UP: Trapeze: Glenn Hughes – vocals, bass, trombone Mel Galley – guitar, vocals Dave Holland – drums Terry Rowley – organ, piano, flute John Jones – vocals, trumpet
Medusa / You Are the Music… We’re Just the Band / Live In Dallas: Glenn Hughes – vocals, bass Mel Galley – guitar, vocals Dave Holland – drums
Welcome To the Real World – Live: Glenn Hughes – vocals, bass Mel Galley – guitar, vocals Dave Holland – drums Colin Downes – keyboards
Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Toothdrinker – We Are Not Impressed EP Self-Released Release Date: 24/02/23 Running Time: 12 minutes Review by Paul Hutchings 4/10
I’m genuinely perplexed by this EP. A mere 12 minutes and three tracks, it features three cover versions and is described as the off-beat palette cleanser before the band’s release of original material. Now, as a DIY outfit, the Cardiff collective are clearly trying to go for the wacky and the zany. After all, 2021’s debut was a Resident Evil inspired rock opera. But I haven’t heard that, so I’m taking this on face value. And I’m afraid it bounced off me like a golf ball off a trampoline.
The first track doesn’t really light the fires. A rather average version of Shania Twain’s ‘That Don’t Impress Me Much’, which I did learn was co-written by ‘Mutt’ Lange, leaves you scratching your head in confusion. It’s a strange choice, and the clunky delivery really does nothing. The Jetzons were an 80s new-wave group from Tempe, Arizona. Apparently, there’s a whole rabbit hole involving Michael Jackson to dive down if you want to look deeper into the wider aspects, including the association of keyboardist Brad Buxer. ‘Hard Times’ is rumoured to be the basis for video game Sonic 3 Ice Cap Zone, it’s a reasonable cover. There’s a Talking Heads vibe to the song, which doesn’t really go anywhere but does at least feature a bit more heft and interest than the first song.
Moving even wider afield, the final song is ‘Bloody Tears’, originally written by Kenichi Matsubara, Konami Kukeiha Club, Nazo² Project, Naoto Shibata, Ornell Jones, and Joey McCoy. Again, I’m mystified about it, since it was featured in the first place on 1987’s Konami’s “Castlevania II: Simon’s Quest” soundtrack. This version combines previous styles into one neoclassical, metallic monstrosity.
It features some shining guitar work, but is still chaos unleased from start to finish. It’s too crazy for me to take seriously, and that flippant approach is another element of quiet confusion.
Ultimately, an old man like me is unlikely to be the targeted audience for this project. I wish them luck, but it’s not one I’ll be returning to anytime soon.
TRACKLISTING: 01. That Don’t Impress Me Much 02. hard Times 03. Bloody Tears
LINE-UP: Elly Lock – Vocals on 01 Tom Kemworth – Lead Guitar on 01 Sam Khaneka – Guitar, Vocals, everything else.
Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Hi everyone! Welcome to another EMQs interview, this time with Greek Classic Rock Solo Artist, Stelios Ventas. Huge thanks to him for taking part.
What is your name, what do you play and can you tell us a little bit about the history of the band?
Hello! I’m Stelios Ventas and I‘ve just released my album “Badass”. A classic rock album with ten tracks. After playing in various rock bands and gigging around Athens, Greece, I decided to write and release my own music as a solo artist. My first attempt took place in 2016 with my debut “Rock ‘n’ Love”. In 2018, a five track EP with the title “Faded Flower”, came out and before a while I managed to release my last project!
What Country / Region are you from and what is the Metal / Rock scene like there?
I ‘m from Greece and I live in Athens. There are a lot of great Greek bands, especially in Stoner Rock like Planet of Zeus and 1000mods and in Heavy Metal like Firewind and Rotting Christ. There are actually a lot of considerable bands and musicians around here.
Who have been your greatest influences?
The British classic Rock and Heavy Metal bands like Deep purple, Led Zeppelin, Pink Floyd, Black Sabbath, Saxon and the American Hard Rock bands from Guns ‘N’ Roses to Metallica. I also like some other European bands and artists, , Rory Gallagher, Gary Moore, Thin Lizzy, Scorpions to name a few, and of course AC/DC and Rose Tattoo from Australia and many more.
What first got you into music?
