A masked child walks through a field of corn

Artwork courtesy of Ben Ross

Words by Anselm Anderson

Folk act Aaron Ross and The Peach Leaves have released their debut single "Catch A Glimpse" today (April 30th), taken from the forthcoming album Swan Songs: Volume 1 via Dowd Records The album features legendary native singer Aaron Ross and sees Nevada City band Farrow and The Peach Leaves covering tracks from his vast Catalogue.

"Catch A Glimpse" is the first from this eagerly-anticipated collection, produced by drummer Zach Peach. The beautifully arranged folk song is steeped full of nostalgic charm and sweet melodies. The Rolling Stones-influenced tender vocals are matched by a strong rhythm section. The simple guitar patterns are relaxed, against a warm and touching ambiance.

Aaron Ross has been a mainstay in the industry since his time with math rock band Hella, with a constant penchant for innovation since releasing The Hallelujah Side in 2003.

Lead singer Graham Farrow Knibb says of  Ross,"“If you’re from Nevada City, you know who Aaron Ross is,”“You were fifteen and there at the Herb Shop on Pine, or after it burned down it was the Love Shack, sitting cross-legged and there was this sort of unassuming guy up there singing the blues in a mindblowing way. It’s still mindblowing. If you’re from here you can relate to that.”

"Catch A Glimpse" is available now via all major streaming platforms


Aaron Ross And Farrow and The Peach Leaves Lineup;

Aaron Ross-vocals and guitar

Graham Farrow Knibb- vocals and lead guitar

Zach Peach- drums

Leif Bonfils- bass

Justin Peach- guitars

Keith Knibb- guitars

Hunter Jones- keyboard and pedal steel








snaggletooth outside the berlin wall

Words by Anselm Anderson

The legendary hellraisers Motorhead recently released the live album Louder Than Noise-Live In Berlin via Silver Lining Music on April 23rd. The performance was recorded on December 5th, 2012 in front of 12,000 fans at the Berlin Velodrome as part of the Kings of The Road tour. The Lineup for this special occasion featured the longest reigning in the band's history with the late "Lemmy" Kilmister, guitarist Phil Campbell and drummer Mikkey Dee. The concert was produced by the much-revered producer Herwig Meyszner ( Exodus, Kreator, Saxon).

The album delivers twelve tracks of raucous rock 'n' roll, destined to blow your speakers out. The bone-rattling "I Know How to Die" opens proceedings with Lemmy declaring "WE ARE MOTORHEAD" to thunderous applause. The anthemic "Damage Case" continues festivities, alongside the rousing "Over The Top". Motorhead always knew how to play good old-fashioned rock with a raw edge. This is captured profoundly, as you can hear how it resonates with the audience.  Lemmy plays the affable frontman full of charm and wit, interacting with fans and sharing banter with the band.

Other Highlights include an awe-inspiring guitar solo by Mr.Campbell on "String Theory". The rumbling basslines from Lemmy on "Rock It", and a drum solo by Mikkey Dee on " The One To Play The Blues", felt like it would never end. The album is completed by the appearance of "Some Friends" Anthrax on the menacing "Overkill".

Overall, Louder Than Noise... is a self-declared statement from a band that has been doing it for over 40 years. Motorhead produced another reminder of how good they were. So prepare your stereos for another bruising ...and turn it up loud!

Track Listing:

I Know How to Die - Live in Berlin 2012
Damage Case - Live in Berlin 2012
Stay Clean - Live in Berlin 2012
Metropolis - Live in Berlin 2012
Over the Top - Live in Berlin 2012
Doctor Rock - Live in Berlin 2012
String Theory - Live in Berlin 2012
The Chase Is Better Than the Catch - Live in Berlin 2012
Rock It - Live in Berlin 2012
You Better Run - Live in Berlin 2012
The One to Sing the Blues - Live in Berlin 2012
Going to Brazil - Live in Berlin 2012
Killed by Death - Live in Berlin 2012
Ace of Spades - Live in Berlin 2012
Overkill - Live in Berlin 2012


Lemmy Kilmister – Vocals/Bass
Phil Campbell – Guitars
Mikkey Dee – Drums

Follow Motörhead on:


"Over The Top"



Berwick-based rock act Not Now Norman released their latest single "Shut Your Mouth", this past Friday (April 9th). The single is the follow-up to the two hugely successful singles "Little Cheryl" and "Little Frankenstein".

"Shut Your Mouth" explores the topic of Domestic Abuse, a subject examined in the recent Geo Moon collaboration "Run Boy". The song's theme is a guitar-driven rocker that drives home to the listener how much it means to lead singer Taylor-Grace, who delivers another lung-busting performance. 
Taylor has strong support in a band of talented musicians. The opening riff is mean and tenacious like a certain Thin Lizzy. This builds in tension, as unrestrained vocals repel against intense guitars and drumming that climaxes with a tantalizing solo. Not Now Norman has the tendency to write powerful songs about subject matters, such as this, through simple storytelling and musicianship. This makes each song feel relatable and important for whoever it may affect.

Discussing the meaning behind the song, Taylor reveals: “The track is about domestic abuse, the words are everything I wanted to say when my abuser was berating me. The build-up is meant to get people to start shouting ‘shut your mouth’ with the track when the final chorus hits. It’s meant to reignite the fire that victims feel has died when they escape domestic abuse and boost confidence.

Words by Anselm Anderson

For further reading on the band, check out these previous reviews;






Disc 1- Lamb Of God plus two bonus tracks

 NWOAHM titans Lamb Of God recently re-released last year's critically acclaimed self-titled album last month via Epic Records.

