Toronto's very own Anti-Queens has unveiled details for their upcoming new LP, entitled 'Disenchanted'. The album will be released worldwide via all digital platforms and vinyl formats via Stomp Records on May 17th.
For enthusiasts, the band has teased newfound fans with the release of 'Crusade' from their album. The track conjures up memories of all-female punk bands such as Hole, L7, and The Distillers during their heyday when they were igniting the punk scene. The band has been gracing stages with their electrifying performances for over a decade, led by the dynamic duo of Emily Bones and Valerie Knox.' Crusade' focuses on the oppression of minority groups, particularly Indigenous People in Canada.
The band bring to fruition a topic that is unfamiliar to people outside of North America. The track details the injustices suffered, including land theft, cultural cleansing and Forced assimilation of religious beliefs and values committed by colonizers, resorted to kidnap and murder. Despite this, the track hopes to raise awareness through peace and equality. The band comments about the track and video "There is no pride in genocide." Personally, I always appreciate bands that are prepared to go beyond their limits to raise these types of subjects with the listener.
As for the video, It was filmed at The Biltmore Theatre in Oshawa, a venue the band would like to recognise. The land is situated on lands within the traditional and treaty territory of the Michi Saagiig and Chippewa Anishinaabeg and the signatories of the Williams Treaties, which include the Mississaugas of Scugog Island, Hiawatha, Curve Lake, and Alderville First Nations, and the Chippewas of Georgina Island, Rama and Beausoleil First.
The Anti-Queens were formed in 2012 by the visionary singer/songwriter Emily Bones. They have built a solid reputation on the international punk scene with their raw and energetic sound. They have performed across North America, Europe and the States, blessing the stages with notable acts like Danko Jones and Protest The Hero. Like many newcomers, they have made festival appearances at77 MTL, Montebello Rockfest, and Pouzza Fest. 'Disenchanted' aims to be their anthem for the outcasts and the deserted of the world. Hopefully, the album can bring them further recognition for their activist work.
The UK consistently rides a rising wave in producing new metal acts. Leeds is the city where the band Godeth has emerged. The quintet blends death metal with modern metal stylings in their latest EP, "The Path of Destruction." This album encapsulates all the frustration and rage in a six-track EP filled with chaos and melee.
Established in 2018, the band, fronted by vocalist Miles Case-Watson, features guitarists Dylan Walters and Luke Dyde, bassist Jimmy Johnstone, and drummer Danny Campey. The band has propelled their career to new heights despite numerous challenges and setbacks. They have been featured on BBC Radio 1 and have received extensive coverage on Total Rock and Primordial Radio. This exposure helps build a band's confidence within the music industry and community. This has certainly helped with the development of these Yorkshire men's sounds. They have crafted an intense edge with strong grooves and fiery vocals, which reminds me of a less aggressive Slipknot on first listening.
Photo credit: Alex Dixon
Of course, Slipknot is a bunch of masked men that have evolved over the years to still be recognised as the metal band they are today. Godeth are a different breed of specimen. The band kicks off 'The Path of Destruction' with the distorted riffs of 'Test of Resolve', serving as a metal anthem for those who seek one. It's a full-on assault on the senses, complete with pummeling drums and mesmerizing grooves.
The brutality intensifies with the bone-shattering 'Coup De Grace', which could be likened to a contemporary death metal track. It begins with explosive, relentless metal guitars and guttural screams, followed by pulsating melodic beats that decelerate into an eerie breakdown, culminating in an aggressive scream of 'Coup De Grace!'The EP is not meant for the faint-hearted as each track builds momentum, escalating in intensity and aggression.
Godeth strives to distinguish itself from external influences to establish a unique identity. This track, along with 'Cartilledge', exemplifies this effort with its eerie mix of downtuned guitars and guttural screams. The track appears to offer a glimpse into the identity the band wishes to unveil.
The dual guitar onslaught from Walters and Dyde injects a sense of complexity and uncertainty into the music. The intensity and contrast, ranging from mellow intros to thrash-like riffs, diversify the sound.'Solace' stands as a prime example, delivering 80's thrash metal with hypersensitive solos that serve as an electrifying curtain opener for any concert. 'Hatred' is yet another emotionally charged piece of metal reminiscent of the 2000's NWOAHM sound. Its dense, pulsating grooves and unsettling breakdowns make it a surefire hit. At times, I can sense the strong influences of that era. However, I don't mind as the diversity in the riffs and vocals will satisfy even the most hardcore metal fans.
Overall, 'The Path of Destruction' continues the Rambling Man's strong showing of new metal releases for the week. Godeth is a new band with a passion and determination to succeed in taking their type of metal to a new stage.
Legendary German metal band Accept returns with an unstoppable force, packed with punishing riffs and head-banging tracks. ' Humanoid' is their 17th studio album, set for release this Friday via Napalm Records.