I was trying to imitate my favourite guitar heroes. So, around 1990, I bought an electric guitar and soon I was a member of a Rock-Metal band in the style of Black Sabbath. Later I participated as a guitar player and sometimes as a singer in a lot of different bands of many music genres.
If you could collaborate with a current band or musician who would it be?
I would like to jam some songs with Michael Schenker because he seems to be a very cool guy and a great guitarist and play some Rainbow songs with Ritchie Blackmore! Generally, I‘m open to collaborations.
If you could play any festival in the world, which would you choose and why?
The bigger the festival, the better for me. I‘d love to perform my music in front of a very big audience. My dream is to play at Wacken Open Air Festival.
What’s the weirdest gift you have ever received from a fan?
If I tell you, my wife is gonna kill me! Ha ha… I really enjoy the communication with fans before and after a show.
If you had one message for your fans, what would it be?
To support their favourite artist! What else?
If you could bring one rock star back from the dead, who would it be?
Jimmy Hendrix
What do you enjoy the most about being a musician? And what do you hate?
I ‘m enjoying everything about music. I sometimes get fed up of practicing.
If you could change one thing about the music industry, what would it be?
To make people support their favourite bands and artist by buying their music. The production of music is an expensive sport. Many talented artists don’t product new music for financial reasons.
Name one of your all-time favourite albums?
Pink Floyd, “The Wall”.
What’s best? Vinyl, Cassettes, CD’s or Downloads?
All of these are cool but I‘m more fond of the analogue sound. You cannot listen to a good production from a tablet or a cell phone. You need a hi-fi and a good pair of speakers.
What’s the best gig that you have played to date?
Every gig is a different experience, but I remember one with a very crowded, friendly audience and me without anxiousness. Before the break I left my guitar at the drummer’s and I played the drums for a couple of songs.
If you weren’t a musician, what else would you be doing?
I’m a firefighter as well and I love this job!
Which five people would you invite to a dinner party?
Why only five? I would prefer a party with all of my friends and their company with rock music and alcohol.
What’s next for the band?
Live gigs, of course!
What Social Media / Website links do you use to get your music out to people?
Time for a very British question now. As an alternative to the humble sandwich, is the correct name for a round piece of bread common in the UK either a Bap, a Barm (or Barm Cake), a Batch, a Bun, a Cob, a Muffin, a Roll or a Tea Cake?
I don’t know, I ‘m not a chef; but I would like to try one.
Thank you for your time. Is there anything else that you would like to add?
Look after yourselves and listen to the music!
Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Small Town Saviours – Small Town Saviours Self-Released Release Date: 27/01/23 Running Time: 46:44 Review by Simon Black 9/10
Rock ‘n’ Roll never quite goes away, does it?
Every few years though, this genre delivers up the goods with a rising new star that would have worked out a dream at pretty much any point in the last fifty years. Berkshire doesn’t jump out as the sort of place that would rock the joint, but them’s the licks. On the subject of licks, Small Town Saviours have a fucking bucket load of those ready to roll…
The band have been garnering stonking results live for a while, grinding the graveyard support slots for the likes of Warrior Soul (because some poor bastard has to), but their debut is only with us now, although definitely worth the wait. A rich, fat production job from Wildhearts knob twiddler Dave Draper keeps the energy turned up and allows the attitude to smack you in the face whilst still sounding raw and fresh. This is a refreshing beast of an album indeed.
The tracks are the kind of high-octane stuff that don’t outstay their welcome in terms of run time, but the band somehow manage to cram in a full thirteen tracks into forty-six minutes without this feeling padded or overwrought. This sort of stuff is normally struggling to fill half an hour without feeling padded, but by bouncing around the styles a little whilst nodding to all their influences (The Ramones, The Wildhearts, The Clash and with a bit of fifties Rockabilly thrown in for good measure) this simply doesn’t have a chance to get dull. Even when things go all Kiss crossed with Avenged Sevenfold with ‘Translation Invariant’ (the bastard great grandson of ‘Heaven’s On Fire’ caught shagging ‘Hail To The King’) it still somehow works, because there’s a subtle vein of humour and tongue in someone else’s cheek to help carry it all off with aplomb.