The three-disc deluxe edition features the original album, plus two bonus tracks, including a live stream performance of the full album recorded in September. The live CD + DVD features four additional tracks, including the new track "The Death Of Us" that appears in the latest installment of the Bill and Ted franchise.

Randy Blythe growls his way through the twelve- politically charged tracks with the same poise and venom expected from the veteran singer. I shall take on the unenviable task of exploring both CDs in their entirety.

The Gothic-inspired "Memento Mori" begins proceedings like a foreshadowing of the ferocity to come. Next up is the equally rousing "Checkmate" sees Blythe vent over "The American Scream" The track starts with a bluesy riff that erupts into double-bass beats and blistering guitar riffage from Mark Morton that has become a signature for the group.

 Blythe has improved his tonal palette to a controlled method that amplifies rage and discomfort with American politics. This can be heard on the contemptuous "Ressurection man", as he declares "I was born in a cemetery". Blythe howls like a wounded wolf over skull-battering grooves and intense drumming. The vocalist is joined on two tracks by some iconic guests. "Poison Dream" features Hatebreed frontman Jamie Jasta, like two jackals playing a game of chess. "Routes" is a fast-paced metal track that features Chuck Billy of Testament fame providing the melodic counterpoint to Mr. Blythe.

And finally, the bonus tracks!. "Ghost-Shaped People" is full-throttle bile at the current government, as he asks " What will you believe/who will you betray? "Hyperthermic_accelerate" completes this with headache-effectuate riffage and drumming. Overall, This may be one of the better albums Lamb of God will make, and the additional tracks are befitted of this. WORDS BY ANSELM ANDERSON.

Memento Mori
Reality Bath
New Colossal Hate
Resurrection Man
Poison Dream feat. Jamey Jasta
Routes feat. Chuck Billy
Bloodshot Eyes
On The Hook
Ghost Shaped People
"Ghost Shaped People"
"Resurrection Man"

Disc 2- Livestream, September 2020.

The Live Cd is the first of two successful recordings the band made in September last year during the pandemic. They decided to perform the full album with additional tracks. I have decided to review those songs. "Contractor" differs from what you may hear on Lamb Of God", as Blythe proudly announces at the beginning " This is a punk rock song".  The frenetic pace and head-inducing blast beats explode into a catastrophic opener before "Ruins" arrives. 

Blythe resumes his earlier harsh vocals in an illustrious career over jugular chugging. The Bill And Ted dedicated "The Death Of Us" is another guttural piledriver steeped with neck-breaking riffs and blistering drumming that leads to an exhilarating solo. The live material reveals a softly spoken frontman with a wry sense of humour, and raw energy to connect with listeners at home. This can be heard on  "512", where Blythe informs us this is the final track "to feel free to destroy your living room". The dark undertones combine with melodic guitar lines and introspective lyrics to complete an interesting release from the Lambs of God.

Overall, This is an album for the diehard fans, who can't get enough of the band. Lamb of God returns with a battering ram to the stomach with well-written music, and lyrics still relevant to the citizens of the States, and beyond.  Words by Anselm Anderson

Lamb Of God is now available via all major streaming platforms.

Disc 2

Lamb Of God - Live From Richmond, VA

Memento Mori (Live)
Checkmate (Live)
Gears (Live)
Reality Bath (Live)
New Colossal Hate (Live)
Resurrection Man (Live)
Poison Dream (Live)
Routes (Live)
Bloodshot Eyes (Live)
On The Hook (Live)
Contractor (Live)
Ruin (Live)
512 (live)  

"The Death Of Us"

"Memento Mori (Live)"


D. Randall Blythe – Vocals

Mark Morton – Guitar

Willie Adler – Guitar

John Campbell – Bass

Art Cruz – Drums

LAMB OF GOD online:







Award-Winning R'N'B singer/songwriter Laura Cheadle recently released a new single "Everybody Say", from her forthcoming album Shine This Lifetime. The upbeat anthem was written by herself and James Cheadle, who also mixed, produced, and recorded the track at Swedesboro Music Studio in Swedesboro, NJ.

Laura Cheadle is the lead singer of The Laura Cheadle Family Band. She has performed across the states, as well as featured heavily on primetime TV. Cheadle has opened for some of the biggest names in the business, such as The Jonas Brothers and John Oates of the Legendary Hall and Oates. The singer's accomplishments don't stop there, as she has recently appeared at NAMM 2020, as well as bestowed the honor with the Elephant Indie Music "Musician Of The Decade Award".

"Everybody Say" is a happy-go-lucky slice of pop, gospel, and soul that will leave a skip in your beat. The opening cries of harmonies are accompanied by heartening beats. Cheadle portrays the image of a cheerful woman in tune with string arrangements. The vocals are warm and inviting, as the chorus reels the listener in. The empowering gospel elements certainly underlie the attraction within.

Laura Cheadle will have everybody talking....and singing along to this fun track, destined to put a smile on anybody's face during these trying times.

"Everybody Say" is available now via all major streaming platforms.




Laura Cheadle (@LauraCheadle) / Twitter

Laura Cheadle - YouTube

Laura Cheadle (@lauracheadlemusic) • Instagram photos and videos



Blues guitarist Jacopo Pausa has returned with another delightful album in his second outing, My Favourite Colour is Blues, which was released on December 12th of last year. The follow-up to the 2019 debut, The Truth continues with the biographical perspective the album brought. Click Here to read the full review.