Lead Singer Mark Tornillo and co cover the murky issues of technology and AI in this other blistering release from the legends. In almost fifty years, the band has entertained the masses from all over the world in various guises. I personally feel the band has grown as a unit in that time and has cemented themselves with some of the titans of metal. A significant factor is the addition of Tornillo's vocals. His voice, a torrent of raw emotion like a contemporary Bon Scott, has elevated Accept's music to unprecedented heights."Humanoid" is an album that exemplifies this statement.
Andy Sneap is back behind the producer's table at his Backstage Recording Studios LTD in Derbyshire, England. This helps increase the volume to 10 with a broad and heavy sound, exemplified by the duel guitars of Wolf Hoffman and Uwe Lulis.
That provides the background for the album. Now, onto the review. The album opens with the Middle-Eastern influences of 'Diving into Sin' and 'Man Up,' then ramps up the volume and intensity with the self-titled track 'Humanoid' and 'Frankenstein.' The band consistently produces high-quality metal tracks, maintaining their creativity and synergy. One reason I appreciate Accept is their consistent effort to explore new ideas while keeping their content vibrant and dynamic. On this album, they achieve this through a balance between ballsy metal and melodic tracks which strikes through the listeners' hearts. At times, this release may seem slow to engage, with several tracks sharing a similar tone, yet it eventually delivers a powerful impact.
The track 'The Reckoning' is a tribute to the fans, reminiscent of 1980's Teutonic metal acts. It embodies the quintessential Accept sound with robust riffs, pummeling drums, and anthemic choruses that compel you to stand up and cheer. 'Nobody Get Out Alive' continues this trend with the powerful vocals of Tornillo harmonizing with the dual guitars, giving the impression that it could be the next hit single. The guitar tones are sharp, reminiscent of the harmonious dual guitar acts like Judas Priest. The riffs are captivating and hypnotic, with each track seamlessly progressing.
In contrast, Accept counterbalances their sound with softer ballads like 'Ravages of Time' a reminder we all grow old eventually. The band transitions into classic realms with potential radio hits like 'Mind Games' and 'Unbreakable,' reminiscent of a time when metal focused more on high-energy rock 'n' roll instead of technical riffs and elaborate vocals.
Saving the best for last, as the age-old saying goes, 'Straight Up Jack' is the kind of rock track that Bon Scott would have been proud to pen for AC/DC—a genuine homage to the legendary Jack Daniels.
Accept continues to impress with their classic metal style, delivering hit after hit. Should you choose only one album to listen to this year, 'Humanoid' might just be the one.
Rating: 9/10
'Humanoid' is out on April 26th via Napalm Records an will be available via all major streaming platforms and retail outlets.
Tracklisting:
1 Diving Into Sin 2 Humanoid 3 Frankenstein 4 Man Up 5 The Reckoning 6 Nobody Gets Out Alive 7 Ravages Of Time 8 Unbreakable 9 Mind Games 10 Straight Up Jack 11 Southside Of Hell
ACCEPT are:
Wolf Hoffmann – guitar Mark Tornillo – vocals Uwe Lulis – guitar Martin Motnik – bass Christopher Williams – drums
One of the best things about writing reviews is you get to cover your favourite artists. Ian Hunter has been one of my favourite vocalists for the past decade, ever since I discovered Mott The Hoople.
'Defiance: Part Two-Fiction' is released today (April 19th) via Sun Records. This is the follow-up to last year's much appreciated ' Defiance: Part One ', which features the usual plethora of distinguished guests from the world of rock. The guest list runs like a who's who of the music industry with notable names including such close friends and lifelong fans as Robin Zander, Rick Nielsen, and Tom Petersson (members of Cheap Trick), Brian May (Queen), Lucinda Williams, Dean DeLeo, Robert De Leo, & Eric Kretz (Stone Temple Pilots), Joe Elliott and Phil Collen (Def Leppard), Johnny Depp, Billy Bob Thornton and J.D. Andrew (The Boxmasters), Benmont Tench (Tom Petty and the Heartbreakers, Bob Dylan), Waddy Wachtel (Stevie Nicks, Jackson Browne), David Mansfield (Bob Dylan, T Bone Burnett), Tony Shanahan (Patti Smith), Steve Holley (Wings), Morgan Fisher (Mott the Hoople), and – in what proved among their final studio recordings – the late Jeff Beck and Taylor Hawkins (Foo Fighters).
I had the fortune of writing about the first edition, which featured Robert Trujillo of Metallica and guitarist Slash. Their adaptation to Hunter's singing style was impressive. The initial part was recorded during the 2020 Quarantine at Hunter's home studio in Connecticut, USA, with his long-time collaborator Andy York. This collaboration seemed to enhance the album's sound, uniting some of the finest in rock royalty. It has become a successful formula for the rock legend. However, this second edition presents a more pared-down approach.