This four piece manage that well rounded art of guitar weaving perfectly, making it impossible to tell which of the two players is leading, but with a rhythm section behind that as tight as a gnat’s arse keeping things lively, varied and fun. More please chaps…
‘Moving On’ Official Video
TRACKLISTING: 01. No Rats, No Snakes, No Second Takes, 02. E.N.E.M.Y 03. The Drinking Song 04. Cry 05. London Ain’t Calling 06. Home Town Hero 07. Translation Invariant 08. It’s All Going To Hell 09. Ride It Out 10. Drama Queens 11. Boy Who Cried Wolf 12. Wild West (Berkshire) 13. Moving On
LINE-UP: Lance Skybaby – Guitar / Lead Vocals T. Bone – Bass / Backing Vocals Skinny Pete – Guitar / Backing Vocals Carl D – Drums / Backing Vocals.
Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Hi everyone! Welcome to another EMQs interview, this time with USA Rock band, The Bind. Huge thanks to their Guitarist and Vocalist, Ryan, for taking part.
What is your name, what do you play and can you tell us a little bit about the history of the band?
Hi, I am Ryan. Guitar and half the vocals for the band the Bind. We are a hard-working band from the little mill city of Taunton, Massachusetts. Conceived out of a high school five-piece, The Bind was the rhythm section of a working band. Playing covers and originals back when we still had a local scene.
How did you come up with your band name?
I opened a book in my parent’s basement, where we practiced at the time. I just randomly pointed and landed on The Bind in the middle of a sentence. So, it actually did work at least once!
What Country / Region are you from and what is the Metal / Rock scene like there?
We are from south of Boston, Massachusetts. Though there is a thriving music nightlife, there are almost no homes for original bands and music. As a rock band we are driving 30-45 minutes to play a set, unless we book a room ourselves and do that whole bag. There is a better scene for metal in our area. The majority of my musician friends would be “metal”.
What is your latest release?
Our very latest and so far, greatest is Swells through SODEH records. An upbeat quick moving single. Though I’ll toss a nod to a song called Treachery from our prior release.
Who has been your greatest influences?
Among the top would be, the Police, Hendrix, Phish, Pink Floyd and James Gang to name just a handful.
What first got you into music?
Personally, I grew up with music all around me and a few instruments scattered about. Really though, it is the feeling of losing yourself inside of something. Something so intangible but everyone knows the feeling somehow. When you realize music can do that over and over, how can someone resist.
If you could collaborate with a current band or musician who would it be?
I think right now, if we could be someone’s backing band it would do us wonders as an outfit. A Jack White all the way to Josh Homme.
If you could play any festival in the world, which would you choose and why?
Do they still have the PinkPop festival? So many of my favourite bands have played that one.
What’s the weirdest gift you have ever received from a fan?
A happy rock or a glass drop bead with a smile painted on it.
If you had one message for your fans, what would it be?
If you like it, you like it. Don’t be a music prude.
If you could bring one rock star back from the dead, who would it be?
Zombie Elvis would kick ass and be scary as hell on earth……because………hell on earth would be zombies, right?
What do you enjoy the most about being a musician? And what do you hate?
I spend a lot of money, I don’t make a lot of money… but if I hated it, I wouldn’t still be doing it. So, I guess I hate Tribute acts.
If you could change one thing about the music industry, what would it be?
The current gatekeepers.
Name one of your all-time favourite albums?
Queens Of The Stone-Age.
What’s best? Vinyl, Cassettes, CD’s or Downloads?
I’m going to check the nerd in me at the door. Vinyl is a romantic ritual; cassettes were for four-track recorders and a pain in the ass. Having grown up with CD’s and transitioned to downloads I can tell you this. Not having the tangible art and physical thing to hold… that’s where the experience changed the most. It’s like Cereal without a cereal box to read, misquoting someone I can’t remember.
What’s the best gig that you have played to date?
Our first time back out as a band after a year’s long break was in a nice new venue, playing only original music with another band to around 150 people. Reminded us we should keep on.
If you weren’t a musician, what else would you be doing?
Probably be living my dream at arm’s length either as a touring sound engineer or instrument tech.
Which five people would you invite to a dinner party?
Ken Kesey, Julia Child, Greg from How2Drink, Rex and Daniel from Whiskey Tribe.
What’s next for the band?
Finishing our current recording project, then hammering out a three-hour set… a three-hour set.
What Social Media / Website links do you use to get your music out to people?
Time for a very British question now. As an alternative to the humble sandwich, is the correct name for a round piece of bread common in the UK either a Bap, a Barm (or Barm Cake), a Batch, a Bun a Cob, a Muffin, a Roll or a Tea Cake?