 This time Pausa has written and performed the instruments on the recordings based on his influences Albert King, Eric Clapton, Stevie Ray Vaughan, B.B King, and Muddy Waters.

My Favourite Colour Is Blues brings ten tracks soaked in the genre with all the craft, skill, and vibrancy as the first release. The opener "I Can't Take No More" is a groove-orientated track that sees Pausa singing over sharp guitar breaks, and using a quick fingerpicking technique to bring this song to life. Pausa has improved on his vocals with more surefire confidence to combine impressive guitar playing.

 Next up is the feisty rock 'n' roller "Out Of Trend", a personal favourite of mine, Pausa showcases further fingerpicking on this track with pace and precision. The riffs on this uptempo track may certainly leave your ears burning. There is a nice message behind this and that is to feel comfortable in your own skin. 

Pausa has always had the ability to write songs based on mood. This knack for storytelling always shows within his chosen instrument. The album covers Electric and Delta blues with a modern edge, which can be heard in the ballad "My Blue Little Girl", a song about the artist's Telecaster. Pausa pours his heart out on the line like a loved one has left. Sweet melodies ring out over a blues-shuffle rhythm pattern.

"Youvech Townis based on where the musician lives. Alternate slow and fast-paced rhythms interject with impassioned vocals to reflect an individual proud of their hometown. And Finally, "Giorgizzucompletes another enjoyable treat from the Italian. A fresh taste of Delta, reminiscent of Muddy Waters' " Hoochie Coochie Man" delivers a similar style of coolness. Overall, My favourite Colour is Blues will be a welcome addition to any playlist this summer. Jacopo Pausa grows from strength to strength as a musician and singer with a palatable taste of the blues. Words By Anselm Anderson

My Favourite Colour is Blues is available now via all major streaming platforms.




Music Review- Katie Drives-Maniac

Photo Credit: Felix Albertin

German Singer/ songwriter Katie Drives released her debut single "Maniac" on April 9th. The singer discovered her passion for music early on while singing covers and working behind the scenes in the music industry. Katie decided to go into the studio during last year's lockdown with producer Ole Kuhlmann to record her first set of materials. Her sound is described as 2000s pop-rock influenced by acts such as Avril Lavigne, Paramore, and Pvris.

"Maniac" is a guitar-driven track about how past experiences still affect you today. The opening synthesizers reflect a stark contrast to Drive's impassioned vocals. which soar over an edgy guitar sound. The singer's classical background help shape her voice and tone here. as her raw emotions are truly explored.  You can listen to the track below.

Katie Drives hopes to release her debut EP "Fake Smiles" this August


Hello, could you introduce yourself to the readers? 

Hey, thank you so much for having me! I am Katie Drives, a pop-rock singer, and I just started this new solo project.

How would you describe your sound?

My aim is to write catchy pop-a-like songs in the dress of rock. Not very hard, but just like it was common in the 2000s when the mainstream was still filled with electric guitars and organic drums. So I think the genre "pop-rock" describes it pretty well.

Where about are you from?

I am from the North of Germany. I grew up in the countryside, studied in a city called Paderborn and soon I am going to move to Berlin where I also lived already for one year.

Who would you describe as the biggest influences on your music?

First of all, Paramore because that’s my all-time favorite band. Hayley Williams is such an incredible singer! Basically, all the great female solo artists that included rock elements in their early days are an inspiration such as Pink, Katy Perry, Kelly Clarkson, Alanis Morissette and,of course, Avril Lavigne. I love her so much. Furthermore,female-fronted bands like Pvris, Tonight Alive, or Against the Current are influences. Another thing is that a few mainstream artists like Machine Gun Kelly, Maggie Lindemann, Halsey, and Miley Cyrus start integrating more rock elements again. I really like that and it inspires me to find a good mixture of nostalgic and modern sounds.

You have just released your debut track “Maniac” today, could you tell me a bit about it?

Yes, I’m so excited about that release as it’s my first original song ever! It’s the most aggressive and powerful song of the ones that are about to be published this year. Pvris was the main inspiration for the sound here and I wrote the lyrics together with a friend who has more experience in writing. "Maniac" is about how your own past still affects your actions and feelings today and can sometimes drive you crazy even if it has nothing to do with your current life anymore. I think everybody has a few things that shaped them and are hard to let go of, so it’s a relatable point of view I guess, and hope.

I understand you worked with Berlin-based producer Ole Kuhlmann, what was it like to do so, and what impact has he had on your music?

I don’t live in Berlin right now so at first, we started off digital by exchanging references and demos. I visited him once for finalizing the instrumentals and then twice for recording the vocals. I think it was really good teamwork and will become even more flexible and easy when we live in the same city. He played almost all instruments, did the arrangements lead by my descriptions, and did the mixing and mastering, so of course, he has a major impact on what the songs sound like now.

I read you worked behind the scenes in the music industry, before recording your first tracks last year. Could you tell me a bit more, and how has that helped shape your own mindset writing and recording your own songs?

I studied “popular music and media” and did internships at MTV Germany and the Label Sony Music. Also, I help other friends that make music, now they also help me, we support each other and grow with each other. I wouldn’t know all those people I work together with and would have missed lots of artists and bands that inspire me today. My life is all about music so of course, that shapes my own music as well.

Do you feel it helps to have that experience in the industry going into music?

It helps a lot! My music business background helps a lot on how to release and promote my music. Even just knowing what goes on in the music industry, how it is structured, how it works is so important. Without that knowledge, everything I do would be way less professional. Also, it is fun to apply the skills in practice to an own project.