The featured guests on this edition allow Hunter to embrace a more folk and singer-songwriter approach. The album kicks off with the '60s pop-rock anthem 'People', showcasing contributions from Def Leppard's Joe Elliott and Cheap Trick's Rick Nielsen, Robin Zander, and Robin Taylor. The track resonates with Hunter's signature style, marked by catchy choruses and thoughtful lyrics set to a guitar-centric backdrop. The righteous and vibrant 'Fiction' is a track about the media's reaction to musicians in the limelight. Hunter's endearing vocals are supplemented by Mott The Hoople bandmate Morgan Fisher on piano and organ. The excellent string arrangement highlights the song's message.
The songwriting on this album is profound, and the selection of musicians allows Hunter to deliver more protest and political tracks, contrasting with the personal themes of part one. 'The Third Rail' is a beautiful tribute to Jeff Beck, whilst 'This Ain't Rock 'n' Roll' is a fun rocker with Def Leppard's Phil Collen. The album is an interesting insight into one of rock's finest vocalists, with an exploration of different genres like folk, blues, rock 'n' roll etc.
Nevertheless, the album grows in maturity with each track steeped in fun and wisdom. I can tell Hunter has a lot of fun with these recordings. 'Precious' is a crunchy rocker with the late Taylor Hawkins on the drum and Queen's Brian May offering his guitar chops with delicious licks. The album gets heavier with the infectious 'Kettle Fish' and the marijuana legalization anthem 'Weed' underlying Hunter's edgier side.
Finally, the second part concludes with the blues number ' Everybody's Crazy but Me' featuring Waddy Watchel and Benmont Trench. I think the issue for me is some of the tracks feel like a throwback to Bob Dylan and the sixties rock revival. These recordings are a delight to listen to, particularly for enthusiasts like me. Hunter's vocals remain warm and impactful, yet I believe this release doesn't quite match the excellence of part one, as it tends to evoke nostalgia for a time when life seemed better in one's youth.
Rating: 7.5/10
'Precious' FT Brian May and Taylor Hawkins
If you enjoyed this review, click here to read about Ian Hunter's 'Defiance: Part One'
Canada has produced its fair share of musical stars over the years, with Garage Pop act The Wesleys aiming to be the next. The quartet have recently released their self-titled debut album last week via Little Village Records.
The album builds on the success of their EP, titled "Outside Voices." It presents a novel blend of punk, garage, and power pop encapsulated in nine tracks brimming with introspection, delivered through playful melodies and guitar-centric rock. The band rely on their DIY pathos, much favoured by bands these days, The Wesleys aim to produce and write music that is " authentic and natural". Drawing inspiration from their musical heroes like The Clean, Teenage Fanclub, The Pixies, and The Replacements.
To coincide with this release, eager listeners can grab a teaser with the release of a new animated video for 'A Lot to Lose", the last single taken off the album. As co-founder and guitarist, Henry Girard explains about the video's producer Phil Osborn"“We got familiar with Phil's work through the music video he created with the one and only Cindy Lee and Montreal's Night Lunch. We wanted to see Phil's interpretation of our music. We didn't give him much direction, preferring to tap into his creativity and let him chart his own course!”
Watch the video below:
Girard further explains the reasoning behind the name The Wesleys "it's a sad story to be completely honest with you. I had a friend named Wesley who passed away really young when he was 20 years old. And he was the one who actually got me into music in the first place. I didn't come from a musical household or anything. Wesley got me into jamming for the first time, lent me a bass guitar, taught me some basic scales, and then I would go over to his place and he lived at this mansion. And at the time, there were I think like eight or nine people living there. It was in Killarney in Vancouver and the living room was just stacked up to the ceiling with amps. And we would jam there. It was like the best time I'd ever had in my life. And that's what my friend Wesley did for me; he introduced me to my life.”
The album marks a change in direction for the band from their previous release with a promise of a deeper reflection behind the songwriting. Band member Pablo Garcia opted to produce the album 'Live'
The Wesleys were formed in 2017 by close friends guitarist and lead vocalist Henry Girard, fellow guitarist William D'Amours, bassist Quentin Chisholm and drummer Pablo Garcia. The album was recorded in 2023 by Pablo and Quentin at multiple homes across Montreal.
Nice Mind Records presents a pleasant treat from North-East singer/songwriter Chris Riley- lead singer of The False Poets- with 'Making Waves', the first track taken from his upcoming solo album, entitled Echoes in the Gloaming, which is due out this summer.
The track has nice acoustics and deft touches on the guitar, making it an easy-listening folk song for the summer. I have previously reviewed the past couple of albums for The False Poets, but Riley reverts to a laid-back approach.
