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  • DEVIL’S ISLAND featuring Opensight

    DEVIL’S ISLAND featuring Opensight

    Welcome to this weeks edition of Devil’s Island! Every week we maroon a band or artist on the island and see what they get up to, how they cope with being all alone on a small island in the middle of the ocean. It’s not your average desert island and we’ll see just how each person copes with the extreme conditions.

    This week when we arrived at Devil’s Island we find Opensight sat on the beach. The island is far from their home, so how did they end up here and how did they cope with life on Devil’s Island? 

    Find out now…   

    Welcome to The Razors’e Edge and our somewhat lovely, warm desert island. Don’t worry about it’s name I’m sure it’s not as bad as that would suggest. 

    You’re marooned here on this island, but before you ended up shipwrecked you chose one album that you couldn’t live without. Which album did you each chose and why?

    Ivan: Difficult question. If it’s Rock / Metal adjacent then Faith No more’s Angel Dust or King for a Day… If not then Pepe Deluxe’s Queen of the Wave. There. My nominations of the King and Queen of albums.

    Redd: This is such a difficult choice. So many to choose from. Dirt by Alice In Chains is a possibility, as is Burn My Eyes by Machine Head – that was an album I remember exactly where I was when I first heard it. But maybe my choice would actually be a non-metal album. Piano I Thokunni by Icelandic electro-wizz Bistro Boy had an almost physical effect on me. It took me right back to the icy fjords and snow-covered mountains of western Iceland – perfect if you’re stuck on a hot desert island.

    Duncan: Karnivool – Sound Awake. It’s so expansive, It’s one of very few albums I can listen to on repeat without it driving me mad.

    Neil: Thin Lizzy’s ‘Live and Dangerous’. I’m a huge Lizzy fan and I love twin harmony guitars… Scott Gorham and Brian Robertson were absolute masters!

    Just behind that palm tree is a shack for each of you to stay in, with enough space for you to put up a poster on the wall of one album cover. What album cover do you each chose?

    Redd: Seventh Son of a Seventh Son. I had various Maiden single artwork posters around that time. There’s just so much detail, so much to look at.

    Ivan: I’d have to go with Maiden too. The richness, and sheer amount of Easter eggs and references in Derek Riggs’ Blade Runner-inspired masterpiece for Somewhere in Time, gives it the edge for me. It has to be the landscape version with the full artwork intact. No crops, no edits. The Director’s Cut version, always.

    Duncan: InMe – Herald Moth, one of very few posters I had on the wall so it’s quite nostalgic for me.

    Neil: I reckon Mastodon’s ‘Leviathan’. The full album artwork is epic and I used to have a poster of it on my wall. On the other hand..it might be a bit triggering, considering we’ve just been in a shipwreck and there’s an image of a white whale capsizing a ship on the cover(!)

    There’s also a bar on this here island. But alas each of you only get to choose one drink for the entirety of your stay. What’s your tipple of choice?

    Ivan: Corpse Reviver No. 2

    Redd: On a hot summer’s day, it’s difficult to argue with a hazy pale like Juice Forsyth from Brew York or Club Tropica by Tiny Tebel. We stopped by the Tiny Rebel brewery on tour a while back and they had this mad green Beetlejuice beer. Great stuff!!

    Duncan: Water – hydration is probably pretty important on a desert island.

    Neil: Being of Irish heritage, that would have to be a Guinness. As they say ‘Guinness is good for you’! Plus it’s pretty filling so it would help with the hunger…maybe.

    Your suitcases were lost when your ship sank, but you each managed to salvage one item of band merch. What’s the merch and for what band?

    Neil: Like most metal fans, I have about a billion band shirts – almost all of which are black – so if it’s a hot climate, I’d probably choose the green t-shirt I got when we played Z live! fest last summer in Spain.

    Redd: We do have an Opensight cap somewhere. I’d need it for my baaldy heed.

    Duncan: It’ll end up being one of many Opensight t-shirts that I’ve stolen from our merch stand on tours.

    Ivan: The official KISS inflatable kayak. They have that as part of their merch, right?

    You’re sat on the island thinking “I’m stuck here on this island with my bandmates for eternity”… who would you rather have been shipwrecked with?

    Redd: Significant other excepted, Bear Grylls would be cool as long as he doesn’t make me drink my own piss.

    Duncan: My fiancé Kate, obviously (that’s what I’m supposed to say, right?).

    Neil: I think i’d have to say my girlfriend (altogether now “awww”)

    Ivan: You’d drag your significant other into this? Monsters! 😉

    DEVIL'S ISLAND featuring Opensight

    There’s a walkman in your pocket, on the tape inside is the recording of the one live show that stands out for you. It could be any show, from any band, anywhere in the world. What show is on that walkman?

    Ivan: Testament “Live at The Fillmore” is an underrated collection of great songs, the first band of that stature that I’ve ever seen live and a top favourite band back in the day when I started playing music and started pursuing the dream of playing myself.

    Redd: I seem to remember Pride & Glory at Donington ’94 being particularly good but I haven’t heard it since. I’d love get hold of a copy. Can I change my mind? The Almighty also played a blistering set at Donington ’92.