I read you were brought up on Neo-Classical music, do you feel this has helped shape your sound. And why did you decide to take another direction with your current sound?

Not just Neo Classical, Classical music in general. My father is a huge fan of classical music so it sounded through our house every day since I was born and we went to lots of concerts and to the opera together. I learned to play the classical piano when I was six and started singing in choirs when I was seven. I wouldn’t say it shaped my sound, maybe one song of the upcoming EP as it is a piano ballad. It’s an interesting question because maybe without the classical background popular music would not have become something so special to me. For me, it was always normal to listen to classical music, but pop music was extraordinary. But in the end, modern times influenced my taste in music more than my parents did. Anyways we share a passion for music, just different genres.

What are your hopes and aspirations going forward in the music industry?

Wow! hard to define as I just started. But I am pretty happy with how it started and I hope I can build up a team, release music regularly, and start playing live soon. I see the development that rock sounds get more popular again, maybe that’s a good chance for me and I catch the right time. I just hope I won’t lose the fun in making music and it goes on and grows constantly, let’s see where it takes me.

And finally, what is next for Katie Drives?

The second single will be released in June. It’s more chilled and gives major 2000s vibes. And then in August, there will be my debut EP. It’s all finished so in my head I already went further and very soon I start working on new music. 

Words conducted and written by Anselm Anderson

 "Maniac" is now available to download via all good major streaming platforms.

Katie drives online:

Website: https://katiedrives.com/

Instagram: https://www.instagram.com/katiedrives/

TikTok: https://www.tiktok.com/@katiedrives

Facebook: https://www.facebook.com/katiedrivesmusic/




The Power EP Review

New York's female-fronted duo Villins recently released their self-produced debut The Power on March 26th. The band, featuring Jesyka on vocals and guitarist/producer Kareem "Jesus" Devlin have forged a strong fanbase within their local district, since their inception in 2016, with appearances at The McKittrick Hotel (Home of Sleep No More), and on Adult Swim's Desperate Losers. The band's fun and energetic music mix commercial appeal with an edgy rock sound and disco beats. 

The four-track EP was produced by the band at the Villins HQ during the NYC Covid lockdown last year. The band's unique and dynamic approach to production and songwriting is none more apparent than in the opener "Lightgiver". The slick production combines mesmerizing electric programming with the duo's tight and creative chemistry to publish a song that could very well be a radio hit. Lead Vocalist Jesyka comes across with a warm and innocuous charm on a song I believe is about an unhealthy relationship. Her rich melodies are compounded by the haunting guitar lines that strike through the ear.

Next up is " Let's Break Some Shit", the major hit that appeared on the 'Desperate Losers'...and it's understandable why! Jesyka's sultry rap verses over an electronic dance beat give the song added grit. "Jesus" is the guitar wizard with the skill and ability to create enduring solos and breaks to emphasize the lead vocals.

"Do it For the Thrill" is an up-tempo pop song full of charm. The additional funky disco beat reminds me of a certain Kylie Minogue in her prime. The strong synthesizers and lasers add impetus to a good dance song. And finally, "The Power" wraps things up like a first commandment. This instrumental is a heavy rock track with gothic undertones. Jesyka talks over a sombre ambience and sirens to close this chapter for now.

Villins bring the power with this fresh perspective on mainstream rock. There is no doubting the duo have the talent and chemistry to write songs that are as meaningful to themselves, as it is for prying ears. The band has a bright future with its unique and fresh sound


Good afternoon, could you introduce yourselves to the readers? 
We are Jesyka and Jesus, and together, we’re known as Villins. 

How did the band form? We first worked together about six years ago when Jesus produced and co-wrote Jesyka’s previous band’s record. During the process of writing and recording the record, we found that we had some amazing creative chemistry and decided to make something entirely new together… and so Villins was born ;)

Your music ranges from several influences like electronica, heavy rock, funk, pop. How would you describe your overall sound to new listeners? We like to feel free to make music without being limited by any genre or scene. That said, we like to think that the one constant listeners can expect from us are great songs. We are essentially a rock band that also loves to get people dancing.

Who are your influences?
One of the first artists we connected over was our mutual love of Ozzy Osborne’s Blizzard Of Ozz and Diary Of A Madman. That golden era of metal records is always a source of inspiration for us. That said, we listen to all kinds of different music, especially when we’re driving on surf trips... A typical Villins driving playlist usually includes The Clash, Michael Jackson, Queen, Black Flag, Prince, The Band, Teddy Pendergrass, Blondie, Van Halen.

Could you tell me about your debut EP The Power, which came out on Friday? The Power EP in many ways is a direct interpretation of the live show we have been performing for the past couple of years. Each song on the record has its own personality. We’re so stoked to have this record out in the world, so even if you can’t see us live, you can get a feel for who we are.

What do new listeners expect from the EP?  First and foremost we hope that listeners will go on a journey when they listen to the record. Although it is only an EP in length, we really took the time to try and make ‘The Power’ work as a record from beginning to end, and we think we accomplished that.

What was the recording process behind the EP? We recorded all of the vocals, guitars, keyboards, drum programming, and sound design right here at Villins HQ in New York City. Gunnar Olsen recorded live drums remotely, then Joshua Valleau mixed the record and Chris Gehringer from Sterling Sound mastered it. It was recorded during NYC’s Covid Quarantine.