Gah!? … A … Muffin …?
Thank you for your time. Is there anything else that you would like to add?
We would like to thank you for your time, it is important to us. If you would like to air any grievances or log a formal complaint you can email or call your local radio station and tell them Fuck The Bind.
Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
I’ve been doing top 20’s for years for no other reason than that I’m a nerd, so it feels good to make an album of the year list that was actually solicited for once! Although the convention of Ever Metal tradition is to do a top 10, I found that too painful and ended up begging Beth for a full 20. She yielded to my pleading partially to shut me up and partially because ultimately these lists don’t actually matter outside the context of a bit of fun and chance to reflect on a bunch of great releases. One non-negotiable was that I had to limit my selections to Rock and Metal, so if you want my all genres list, you’ll have to hit me up on the socials or slide into my DM’s you creep! With that being said here are 20 things that I’ve listened to and loved this year-
20. Avantasia- A Paranormal Evening with The Moonflower Society
So here’s the deal- Avantasia are incredibly silly and unfashionable but I kind of love them. I’m a very late convert to Tobias Sammet’s Power Metal Opera format, having only really got into them on 2019’s fantastic “Moonglow”, but their bombastic brand of Steinman on steroids composition and the revolving cast of Metal Royalty guest singers makes for an irresistible combo. Plus, Floor Jansen’s on two songs which never hurts. ‘Misplaced Amongst the Angels’ is pretty much solely responsible for this album’s presence on the list.
19. Avatarium – Death, Where is Your Sting?
One of my favourite bands of the last decade is still kicking out albums of the highest quality, which gives me a warm fuzzy feeling inside. Getting this one in advance and having the honour and pleasure of writing the review is one of the many reasons I’ve loved writing for Ever Metal this year. A lush combination of crushing Doom and Psychedelic Rock with a heavy dose of Pop hooks, this one deserves all the plaudits in the world.
18. Parkway Drive – Darker Still
One of the finest examples of a band shifting their sound to fit bigger venues while still progressing and experimenting. Nobody in 2022 does a massive arena-crushing hook like Parkway and to see them continue to build on the Nick Cave-like atmospherics of the previous album at the same time is inspiring and heart-warming to me. While every other Metalcore band is ripping off Bring Me The Horizon to boost their profile, Parkway are combining NWOBHM with Tom Waites and topping festival bills, you love to see it!
17. Mantar – Pain Is Forever and This Is The End
Greasy Black and Roll stuffed to the gills with shrill-throated anthems and evil grooves. This was my feel good summer album and a nice throw back to my younger days spinning Satyricon’s ass-shaking necro masterpiece “Now Diabolical” on repeat. If you miss Darkthrone’s Biker Boogie phase, then these guys will see you right.
16. Ashes of Ashes – Traces
The moment I saw the words ‘Skaldic Metal’ on the release spreadsheet I knew this would be for me. The perfect mix of rustic authenticity and clinical songwriting precision, “Traces” is an epic journey distilled into a lean 40-minute runtime that grips you from the regal opening to the gorgeous melancholy of ‘To Those Long Forgotten’, Folk and Epic Heavy Metal done to the highest standard.
15. Blind Guardian – The God Machine
For someone who’s supposed to hate Power Metal isn’t it strange that this is the second entry from that genre in my 20 favourite albums of the literally hundreds I’ve listened to this year? It’s almost as if most of the genre is derivative, cringey bollocks and I’ve been basing my opinion on the quality of the music all along, eh? Blind Guardian are one of the greatest Metal bands to ever string up and after such a long career that was increasingly tipping towards the Symphonic side, it’s an absolute thrill to hear them sounding so fired up and youthful this late in the game. This is a taut, fat-free beast that retains the epic feel of the band’s latter-day work while injecting the core sound with the pace and aggression of their earlier Speed Metal days. Hansi sounds better than ever and ‘Secrets of The American Gods’ is already a classic in a back catalogue bursting with all-time greats. They’re basically like latter day Iron Maiden if all the praise was actually accurate and deserved.