The introductory slide guitar merged with delicate fingerpicking, creates a rhythmic cascade reminiscent of undulating waves. Riley's warm and welcoming voice sweeps across the music like a surfer riding the sea waves. The production helps elevate the sound like the listener is sitting next to the musician performing the track. Each note strummed is crystal clear and allows the listener to get lost in the track.
Chris Riley has released a couple of other tracks to accompany the release. 'Peggy Gordon' is a traditional folk song. The song is similar in tone and emotion with Riley singing an ode to a lost love. The singer can write compelling and sensitive tracks to tug at the heartstrings. The last track is 'Wild Mountain Thyme', another example of how Britain still has strong singer/songwriters to keep the folk revival going. I am excited about this upcoming album because it sounds like Riley has separated his own music from The False Poets. I have written a few reviews for the band, which usually focuses more on 60/70's rock sound. Riley has given himself the freedom to write his own music with a special touch.
Click below to listen to 'Making Waves' on Bandcamp.
Alt Rock quartet Paraline recently released their debut EP 'Sound Weapon' last month via Eclipse Records. Two brothers formed the band to discover themselves, as they fought issues with the Pandemic and war in Ukraine to produce 'Sound Weapon'. I caught up with lead vocalist Leo Andersen (No relation!😃) to discuss the new album, the unusual recording practices, and adversity in the face of a conflict. Please scroll down to read the full interview.
Please introduce yourself to the readers?
My name is Leo “Light” Andersen, and I am the band's leader.
Congratulations on the release of Sound Weapon, what has the response to the EP been like?
Thank you, and we haven't had a chance to fully gauge the response yet. We've been too busy with producing a new music video to evaluate the results. But our manager says the support from the audience has been overwhelming and that's all I need to know right now.
The album is quite varied with heavy tracks mixed with lighter ones. How would you describe the EP yourself?
This EP is the culmination of years of hard work and exploration, coming together into a cohesive whole. I would describe it as the result of five years of work and band development in terms of sonic diversity.
My favourite track on the EP was “Icarus” because it is an anthemic track I felt would sound great at a festival. What can you tell me about the song and video?
You're spot on! "Icarus" has indeed been highlighted as an anthemic, stadium-worthy song. It's the most life-affirming song on our album - we've received numerous messages from people saying it helped them get through tough times! But at the same time, both the song and the video were incredibly challenging and almost extreme to create. We recorded the song while on the move between concerts in our tour bus, making it very difficult in terms of sound engineering. And the video was shot on location inspired by the Polar Station Zebra - we were freezing cold. Few people noticed, but in the video, we played in the middle of a frozen lake, and there was supposed to be a scene where we fell under the ice. We had to abandon that idea due to extremely tight deadlines, which was both a relief and a slight disappointment.
Another track I enjoyed was “Hyperdynamic” because, ironically, it is a dynamic track between lighter, electronic stuff and heavier, aggressive chorus. What can you tell me about the track and how it fits in with the EP overall?
"Hyperdynamic" is the main track of the EP, defining the sound of the entire recording, a sort of band mantra. Essentially, everything related to this album started from this track. So, it can be considered the foundation of the project in the form you see it now.
What can you tell me about the recording and writing process behind the release?
Well, since we don't have the capability to write and instantly release songs and because we're a young band, the recording consists of tracks that have been developed over a long period. This time it was the first time we recorded everything at once.
As for the recording process - it was madness. We locked ourselves in a small apartment high in the mountains, where it was 50 degrees Fahrenheit during the day and -10 at night. There were only five hundred people in the town, and we didn't know anyone. We only left this apartment to go to the neighbouring country to give a concert - the rest of the time we recorded and mixed music. No one knew what the future held because of the war. We didn't hope for anything and didn't dream of anything. There was no Eclipse or other prospects, we just made music. The hardest period of our collective’s life. We recorded drums in the basement and vocals in the car.
Most of the songs were written before this - by me and my brother, but I always write the initial version of the song somewhere remote from people or the city, occasionally at home. Some songs come very easily, almost accidentally, while others are a complex, deliberate, and lengthy writing process.
Could you tell me about the journey behind Paraline?
Paraline is a complex project, and that's partly why it's so interesting to pursue. At every stage of the journey, we encounter resistance from friends, obstacles from authorities and institutions, and for lack of a better word, the world. We sing in an unfriendly language in our country (another iron curtain falls), while we observe the bands around us - the presence of a scene, of an industry, of transparent promotion tools, platforms, specialists, open communication - all these things are unavailable to us. So, we had to become experts in specialities we never even thought about. Pyrotechnician, stuntman, SMM manager, we "built" the whole movie studio for making our own music videos... essentially carving our own path to the listener, and that's why the people who eventually find us are so precious. Looking at many of our peers, I realize that comfort is a slow death and even though we chose the path of madmen, the path has been chosen, and let the one who walks it overcome.