What inspires you to write the songs you do
? Each other ;)

The guitarist Kareem “Jesus” Devlin was the lead guitarist on Lady Gaga’s Monster Ball HBO Special, what was it like to perform with such an iconic figure on a big stage? Also, how have you transitioned into being part of your own band? The Monster Ball HBO Special was a dream come true on many levels, but what was most special about it for me was that we filmed it at Madison Square Garden in New York City. NYC is my (and LG’s) hometown, and performing at The Garden with my parents in the audience was an unforgettable experience.

After touring with Gaga I decided to take time away from the road to be closer to home to raise my daughter, who was born during the Monster Ball. Knowing that working for an artist like Gaga was a once-in-a-lifetime experience, I knew that the next thing that I would want to do would be something creative as a part of my own band. The transition from then until now has been an amazing journey!

Who came up with the idea of the laser beam guitar? We are always thinking of practical stage effects that we can do ourselves onstage. The way we incorporate lasers into our show allows us to animate our creative world onstage without any assistance offstage. We have a lot of fun designing our live show :)

One of the tracks off the EP “ Let’s Break Some Shit”, was featured on Adult Swim’s Desperate Losers. Can you tell me how that came about? At that time we were playing a residency at The McKittrick Hotel (home of Sleep No More) and a friend who had come to the show suggested us as guests to Josh and Matt, who were shooting Desperate Losers out of a pop-up space on Canal St in NYC. Those guys are brilliant and we had an amazing time working with them!

Do you feel it is important for an up-and-coming act such as yourselves to get exposure on TV shows etc? Absolutely - it helps us reach so many new fans!

And finally, what is next for Villins? Another music video, beginning to play live again, and our first full-length album! Words on both pieces by Anselm Anderson

"Let's Break Some Shit"






Italian progressive rockers' M.E.M.E ( Musical Examples of Modern Experiments) released debut album Le Domande Dopo on April 2nd.

The quartet produced the album themselves but was halted due to the recent lockdown. Thankfully, the band returned to the studio to finish what they started. The band formed over their common interests in Trap Music and internet culture. They mix 70s progressive influences with psychedelic rock stylings and electronica.  The band formed in 2015 in a Western Rome garage by guitarist Fregia$ and the drummer Papy, who were subsequently joined by vocalist Condor and bassist Brock This nine-track EP features the evolution of this exciting act through elements of electric music, rock, and rap.

The opener "Aroma 2.0" is a reference to the band's history. The primary techno pads build tension to a sombre bridge, before exploding into rap verses. The track features subtle reggae beats in the instrumental with the juxtaposition between Italian and English verses. Next up is "Pinolo" a more stripped back song. Condor's angelic timbre hoovers above funky guitar lines and jazz rhythms. 

M.E.M.E show strength in building atmosphere and creating resolutions through a variety of tempos and rhymic structures. This allows the writer to convey raw emotions, whilst vesting in the listener. One such example is "Lei'e Bellisimo( La Regazza Che Sta Ascoltando Questa Canzone)" is another serene track, as Condor's sustained notes are set against a warm ambience. "Mountain Bitch" has all the equal charm and flattery as the aforementioned, as the tranquil electronica leaves you drifting away. Whilst "Xanos" provides an obstinate comparison. Jagged metal guitars roaring over hasty rap vocals playing off one another.

M.E.M.E deliver an artistic exhibition that takes the listener through their lives to create a beautiful record of intrigue, sadness, and hope. Words by Anselm Anderson

Le Domande Dopo is available via all major streaming platforms now.

"Lei'e Bellissimo ( La Regazza Che Sta Ascoltando Questa Canzone)








Country artist Chris Moreno recently released the new single "Somebody New"on February 26th, as a follow up to last year's "Used to This", which was featured heavily on various curated Spotify Playlists, much to the attention of Press outlets everywhere.

Moreno is another staple of the Nashville diet, having surpassed 75k listeners through Spotify, as well as forging a loyal fanbase with up to 500 shows played across the States. "Somebody New" is an enchanting tale about heartbreak, and struggling to move on when in love with somebody else.

Moreno delivers a heart-rendering performance, as his melodious vocals soar over simple acoustic guitars strums. Moreno sounds like an empathetic character, as he addresses his struggles love, loss and hopelessness through a melancholic ambience 

Moreno paints an all too familiar picture of love and the ramifications of feeling it. "Somebody New" acts like the anthem for all those sorrowfulcherubs still looking for that beacon of light to move on. Words by Anselm Anderson

"Somebody New", is available via all major streaming platforms and digital download.




Photo by Maria Quintana.

 LA-based Tarah Who? re-emerge with another engaging single "Illusion Of Freedom", released on April 2nd via Unleashed Music. It's the follow up to the popular "Manners", which has been met with worldwide acclaim. The track is based on the lead singer, Tarah, G, Carpenter's own personal experiences with immigration following her arrival from France. Tarah co-produced "Illusion Of Freedom with Jason Ome.

"Illusion Of Freedom" is another slice of up-tempo punk with thought-provoking lyrics...and a lot of attitudes! The track begins with another signature groove-orientated riff, courtesy of Carpenter segues into jagged vocals. Carpenter sounds like a defiant woman in the face of an adversary with the chorus acting as a statement. The dynamic guitars and edgy music underlie an issue close to Carpenter's heart.