14. PUP – THE UNRAVELLING OF PUPTHEBAND
Another absolute worldy from a band that never miss. Sarcastic, abrasive Power Pop with a serrated Punk edge, Pup’s latest album is bursting with huge melodic hooks and played with pissed off vigour. It’s funny, it’s sad and it puts 90% of Rock song-writing to shame. The delightfully bonkers ‘Robot Writes A Love Song’ and the anthemic literal guitar worship of ‘Matilda’ are yet more singalong fodder for one of the strongest live set lists in any genre. The snarky piano interludes coupled with the lyrical angle of faux artistic maturity are a particular favourite of mine, PUP are incredibly meta without appearing insincere which is an unbelievably difficult trick to pull off.
13. Evergrey – A Heartless Portrait
Like Blind Guardian, Evergrey have also produced a late career triumph. Despite this being their thirteenth album and only a year removed from their last one, Tom and the boys have produced a fiery, modern-sounding record with a classic twist. The solos come thick and fast, the riffs are thundering and Tom S. England’s soulful, weathered pipes are as good as they’ve ever been. The whole record flies by in an elegant flurry of head banging and heartache.
12. Final Light – Final Light
If you’ve skipped to the top of the list you’ll know that I rate Johannes Person’s main gig incredibly highly, so when I heard he was collaborating with Synth-Wave maverick Perturbator my little brain began to spin with the exciting possibilities this union could bring. I knew they wouldn’t let me down and this terrifying electronic hellscape spread over 6 sprawling compositions is simply stunning. Like raw human suffering colliding with cold machinery, this is like a deep dive into a horrifyingly dystopian future.
11. Sumerlands – Dreamkiller
This one should probably be higher up but I’m not going through the mental gymnastics required to reshuffle the order, everything on here’s great so let’s not quibble about minor ranking issues! Not satisfied with producing 80% of the good Metal™️ around at the moment and kick-starting the New Wave of Traditional Heavy Metal with Eternal Champion, Arthur Rizk also plays in the more melodic Classic Metal Throwback outfit Sumerlands. Their second album is a scintillating burst of soaring hooks, classic riffs and exhilarating solos. Think late 80’s Priest combined with Dokken and you’re on the right track, but rather than being pure nostalgia this is a lesson in masterful song-writing with gigantic Pop hooks for days.
10. Blood Command – Praise Armageddonism
Blood Command are 3 for 3 on both lead singers and awesome albums. The addition of former Pagan singer Nikki Brumen appears to be the final piece of the puzzle for the Bergen Deathpop squad. There are so many danceable riffs, slinky electro hooks and cool vocal one-liners that I can’t get out of my head. ‘A Villain’s Monologue’ and ‘Questionable Taste In Friends’ are top tier bangers that I’d kill to see live, the former single-handedly responsible for me reintroducing the word ‘sucker’ to my regular lexicon.
9. GGGOLDDD – This Shame Should Not Be Mine
I was absolutely over the moon that we got this one through for review, definitely more Metal-adjacent than actually Metal, but arguably the heaviest album of the year. Dripping with pain, trauma and pulsing electronics, this is an almost voyeuristic excursion into the darkest thoughts of Milena Eva as she opens the wounds of the horrific abuse she suffered in her teens. The fact that this is both relentlessly raw yet incredibly listenable and meticulously crafted is unfathomably impressive.
8. Rolo Tomassi – Where Myth Becomes Memory
I actually reviewed this one off my own back even though we didn’t get sent it! That should tell you how much I love the shit out of this band and this stunning conclusion to the cathartic trilogy that began with 2015’s “Grievances”. Slightly more optimistic and euphoric than its predecessor, the staggeringly brilliant but bleak “Time Will Die and Love Will Bury It”, this is a record capable of shimmering fragile beauty and caustic metallic venom, often in the same song. From their frenetic Mathcore origins Rolo Tomassi have evolved into a unique and fearless outfit completely in their own lane.
7. Zeal and Ardor – Zeal Ardor
One of the most fearlessly creative projects of the last decade produces their finest back to front album. The core element of chain gang Blues and Black Metal is still present, but Zeal and Ardor have now fully morphed into their own beast. Soulful, vicious and downright creepy in places this is an album that throws so many different influences and styles into the pot and somehow comes out with perfectly formed, cohesive songs. On their self-titled third album the band are able to have their cake and eat it with an album I could easily place at the very top of this list.
6. Cave In – Heavy Pendulum
A stunning return from one of the most criminally underrated bands in heavy music history, this is a sprawling masterpiece that spans every aspect of this incredible band’s expansive sonic palette. From the absolute riff storm of ‘Floating Skulls’, to the acoustic Gospel of ‘Reckoning’ to the gorgeous Prog opus ‘Wavering Angel’ this is a record we don’t deserve from a band we should have shown more love to before they disbanded. Thank god they gave us a second chance to give them their flowers.