As for the musical project itself, it is built on the concept of diversity and opposition between my brother and me (hence the logo and the name of the band). We clash musically, philosophically and stylistically, but “truth is born of arguments”, you know?
What does the title Sound Weapon mean?
I'm not sure if you're familiar with the terms "Havana syndrome" or "Moscow Signal", but in short, it's a form of sonic weapon allegedly used against American diplomats by KGB and FSB in Havana and Moscow (just kidding). The name "sound weapon" came from the very harsh sound of the song "Hyperdynamic", which, as mentioned earlier, is the title track and, as we were told, sounds like a machine gun. We initially thought of naming the song “Hyperdynamic Sound Weapon”, but decided that name was too long and shortened it. However, as we began travelling from country to country, giving concerts and recording this album, because Russia invaded Ukraine and we no longer wanted to be in Russia, we were forced to often cross borders of different small countries. We travelled in our little tour bus, filled to the brim with equipment. And we took with us a small military green-coloured box, full of wires, and it served as a stand for our American coffee maker. Imagine a tour bus like a Dodge Van loaded with cases, trunks, and other bulky items to the roof. Plus a huge amount of bags and personal belongings. At every border, the police and military were persistently interested only in this green wooden crate. Just a box painted with some technical inscriptions. None of us even remembers where we got it. So at every border, we were asked "What's in the box, is it a weapon?" Tired of answering this question from border to border, we started answering, "It's a sound weapon." The Armenian FBI even detained us and questioned us because of this box. Although again it's still just a small wooden box with wires. That's why we named the album that way and put this box on its cover.
What do you feel signing with a record company like Eclipse Records does for an upcoming act like yourselves?
I feel immense pride that a person like Chris Poland chose us to work with despite everything. This is the best company and person a band could wish for on the road to success. He is the best professional we've encountered so far and a true American in the best sense of the word. I've already said that we've met a few good people doing music and that each of them is worth a lot. But Chris Poland, the head of Eclipse Records, is the most valuable of them all.
Certainly, it was a gamble on his part, as we are not very similar to other bands on the label - as if we are too experimental/ our genre is too ambiguous. But Eclipse has an incredibly welcoming audience, and many of their listeners and bands have greeted us very warmly. Thanks to them, “Sound Weapon” has already been heard by tens of thousands of people worldwide, and it's nice to know that we're not working in vain!
Also, when we started working with Eclipse, there was an annular solar eclipse, and almost immediately after the album was released - a total solar eclipse, so in a sense, fate itself marked us to work with Chris Poland and Eclipse.
The band had its struggles to begin with, namely the Covid pandemic and ongoing wars, how were you able to keep your minds sane, and persevere with getting the record out?
Only thanks to this recording did we not go crazy. Everything we went through is captured there. Creating music was undoubtedly therapeutic for us as it was an attempt to offer solace to our listeners too.
One of the things I mentioned in my review was I thought the EP would sound good as a full-length album because it had a lot of ideas and songwriting to pique the listener’s interests. Do you plan on releasing an LP in the future?
Absolutely yes. We will definitely release an LP in the near future with a more complete picture and more vivid colours than "Sound Weapon". We are already working on it.
Finally, what are the future goals and aspirations for Paraline?
"Sound Weapon" is not the end, it's just the beginning. Our plans definitely include recording an LP, experiencing a real tour in a genuine musical environment, and glorifying the band’s name worldwide through good deeds. We want to demonstrate that even when you lose yourself in pursuit of your dreams, you can still achieve them. It doesn't matter where or when you were born, what matters is what you’re making.
The Rockstar Reviewer Vlog debuts with a look at some upcoming new releases. In each episode I decide to pick a couple of albums I like, providing my honest opinions on the subject.
This week's show reviews the new album from Classic Rock Legends ( and my favourite) Blue Oyster Cult's reimagined collection 'Ghost Stories'. The brainchild of the Frontiers Music SRL Chief. The album is a collection of unreleased tracks from the 70's until 2016. The second release from Frontiers Music SRL is the 80's influenced 'Between the Shadows by Sleaze rockers King Zebra. Click on the video below to discover what I think about the releases.
The Rockstar Reviewer show returns with a look at Myths of Fate from Symphonic Metal Stalwarts Leave’s Eyes. This is the German’s ninth studio effort, and the first in four years since The Last Viking. Co-Vocalsist Alexander Krull is back behind the producer’s chair to deliver another release of large, bombastic cinematic scores blended with gothic, folk and Metal Elements. The album is out on Friday, March 22nd via AFM Records. Click on the player below to hear my thoughts on the release.