    Duncan: Devin Townsend – Ziltoid at RAH – Glorious

    Neil: I think I used this answer up earlier, oops! Another live album I really love is Death ‘Live in LA’. I watched the DVD of that a million times but I think it was released on vinyl too. Either that or Led Zeppelin ‘How the West Was Won’

    You’re getting desperate, you decide the only course of action is to put a message in a bottle and hope someone finds it. Your message could be to any member of any band, but should be the most suitable for a rescue attempt. Who is it?

    Redd: If he were still around I think I’d have to try to get a message to Chris Rea. He was such a petrol head, he’d surely know how to pilot a speed boat. And he was a good old Boro boy.

    Duncan: I reckon Bruce Dickinson would be a good shout, he can fly us out of there.

    Neil: Maybe someone from Amon Amarth. I’m pretty sure they have a Viking ship right?

    Ivan: Agree with Bruce Dickinson being a good shout. Lemmy is God, so we can also pray to him. Bruce for the rescue, Lemmy for divine intervention.

    You’ve been stuck here a while and food supplies are running low. There’s only one thing for it… which fellow band member gets sacrificed to help the others survive?

    Redd: You’ve seen Duncan, right? (Sorry, Duncan) An arm would feed the rest of us for a week. I’m too hairy, you’d be finding bits stuck in your teeth.

    Duncan: Sorry Ivan. It’s more about rationing, Neil won’t eat any of Ivan so there’s more to go around between the rhythm section.

    Neil: Probably me…I don’t eat meat so I would probably have to sacrifice myself…or the rest of the band can fight it out while I go eat some leaves or something?

    Ivan: I should be able to eat the rest of the band easily…

    Finally, when the ship sank you each managed to save one person from the wreckage. That person is the one musician that has influenced your career the most, shaped your way of thinking and your outlook on life. Who did you save?

    Ivan: Hey Doctor Frankenstein! Can you make a monster out of Ozzy and Ennio Morricone?

    Redd: That’s a tough one because influences come from all over. Nick Menza and Vinnie-Paul are big heroes of mine. Hmmm… I know I’ve already mentioned him, but Chris Rea’s music has stuck with me from being a kid. It has the feeling of home and he writes about Teesside with affection and pride.

    Duncan: Victor Wooten. I also reckon he’d be great to have around and keep the mood positive. There are no wrong notes!

    Neil: Not sure about my way of thinking and my outlook on life but musically, probably Tony Iommi…he’s the master of the riff and one of the main reasons metal music exists!

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post DEVIL’S ISLAND featuring Opensight appeared first on The Razor's Edge.

  • Storefront Church – “Still Lying”

    In recent months, LA-based Lukas Frank’s releases as Storefront Church have been limited to covers of songs by Sisters Of Mercy and Leonard Cohen. Now, he’s given us his first new original tune since 2024’s somewhat slept-on Ink & Oil. (Everybody who’s missing Grizzly Bear and/or Radiohead should go back and listen to “Tapping On…

    The post Storefront Church – “Still Lying” appeared first on Stereogum.

  • Lady Gaga Shares More The Devil Wears Prada 2 Songs, “Shape Of A Woman” & “Glamorous Life”

    The Devil Wears Prada 2, the long-awaited legacyquel, is in theaters now, which means its all-star soundtrack is out, too. A few weeks ago, Lady Gaga and Doechii shared “Runway,” their song from the movie. Not coincidentally, Gaga is in the movie, playing herself. Earlier this week, we learned that The Devil Wears Prada 2…

    The post Lady Gaga Shares More <em>The Devil Wears Prada 2</em> Songs, “Shape Of A Woman” & “Glamorous Life” appeared first on Stereogum.

  • Victims of the New Math The Stories That You Weave Review

    Victims of the New Math The Stories That You Weave Review

    Victims of the New Math opens his album, The Stories That You Weave, with “The Run Up.” This track begins with striking guitar strumming. The absence of vocals establishes a direct and sincere atmosphere. The arrangement feels grounded yet atmospheric, inviting the listener into the album’s emotional landscape.

    Victims of the New Math The Stories That You Weave

    Next, the album moves into “You’re A Star.” This track ventures into psychedelic territory reminiscent of David Bowie. The rhythm pulses with intensity, creating an enchanting groove. The instrumentation teeters between dreamy and vibrant, encapsulating a sense of surrealism that beckons for deeper engagement. The vocals emerge, echoing the thematic exploration of individuality within a cosmic context.

    That intensity continues into ‘Only in My Dreams.’ This track offers a captivating rhythm that radiates with psychedelic energy. The influence of The Beatles subtly graces the composition, though it veers into a kaleidoscopic territory all its own. Different layers of instrumentation come together harmoniously, creating a delightful complexity. The vocal lines intertwine gracefully, painting vivid imagery of dreams and memories.

    The Stories That You Weave by Victims of the New Math – Sound and Atmosphere

    The album takes an introspective turn with “We Can Be Anything.” This track unfolds like a classic rock ballad, rich with nostalgia and imaginative allure. The instrumentation here feels expansive, allowing listeners to drift away in their thoughts. Those soaring guitar riffs sparkle, inviting an almost ethereal reflection. This ballad taps into the yearning for freedom and possibility, resonating deeply with listeners.