5. Venom Prison – Erebos
A lot of you would probably expect this to be my number 1 if you heard my constant declarations of love for this album earlier in the year. It’s one of only 2 perfect scores I’ve ever given, and it deserves to sit atop the list, as does everything from this point on, but you have to go with your gut in these situations. I still love this album to pieces and I still play it with alarming regularity, noticing cool new nuances every time I put it on. For a band on the rise to take so many new risks is admirable, to pull every single one of them off is miraculous. This is Death Metal with a heart and a soul, yet it will still break your stupid face!
4. Ithaca – They Fear Us
There’s so much to love about this incredible sophomore album. The angular 2000’s Hardcore worship of the band’s debut is still there, but there are glorious guitar solos, savage beatdowns, massive Metal riffs and full on Pop hooks. This is a band being completely unabashedly themselves without giving a fuck about trends, genre restrictions or what anyone thinks. The mad swing between spin-kick-inducing Converge sections that I’ve literally hurt myself listening to, and tear-jerking melancholic pop like the staggering closer ‘Hold, Be Held’ is pretty much everything I want from an album in 2022. I’d call this the best Hardcore album of the year, but Ithaca have become so much more than that.
3. Cult Of Luna – The Long Road North
In a career of towering monuments of Post-Metal majesty, this record may stand tallest amongst the band’s work. Expertly perfecting CoL’s core sound while pushing further sonic boundaries, this is an album that truly engulfs you and pulls you into a cold shadow realm halfway between the natural and the supernatural. There’s nobody like Cult of Luna, there are many imitators but none of them can match the cinematic, transcendental power they conjure when they hit their gargantuan peak. Bringing in composer Colin Stetson for two songs also proved to be a master stroke and one of the most successful collaborations in recent memory.
2. A.A. Williams – As The Moon Rests
This one crept up on me late, but its impact has been profound. I loved William’s 2020 debut album and its merging of Classical, Dark Folk and Post-Metal but I wasn’t sure how she could have improved on this formula for the follow up. The answer is more variety, longer compositions and a much larger emphasis on guitar. Her vocals are more powerful, the crescendos are even more heartbreakingly euphoric and the string ensemble bolsters the sonic canvas to new levels of tragic drama. ‘Pristine’ in particular is pure wounded agony on an epic scale and closing with the title track’s riff-heavy Tool-ism hints at a potentially exciting new direction for album number three.
1.Brutus – Unison Life
To have a truly original sound is one of the rarest qualities a band can possess in the modern landscape. The amount of perfunctory but tediously derivative music I’ve been exposed to this year has been one of the biggest drawbacks of reviewing, and to watch other writers and people in the scene heap praise on tedious recycled banality has been unbearably depressing. Thank fuck for Brutus, then, a band whose idiosyncratic sonic brew of Post-Hardcore, Shoegaze and Alt-Rock (for want of a far better description) is identifiable within seconds of hearing.
Like A.A. Williams, Brutus follow up an incredibly successful album not necessarily by reimagining their sound, but by magnifying all the best aspects of it. This is Brutus with more Brutus. The most Brutusy sound imaginable. None More Brutus. The riffs are nastier, the shimmering guitar melodies more pronounced and the always excellent drums sound thunderous and intricate in equal measure. Stefanie Mannaerts is a powerhouse on the mic as well as the kit, singing with commanding fiery defiance and endearing fragility when the moment calls for it as her voice cracks with emotion. Plus, there’s the songs.
The songs are so spectacularly energetic, well-constructed and life-affirmingly joyous that my head has been awash with cool vocal hooks and radiant guitar melodies from the moment I first hit play. ‘Liar’, ‘Victoria’ and ‘Dreamlife’ are as good as Rock music gets. In fact every song here is an absolute worldy and the PERFECT 42 minute runtime flies by in the blink of an eye and leaves me reaching for the play button again and again. After a rough few months, this album came at just the right time and will always mark a turning point for me mentally when I look back, where life started to look full of hope and excitement again. Because that’s what great Rock music can do for you and make no mistake, this is GREAT Rock Music.