LEAVES’ EYES is: Elina Siirala – Vocals Alexander Krull – Vocals Micki Richter – Guitar Luc Gebhardt – Guitar Joris Nijenhuis – Drums
“Myths Of Fate” track listing: 01. Forged by Fire 02. Realm of Dark Waves 03. Who Wants to Live Forever 04. Hammer of the Gods 05. In Eternity 06. Fear the Serpent 07. Goddess of the Night 08. Sons of Triglav 09. Elder Spirit 10. Einherjar 11. Sail with the Dead
Metal supergroup Fates Messenger introduced themselves to the metal world with two new singles today. “Scars” and “Bonechapel” are the debut singles from the volatile thrash/metalcore quartet, taken from their upcoming debut EP later this year.
Formed by members of Above All, Romeo Must Die and Dishounour The Crown, the four-piece are no strangers to the metal scene having toured throughout Europe extensively in different disguises. They have supported Korn, Fear Factory and Entombed among the notable names. Fates Messenger mixed and mastered their music with an expected result. The band’s trade of groove-laden riffs, angst-ridden harsh vocals and bone-shattering drum fills are testament to a burgeoning metalcore revival.
“Scars” is a slab of dark, bludgeoning metal designed to arch your neck and raise your fists. The track was inspired by a newspaper story about a teenage suicide brought on by cyberbullying, according to lead vocalist Tony Maddocks. The song hopes to convey a message of hope in a cruel world where the smallest of comments can lead to disastrous consequences.
The song starts with the sound of screams, followed by the lyrics “What vicious lies, cut by the knife, what stolen breath, these scars run deep.” The dark electronic sounds add to the eerie atmosphere. Then, the singer Maddocks enters with aggressive roars, accompanied by intense guitar grooves. The opening of the song is so powerful that it sends chills down the listener’s spine.
The opening verse of “Scars” is preceded by intense guitar grooves and powerful double-blast fills. Tony Maddocks’ raw emotion and anger are palpable throughout the song. The momentum builds with each melodic chorus, with sharp and unsettling guitar phrasing blending with punishing drum fills that evoke images of suffering. The song climaxes with plummeting breakdowns and nerve-shattering staccato rhythms, culminating in an outpouring of emotion from the vocals. Gradually, the thick, distorted guitars evolve over sardonic programming and guttural screams, unveiling the true sense of horror in this track.
Overall, Fates Messenger delivers another evolution to the metalcore scene with a serious message of bullying. I look forward to hearing more of their contributions throughout 2024.
A special set of ' Stand Up For Cancer' concerts has been announced for CatFish guitarist Matt Long. The series of Benefit concerts take place in May and June this year with shows throughout England. Kent, Staines, Luton, Darlington and Milton Keynes are the places to pay tribute to Catfish vocalist and guitarist Matt Long, who was diagnosed with bowel cancer last year. Unfortunately, recent scans have unveiled that the cancer has spread throughout his liver and stomach lining. Matt's Mother, Fiona has arranged a GoFundMe campaign to raise £100,00 for private treatment in the States.
A description on the Crowdfunder reads: ‘Matt has been battling bowel cancer for just under a year and despite surgery and chemo, his latest scan shows that the cancer has spread into his liver and stomach lining. His cancer team have said although there is the option of trying a different type of chemo, they don’t hold out much hope that it will cure him and is likely to at best extend his life a little.
There is an option to have a sample of the tumour sequenced which will give us the maximum amount of information on its make up, which will then show the cancer team exactly what drugs to use to damage it - to either slow it down, or there is just a small chance that they may be able to kill it.
The family reveal that without this treatment Matt only has a 15% chance of survival. It is always sad news to report about the ailing health of talented musicians, but I hope Matt Long can get the treatment to help him beat such a treacherous disease. It is times like these when a musician can call on their contemporaries to put concerts together to help raise awareness and bring communities together. Each venue and location was picked by Catfish due to some sentimental affiliation. Some of the artists who have agreed to appear include John Verity of Argent, Del Bronham of Stray, Chantel McGregor and Kris Barras. You can find more information about the upcoming shows below.
For more information on Catfish visit: https://www.catfishband.com/
All funds from all the shows will go directly towards Matt Long’s medical treatment fund. A different multi-talented lineup (as well as some unannounced special guests) will perform at the following (Lineups subject to change):
Wednesday 8th May 2024 – The Wrotham Arms, Broadstairs, Kent
Zac Schulze
Phil Woolett/John Doe Trio
Katie Bradley
Nigel Feist
Dave Good
Dudley Ross
Please Call Jackie on 07814 344 969 for tickets and more information.
Sunday 19th May 2024 – Thameside Brewery, 1 Hale Street, Staines, Surrey, TW18 4UW
Laurence Jones
Greg Coulson
True Strays
Mike Ross
Alice Armstrong
Bad Influence With Jess Hayes
Martin Abrahams Band
Thomas Heppell
Ticket Price: £30.00 Each
Timings: Doors at Noon Music from 1pm Till 10pm (UK Time)
The Rockstar Reviewer show returns with the rambling man behind the microphone. On this week’s show, I look at the five-track debut EP by Ana. The Australian debutants are a female-fronted symphonic metal act, hailing from Melbourne. They signed with Eclipse Records last year, and The Art of Letting Go is an insight into what they can do. The Episode was filmed a couple of weeks back, but the EP is released this Friday, March 29th. Apologies for any confusion. Click on the player below to listen to my thoughts.