Carpenter explains of Freedom’ "Whether I was in France and friends with people who were trying to get their papers, or here in the U.S. There was a time where my co-workers were too afraid to come to work, too afraid that they would be sent back home or separated from their families, even if they had been living here for over twenty years. "‘Illusion of Freedom’ is also a reflection on the situation with refugees. People and families who had to flee their country to feel safe somewhere, but they were not necessarily welcomed by everyone." "Illusion Of Freedom" is available now via all major streaming platformsWords by Anselm Anderson.

For Further reading on Tarah Who? Take a look at my previous reviews of the band;



NWOBHM legends Raven recently released their latest album "Metal City". This February, the band were due to embark on a European tour with Kill Ritual, Crystal Viper and Wolf, but the pandemic put a halt to that. I spoke with frontman John Gallagher about the new album, the postponed dates, and what it was like to come through during the NWOBHM era.

Good Morning, how have you and the band been during this pandemic?
Hi! We are hanging in as they say...working on a number of upcoming projects.. I’ve been steadily writing new material as well as putting out my “ bass noodles” every day on Facebook! 

Raven released their most recent album "Metal City" last year, how has the overall response to it been? The album felt like a throwback to old school basics, was that your intentions going into making the album? 
The reaction has been pretty amazing actually.. the best reviews we have had in forever... but more importantly the fans really “ get” it. We didn’t plan on a “ back to basics” album and this really isn’t that - other than the energy that’s obviously present. We just wrote a lot of good songs with the intention of having a 10 song kick-ass album from start to finish... as we had a lot of songs we basically “ pre sequenced” the album as we went... picking a killer opener then going through the songs and seeing what worked! The entire process took a lot longer than originally envisioned but in the end, the effort paid off! 

You may have been asked this several times already, What is Metal City in reference to?
It’s our hometown of Newcastle Upon Tyne. it’s always been a great music city and a lot of metal for sure... it also points at how metalheads make their own “ Metal city” whenever we all get together! It was an obvious title track as it’s so anthemic and then we had the whole comic book cover concept which works so well. 

I feel like the album had several influences from bands in the NWOBHM era, did you have any when planning on making Metal City?  lol! You have to remember we formed the band in 1974.... and when the initial wave of NWOBHM bands came out-and we were one of them.  They were all totally different from each other. To this day I still haven’t heard at least 60% of the NWOBHM bands as we were too busy writing & playing our own stuff! I’ve seen reviews where “ oh they sound like such and such on this song”. If that’s the case it’s just pure coincidence.... after all without being arrogant.. we did actually invent at least some of what you’d call those influences! 

This was drummer Mike Heller’s first record with you, He seems a demon behind the kit. What do you think he has brought to Raven, and what influence has he made on the band as a whole? 
He’s been a shot of adrenaline for sure. He came into the band at exactly the right time.. although Mark and I had already written the songs, his input and energy kicked everything up a level or three... inspiring us to raise our game too. 

How did you meet Mike Heller?
In 2017, our previous drummer Joe .. who had been with us for literally 30 years.. had a heart attack two days before we were due to do a string of US dates and a Euro tour. We got a few fill-in guys so we could play the shows and Mike did three of the four US shows. We’d played the first date in Chicago then flew to New Jersey.. met Mike and chatted about the songs for 30 min... then played the gig. He was literally phenomenal and all three of us were looking at each other... the chemistry was there! We did two more shows then went off to Europe but told Mike we’d be in touch as soon as we returned. We offered him the job and he was “ in”...He loves the freedom that we give for him to contribute and to just play and go nuts!!
Raven has been around for 40 plus year now, what is the key to longevity, and how do you remain motivated in making new records? 
Quite simply, we love what we do... and we are getting better at it! I also think we really appreciate the position we are in. We are humbled and very lucky to able to do what we do... That’s never far from our minds. We have an obligation to ourselves.. and to our fans to keep this train a-rolling.. to challenge ourselves to do better on every album and to give 110% at every show.. we feel like we are just getting started!!! 

You came through with a lot of talented British acts like Motorhead, Def Leppard, Iron Maiden and Saxon, what impact did they have on your development? And how different is the British metal scene now in comparison to the ’80s? 
The amazing thing is, all of those bands were so very different.. and we were very different from them too.. so you could appreciate them but everyone was in their own lane so to speak. I loved the way we all have that in your face attitude .. and that bred healthy competition! I’m not sure of the British
 “ scene” I’m sure there are some young guns trying to get it together but all I’ve seen is a glut of cover bands and “ tribute” bands... which the pubs and clubs love as it’s an easy sell... a creative hell, however. 

You were due to go on tour in February with crystal Viper, Kill Ritual and Wolf, what can you tell us about the bands? 
It’s a great line up! Kill Ritual are a great heavy band who have opened for us a few years ago... We are mates with Crystal Viper's manager.. a classic Euro band... and Wolf put their own twist in the NWOBHM and kick ass! 

The tour has unfortunately been cancelled due to the current climate. When things are given the go-ahead (fingers crossed). Where would you like to go and perform? lol! EVERYWHERE!!! We are gonna be two years behind so there’s a lot of catch up to do... Europe... the States... Central & South America... Japan, Australia.... and wherever else we can rock! The industry and the demographic continues to change,

 How do you adapt the raven sound to that, and what advice would you give any young metalheads hoping to emulate Raven in the music industry today?  We just stay true to ourselves.. We play what gets us going and hopefully, people want to come along for the ride...so we don’t try to change just to fit a demographic... that’s advertising executive music lol. All I can say is be in it for the right reasons -the love of the music and playing live... anything else is gravy but if you go into this looking for only fame and fortune you will be sorely disappointed! 
And finally, What is next for Raven?  
We are writing for the next album... which is a constant process! Also planning another “ party killers” style covers album... and I’m working on getting the rights back to our early albums - once that’s sorted we can look at box sets etc... which’s gonna be fun! Then Euro dates in February!!! Words by Anselm Anderson

For further reading on Raven, Click here to read our exclusive interview with the band in 2019, during their tour of Japan. https://anselmanderson.blogspot.com/2019/03/raven-interview.html

"Metal City"





Text set aginst a grey background

Words By Anselm Anderson

Brazilian hard rockers River Rise Band released their much-anticipated debut album The Right Path on March 19th.