Disclaimer: This review is solely the property of Rory Bentley and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Hi everyone! Welcome to another EMQs interview, this time with Canadian Rockers, Mad Symphony. Huge thanks to their Lead Vocalist, Kevin Wright, for taking part.
What is your name, what do you play and can you tell us a little bit about the history of the band?
Kevin Wright – Lead Singer. (from our bio) Mad Symphony is the collaboration of accomplished and professional Vancouver-based musicians who collectively have many years of experience writing, recording, and touring internationally with various acts. Formed from the ashes of Seattle grunge-metal band Soulbender (which also featured Michael Wilton of Queensrÿche fame on guitar), lifelong friends and collaborators Dave Groves (guitar) and Wes Hallam (drums) joined up with multi-instrumentalist / producer / engineer Ted Tosoff (Blue Voodoo) in 2018 to begin writing for a new, as-yet-unnamed project. Ted knew of powerhouse vocalist Kevin Wright (The Wilds, TNT (Bon Scott Tribute), whose raunchy and melodic vocal stylings a-la Bon Scott and Robert Plant, fit the new songs perfectly; Kevin was quickly recruited into the fold. To round out the line-up, the formative members didn’t have to look far. Dave and Wes had both played with keyboardist Mike Russell (Sweeney Todd) and bassist Amrit Prasad (Assault), but not always in the same bands or at the same time. With the addition of Mike on keys and Amrit on bass Mad Symphony immediately began recording their debut album and rehearsing tirelessly.
How did you come up with your band name?
We went through hundreds of names… some stupid and some OK… but Mad Symphony finally came. Think of the world and all its many different moving parts, like a symphony… only stark raving MAD!
What Country / Region are you from and what is the Metal / Rock scene like there?
West Coast of Canada… Vancouver, BC. There are a lot of great bands here but as years go by… live music venues continue to fade away. Not like it was some years ago.
What is your latest release?(Album, EP, Single, Video)
Blood 2 Dust – EP
Who have been your greatest influences?
Myself? Top 3 singers are Klaus Meine, Bon Scott, Ronnie James Dio… and a big shout out to the late, great Dan McCafferty of Nazareth. Ozzy was pretty big for me too growing up.
What first got you into music?
Violin in grade 2. Sax in grade 5. And my little red record player with a mic attached so I could sing along with records.
If you could collaborate with a current band or musician who would it be?
I would love to work with Slash.
If you could play any festival in the world, which would you choose and why?
Anything at Castle Donnington… such an amazing venue and crowd.
What’s the weirdest gift you have ever received from a fan?
Shots on stage! Oh wait… that’s not that weird.
If you had one message for your fans, what would it be?
Don’t poop yer pants!
If you could bring one rock star back from the dead, who would it be?
Bon Scott.
What do you enjoy the most about being a musician? And what do you hate?
Getting to hit the stage and really get the crowd kickin’ ass. Can’t say there is much to hate, although sometimes you put in a shit ton of work with nothing much to show for it… but you keep going.
If you could change one thing about the music industry, what would it be?
Get rid of the talentless idiots who make millions and bring back kick ass bands like it used to be.
Name one of your all-time favourite albums?
Scorpions – “Animal Magnetism”.
What’s best? Vinyl, Cassettes, CD’s or Downloads?
Vinyl… but I love CD’s for the car.
What’s the best gig that you have played to date?
All of them
If you weren’t a musician, what else would you be doing?
A musician’s helper?
Which five people would you invite to a dinner party?
Johnny Depp and 4 of the hottest chicks he knows. Might be a laugh hey?
What’s next for the band?
Keep the muscle flexed coming out of pandemic time. Good to be playing live. Keep writing. We are hoping to find a really great, connected agent / label who loves, and sees the potential of our music and find some great touring opportunities.
What Social Media / Website links do you use to get your music out to people?
Time for a very British question now. As an alternative to the humble sandwich, is the correct name for a round piece of bread common in the UK either a Bap, a Barm (or Barm Cake), a Batch, a Bun a Cob, a Muffin, a Roll or a Tea Cake?
We all know it’s a BAP! Like the sound it would make if someone threw it directly at your head.
Thank you for your time. Is there anything else that you would like to add?
We just want to thank all the radio stations and magazine reviewers around the world for all the support we received after our first EP. Mad Symphony came out of the gates just before Covid, so it was a huge challenge to do anything. Let’s keep rock and roll alive!
Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