Canadian Alt-Rock Act Digital Opium released the highly addictive “Make Ya’ Dance” last December. The track is the debut of the newly formed band from London, Ontario, Canada. The song is written to get you in the groove and to start those hips swinging.
The band, led by the bluesy vocals of Craig Jamieson, are known for their “infectious melodies and energetic performances”. They had full creative control over “Make Ya’ Dance”, making the song even more enjoyable. The band cite The Black Keys and The Beatles as influences. I can understand how these bands have had an impact on their music. The groovy guitar play and soft vocal melodies remind me of these bands once upon a time. The track makes me feel Digital Opium aim to break into the mainstream.
As for the single, The band wrote this with a strong desire for people to enjoy it. I think they would be proud of the final product. The production is sharp and clear enough to listen to the instruments and vocals to be heard. “Make Ya’ Dance” opens with Jamieson proudly declaring I will play you a song if you dance along. This passionate outburst establishes the mood for the rest of the song. The catchy guitar riffs combine pop elements with upbeat rhythms to lead to the first verse. The general vibe is upbeat and polished, featuring a foot-tapping melody.
The repetitive rhythms are steady and build gradually to an earworm chorus. The song comes to life with Jamieson enthusing “I just want to make ya’ dance” The refrain of this chorus rings out over a combination of addictive grooves and bright keys to conclude a song that would make a great radio hit in any other world.
Overall, Digital Opium is a new name still trying to build coverage in Northern America. If “Make Ya Dance” is anything to go by, they may branch out nationwide with their brand of infectious pop and rock.
London-based alt-rock band Night Thieves adds to a list of talented British bands. It’s hard to deny that some of these bands have the potential to reach a wider audience, and Night Thieves is one of them. You may be wondering who they are – they are a quartet from London, England, and their members include lead vocalist Jess Moyles, guitarist Paul Andrew, bassist Rick Hunter-Burns and temporary drummer for this recording, Tom Connolly. In addition, Ryan Delgyn has since joined on drums permanently.
The band have won many plaudits through established magazines and radio stations like HRH Magazine, Planet Rock,BBC Radio One and Kerrang! to name but a few. Polarity will be the band’s third EP and promises a formidable use of engaging dynamics and punishing rhythms. This is the reason I chose to write this review. I was struck by the lead vocalists’ use of vocal lines, complemented by the pull-and-stop tension of the guitar harmonies and crushing drumming. I draw comparisons to acts like Biffy Clyro, Paramore and Coheed and Cambria.
Furthermore, the proficient Romesh Dodengoda produced this EP. I have written numerous reviews in which he has brought out the best in a band. “Polarity” comprises four tracks that showcase diversity and raw emotion, all of which are packed into less than half an hour.
The addictive “Collide” opens up with a bang. The dark electronic sounds contrast with Moyles’ changing vocal lines. She alternates between soft melodies and powerful vocals over loud, aggressive guitars. Next up is the more commercial sounded “The Way the Story Goes”. The song has a melodious tone that evokes strong emotions with a catchy pop chorus, accompanied by powerful instrumental breakdowns. The accompanying synthesizers add an intense edge to the recording.
Moreover, the band’s use of this instrument complements the intricate phrasing that underlies the deep meaning behind the lyrics. Each song narrates a tale of wisdom through heartfelt vocals, gritty guitar, and drumming. The latest single “Through the Looking Glass” is an example of that. The lyrics are introspective and anguished, accompanied by thundering guitars that create a sense of impending collapse.
Finally, the intense “Walkaway” completes recordings with distorted riffs played over a defiant voice. The powerful and confrontational electronics and rock feels like a resolution to Polarity.
Overall, Night Thieves continues to create a fresh and compelling sound to the modern rock scene.
South African Blues guitarist Dan Patlansky is set for a busy 2024. His new album “Movin’ On” is set for release on March 1st via Virgin Media Group, which was preceded by a single “Who I Am”. He has also announced an eight-date tour of England with some new venues added to the bill.
The Rockstar Reviewer grabbed an opportunity to speak with Blues guitarist Dan Patlansky about his latest single “Who I Am”, his upcoming release “Movin’On” and his UK tour in April. Dan provides more information about the tour and the new release. He also reveals the gear used to record the album, as well as his writing process. Please read below for the full interview.
Hello Dan, How are you?
Dan: I am doing great thanks for asking
Congratulations on your new Tour and Album. First, I would like to begin by asking about your tour.You have announced an eight-date tour of the UK, next April. What can you tell me about those dates?