The duo, hailing from Curitiba, Brazil, consists of vocalist Juliana Von Muhlen and guitarist Marcio Arend. The 10-track LP was composed, recorded, and produced in the couple's home studio last summer. They combine soulful melodies, dynamic riffs, and a little touch of the blues for this release.

Opener "Unreal" kicks things off with some funky charm to get those juices flowing. The groove-orientated guitar lines accompany the sweet vocals that intertwine to create a spark for the remainder of this debut. Click below to watch the video for "Unreal"

 Next up is "Unremembered" with an unforgettable performance from Von Muhlen and Arend. The lead vocals transition with ease alongside surging guitar breaks and phrases that express several emotions at once.

A photo of the female singer and male guitarist

This is something often revisited throughout The Right Path, and that is the chemistry and skills the band communicates to the listener. A penchant for writing memorable songs, alongside moving ones with relatable lyrics.

The self-titled track, "The Right Path" is a nostalgic throwback to classic rock of the 70s. The engaging vocals capture the spirit as the vocalist mulls over their life choices. This is matched by the harmonic solo and rhythmic breakdowns.

" Only You and Me" is a blues number steeped in love and tentativeness. "Green Sea" is a wistful ballad, whilst the album finishes with the expansive "Give It a Try". The vocals transcend the bubbly personality over a jagged riff. 

Overall, River Rise Band put themselves on the right path with this joyful collection of tunes, written straight from the heart.








 Progressive Alternative rockers' Trope released their debut effort, the tantalisingly titled, Eleutheromania today (March 31st). 

The band formed in 2016, spending the next couple of years recording demos for this exact album. This attracted the attention of Mike Fraser, the renowned record producer for acts like AC/DC and Metallica, who agreed to engineer the album. Trope has built quite the following with appearance on the main stage of Summerfest, as well as performing with King's X. I spoke with producer and multi-instrumentalist  Moonhead about the new album, working with Mike Fraser, performing at the iconic venue and much more.

Hello Trope, could you introduce yourselves to the readers?

We are Trope! We are not from planet earth as far as we remember, and we are very happy and honoured to be here. We are enjoying our stay on your wonderful planet and are learning your ways. Hopefully we blend in just enough to not stick out.

 How would you describe your style of music to new listeners? 

Trope is an alternative progressive rock band with various influences, most notably the 90’s alternative rock scene. But other influences creep in, like Peter Gabriel, Jeff Buckley etc. We have a heavy focus on polyrhythms with the music, which gives every song its own inherent groove. Especially the vocals, Diana sings in a groove that sometimes is totally unique to her, which creates an awesome push-pull effect with the rhythm. I can’t say enough good things about working with Diana on this project, I’ve never met a more determined and focused artist in my entire life. With that determination and focus, comes a talent that isn’t specifically natural. It’s been really hard work from both our perspectives in getting better as musicians and artists, and I love that I can work with someone with the same work ethic.

 Eleutheromania is the name of your debut album, what can you tell the readers about it, and what to expect? 

The album delves into all things human experiential and discusses them in ways that pack a punch and at times, gently caress. There's quite a cross-section of music on the album, basically half of it is proggy riff rock and the other is 90’s cock-rock without the flamboyance. Lots of influences from Filter, Deftones, Soundgarden and Tool, to Peter Gabriel, Jeff Buckley and even Coldplay. Really hard focus on rhythm, especially the drums, with a heavy smattering of melody. These aren’t songs you can hum on first listen, but maybe in a few days, you’ll start hearing things in your head asking where you heard that idea…

 Did you feel any nerves about making this debut? And were there any expectations on yourselves to make it? 

No nerves at all, only excitement. The album is basically a high-definition version of what the demos were, which I spent a lot of time on. The songs hardly changed from demo to finished record, so there were no nerves about that. It was only going to sound better. It was actually easier tracking in the studio than doing the demos all by myself, because I had Mike there to make sure everything was done correctly. 

 What is the meaning behind the title of the album? 

Eleutheromania means a manic zeal for freedom. It's that intense need to escape, to fly, to be free. It's in our DNA to want that.

 I can hear elements of 90’s alt-rock and acts like Tool when I have listened to the album, did you feel like there was any of these types of influences making the album? 

You know, as the guy who is solely responsible for coming up with all the musical parts on the album you hear except for lyrics and melodies, I have a lot of influences that are at times subconscious and at times really obvious to me. I love Tool, but the Tool that I've heard on the radio. I also love Rage Against the Machine, but again only the songs I heard on the radio. Same with Deftones, or Metallica. I don’t own albums by these artists, I don’t study them. But the influences are so obvious because I had obviously heard them many times on the radio and that influence creeps into the creative process. I definitely don’t sit down and say, ‘I’m going to write a Tool riff.” The songs exist in their time signatures because that’s what feels right to me, what feels natural to play. I have started writing the new Trope album, and it is quite different in the sense that it will be way more progressive with different time signatures, and feels, happening all over the place. I’m really excited about the next stage of Trope because I really feel it’s new musical territory, where-as Eleutheromania feels like a homage to so many great bands I love. 