Dan: Yes, I picked some of my favourite venues, cities, and towns to play on this tour. I’ve played most of these venues before and have always loved the vibe and energy at them. I feel These smaller, more intimate places work brilliantly for the blues.
You are performing at Wolverhampton and Brighton for the first time, how are you feeling about that?
Dan: I’m very excited about playing in new places. I’ve done a support show with Walter Trout in Brighton years back, but this will be my first headline show. Regarding Wolverhampton, this is exciting because I feel we have not done much in the Midlands in the past. I feel the tour has great coverage of the UK
What can attendees expect from a Dan Patlansky show?
Dan: A complete unfiltered and honest out-pouring of everything I have to offer musically. I treat each show as if it were my last. We’ll be playing most of the new record live plus a bunch of requested back catalogue songs.
Do you have any special guests lined up?
Dan: Yes, we do, and we’ll announce that shortly.
I shall now turn my attention to your new release. It is called “Movin’ On” and is due out on March1st. What can you tell me about the album?
Dan: So ‘Movin’ on’ is without a doubt the most honest album Ive ever recorded. Almost zero editing and post-production. I wanted the album to be the closest reflection of what we sound like live. In a sense the theme is fully going back to what I love the most musically, from the songs to the production.
You released your first single last Friday, entitled “Who I Am”, What can you tell me about the track? and how does it fit in with the album?
Dan: ‘Who I am’ really speaks to the theme of the record. Making music that makes me tick. The song covers the guitar-playing side of me as well as the songwriter and singer side, which has been the goal for the whole album.
What is the reasoning behind the title “Movin’ On”?
Dan: This was one of the first songs we wrote, and it inspired the rest of the album. Movin On is about pushing forward regardless of the past. I’ve been through a lot of changes over the past few years and thought this song says it all about my future journey.
Andy Martiz and Greg Van Kerkhof help assist you in writing the album. What can you tell me aboutwhat they brought to the songwriting process?
Dan: They are exceptional writers! When one finds a team like this it’s really special. They understood the direction I wanted to go in, and it felt instantly natural. They brought thoughts and ideas to the table that I would never have thought of. They also come from very different backgrounds musically, which always creates a melting pot.
You co-produced this album with Andy Martiz. Could you tell me about the reasons behind this decision, and how it played a role in the production?
Dan: I’ve been working and touring with Andy for over 10 years, and he has become a great producer over that time. Because of our history, he understood what I was going for on this record, and I’m thrilled with the outcome. It is always great to have another set of ears making decisions.
The first track on the album is about one of your idols, Stevie Ray Vaughan. What can you tell meabout that, and do you feel a lot of your guitar play is influenced by your idols?
Dan: I’m massively influenced by them! SRV in particular. SRV had and still has the biggest impact on my playing. So I thought it was about time I paid my respect and gratitude to him by writing a tribute song that honours and thanks him. He changed my life all those years back and kept me inspired.
Lastly, I would like to ask you about what gear and effects do you use for the album.?
Dan:
I kept it very much like my live rig. Guitar- my blue 63’ custom shop strat with Kingtone Blue Bird Pickups Amp- Honeybee 40-watt head through 2x EVM 12L speakers Effects- Kingtone Fuzz, Mathis Audio Tech OF Texas Tone, Honeybee Clean Drive, Kingtone Duellist, Strymon Flint. DR Strings 12-54 Axe Custom Cables
“Movin’ On” will be released via all major platforms and retail outlets on March 1st.
The London-based Blues band Sun House recently released a catchy rock blues track titled 'Never Be Lonely.' This release marks the duo's first musical offering since their debut album 'Ticket To Fly' in 2020. Comprising guitarist Jamie Ellis and drummer Cam Meek, the band aims to revitalize the blues and classic rock genres for today's music scene. A unique feature of their work is the collaboration with renowned blues musicians, adding a dynamic edge to their sound.
J Lee and the Hoodoo Skulls are featured on this latest track, with lead vocalist Jason Barratt contributing his soulful voice to the vibrant blues riffs. This is the first time I have encountered these acts and I was eager to give this a listen. The sound is fresh and the vocals are infectious. "Never Be Lonely" starts with powerful, resonating drums that segue into an upbeat and rhythmic blues riff. The motif builds, escalated by a steady combination of bass and drums, as the lead vocalist's roar cuts through the mix.
Jason Barratt has the right voice for this kind of song. His charm and affection give the track a kick. He sings with passion and exuberance, especially in the chorus. This is felt as the momentum builds over swinging rhythms and a mid-tempo that makes this feel like a song fans can dance to and enjoy. The slick solo in the mid-eighth gives the song that extra edge. The track finishes with Barratt singing with claps that return to the original chorus and riff.
Overall, Sun House hope to rebuild the blues in their own design. This is a track full of swagger and rock 'n' roll, destined to make your day.