 You have chosen to record a cover of “Shout” by Tears for Fears, what was the reasons behind recording this particular track? 

I was working on a remix of ‘Shout’ for a label, and actually have all the individual tracks for that song. It's amazing to hear what went into making the original version of ‘Shout’, especially when you hear these incredible vocal adlibs that Roland Orzabal did at the end of the song that aren’t really that audible on the released version. So as I started working on the remix, I found that I wasn’t as excited about remixing it as I thought. I left it for a few years and revisited and approached it as a way more stripped-down rock version, and then showed it to Diana and she loved it. We demo’d it and just loved the version we had and wanted to include it on the album. We want to have a cover on every album of a song we both love and that means something to us. ‘Shout’ feels very timely right now.

 “Pareidolia” and “Lambs” are your two other singles, could you tell me about them, and how they feature on the album?

‘Lambs’ was one of the first songs we ever wrote, and actually come from 2 different demos stitched together. I had the first part down, Diana had her awesome melody and lyric idea for it but I just didn’t know where to go with it musically. Then I had this other idea that Diana had just nailed again melodically and lyrically, and I stitched them together and it just worked. A lucky accident for sure. ‘Pareidolia’ on the other hand is quite proggy as it changes time signatures constantly, but doesn’t seem to. Its only when you dissect it you realize it's changing from 7/8 to 6/8 to 8/8 all over the place. It’s a lot fo fun to play, easily my fave to play live. I also mixed and mastered the single released version of ‘Parediolia’, entirely on a laptop in an Airbnb in Europe on headphones. Also, we released ‘Hyperextend’ as a single, albeit with no video, and again I mixed and mastered the single version on a laptop while in eastern Europe, using plugins from Universal Audio and Plugin Alliance mainly. I can’t say enough good things about the technology and what these two companies are doing. It's incredible.

 You have enlisted Mike Fraser, who has worked on albums by AC/DC and Metallica, to engineer alongside Ted Jensen and David Bottrill. What impact did they have on the recording process, and how much of a boost was it for you to work with them? 

Mike Fraser is an absolute beast of an engineer. I knew working with him would be a masterclass in tone, signal path and attention to detail. And it was. I learnt so many valuable things as a producer from working with him, and everything I have learned I have taken into each new song I demo and create. It raises the game exponentially working with guys like Mike, hands on, as we were in the studio for six weeks side by side. I will forever cherish the experience and appreciate the opportunity greatly. With David and Ted, we weren’t in the same space, so the experience wasn’t the same. I can’t talk about it from that perspective but I do greatly appreciate their talent and contribution to our album.

 What was the writing process going into the sessions into making the album?

 I had the demos done for most of the album, but three days before we were going into the studio, we were still short one song. That’s where "Seasons Change "comes from. That was a ringer that we built right before entering the studio. Everything else you hear was carefully recreated in the studio from the original demos, except for the drum solos which were dealer’s choice on the day. Trope is a tight ship, and very exacting, we don’t leave things to chance, it is all mapped out and delivered as written. We don’t improvise, we galvanize.

 You have performed at Whiskey A Go Go, The Viper Room, as well as appeared on the main stage at Summerfest in Wisconsin. How did it feel to feature on such iconic stages?

 You know, it's awesome. We loved playing at these places. One venue we really feel blessed to perform at is a venue that isn’t associated with live music, and that was the legendary Hollywood Improv, which is a famous venue for comedians. I mean everyone. Jerry Seinfeld, Eddie Murphy, Dave Chappelle. Actually, when we performed there, Chappelle was in the next room doing a set. Just an absolutely iconic place that has a rich history and amazing vibe. We played there in a stripped-down acoustic format before the comedians would do their sets, so we opened for comedians including Steve-O (Jackass) Iliza Shlesinger (Netflix, Spencer Confidential) Harland Williams (Something About Mary) and David Koechner (Anchorman) to name but a few. We even saw Post Malone in the audience at one show.

 I read Trope were named in HEAVY mag’s the top 40 female rock acts alongside such acts like Halestorm , Jinjer, and The Runways. How did that personally feel as a fast-emerging band, and how has that helped shape Trope as a band?

 It's always incredibly flattering to be included in such esteemed company, there is no denying it. When your peers give you a co-sign, it makes you feel like you are doing something right. We can only just stay true to ourselves and get back to work, which is always the focus. The work is what matters, nothing else. We aren’t in this to be famous, we love music and want that to be the focus. Music First is our motto, and it's so rewarding. I remember Sting receiving an award at the Grammys one year, and he got up there and said, and I paraphrase “I have five words, music is its own reward”. I will always remember that powerful statement, because it shows in his work. The person who said it lives and breathes that; you can tell. So yeah, it's the music that matters but yes, if our peers see value in it, that is awesome, and we greatly appreciate it when they acknowledge us. It affirms what we believe, that our music is awesome ;). We live in our heads about how good we think we are, and then when others affirm that, it feels good.

 And lastly, what is next for TROPE?  

The next thing for Trope is tour, tour, tour. We also want to have an album ready for a Fall 2022 release, so knowing how long Trope albums take to make, I’m spending every day now working on the next album for that deadline. It’s gonna take a minute, but what else am I going to do with my time?

Interview by Anselm Anderson

Eleutheromania is available now via all major streaming platforms.