    Transitioning to “The Run Out,” the album embraces simplicity in its structure. A straightforward guitar loop serves as the backbone of this track. While it may seem minimalist, there’s an underlying dystopian quality that permeates the sounds. The subtle nuances in the rhythm enhance this sense of strangeness, marking it as a unique passage within the album.

    “Return to the Universe” brings the album to a dreamy conclusion. The melodies here evoke a celestial quality, transporting listeners into a vast cosmic expanse. Serene pads open up the sonic space, creating an ambient richness that feels almost universal. As the final notes linger, this track leaves the listener in a reflective state.

    The Stories That You Weave – Performance and Production

    Victims of the New Math, aka Thomas Young, presents an instinctive collection of sounds through this album. The array of styles draws from a rich musical history while forging its distinct path. Each track unfolds with sincerity and emotional depth, making The Stories That You Weave a noteworthy experience. It’s a memorable journey indeed, one that invites listeners to explore both nostalgia and new frontiers.

    This album highlights the raw talent present in today’s music scene. The fluid display of artistry demonstrates Young’s vision and understanding of storytelling within music. His low-fi approach adds authenticity to the listening experience. The blend of influences is familiar, calling for multiple listens to fully appreciate the intricacies woven throughout the album. Don’t miss the chance to immerse yourself in this remarkable work, a true gem for music lovers seeking something sincere and direct.



    Psychadelic!

    🔥 If you love dark music like this:

    Discover More Bands Here


    Find Victims of the New Math here:

    Spotify
    Instagram

    For fans of:

    Bowie • The Beatles



    The post Victims of the New Math The Stories That You Weave Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • A.D.A.M. Music Project Suck My Ship Review

    A.D.A.M. Music Project Suck My Ship Review

    A.D.A.M. Music Project storms in with Suck My Ship, a track that wastes no time igniting its engine. From the start, the song hits with a surge of raw energy, channeling the spirit of ‘80s hard rock while injecting a sharp, modern edge. There is no slow build here; instead, the band chooses immediate impact, pulling the listener straight into a high-voltage atmosphere that refuses to loosen its grip.

    Suck My Ship A.D.A.M. Music Project Single

    The vocal performance stands out instantly. There is a tonal quality that recalls Dexter Holland of The Offspring. The delivery carries a sense of urgency and attitude that fits perfectly within the track’s aggressive momentum. Each line cuts through the dense instrumental layers while maintaining a strong melodic identity

    What makes Suck My Ship particularly compelling is its ability to balance past and future. The song draws heavily from classic hard rock aesthetics, yet it introduces a subtle futuristic undertone that gives it a distinctive personality. This fusion creates a sound that feels both familiar and forward-looking, a rare combination that keeps the listener engaged from start to finish.

    The instrumentation is relentless. Guitars drive the track with tight, energetic riffs, while the rhythm section locks into a groove that feels powerful and controlled. The band demonstrates clear experience in how they manage dynamics and rhythmic shifts. Transitions are handled with precision, allowing the song to evolve without losing its core intensity. It is evident that these musicians understand how to structure a track that maintains excitement without becoming chaotic.

    An interesting layer comes from the occasional rap-style vocal sections, which inject additional bursts of energy into the arrangement. These moments never feel forced; instead, they enhance the overall momentum and contribute to the song’s modern edge. Around the 2:30 mark, the track reaches a particularly striking point where the vocal delivery shifts into something almost prophetic. This section adds a dramatic dimension, creating a brief yet powerful contrast before the song surges forward once again.

    Suck My Ship Production

    The production deserves special mention. Every element is polished without sacrificing rawness. The mix allows each instrument to breathe while maintaining a cohesive and powerful sound. It is the kind of production that amplifies the song’s impact, ensuring that every dynamic change and rhythmic variation hits with clarity and force.

    Accompanying the track is a visually intense and imaginative video. The concept of a protagonist being pulled into an arcade game fits perfectly with the song’s energetic and slightly futuristic tone. Bright, saturated colors dominate the visuals, creating a striking contrast with the gritty sonic landscape. The result is a video that feels chaotic and controlled, mirroring the song’s structure and energy.

    Suck My Ship is pure adrenaline. It is a track designed to be felt as much as heard, the kind of song that pushes you to raise your horns and surrender to its momentum. A.D.A.M. Music Project delivers a performance that is tight, energetic, and unmistakably confident, leaving a strong impression that lingers long after the final note.



    Pure Adrenaline

    🔥 If you love this music: Discover More


    Find A.D.A.M. Music Project here:
    Spotify | Instagram

    For fans of:

    Mötley Crüe • Poison


    The post A.D.A.M. Music Project Suck My Ship Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Reviews: Yoth Iria, Battleroar, From The Blackness, Fullmoon Cult (Matt Bladen)

    Yoth Iria – Gone With The Devil (Metal Blade Records)

    Yoth Iria embrace their heritage more than ever with their new album, with extensive use of traditional Greek instruments such as clarinet on the classic metal anthem Dare To Rebel and fiddle on Give ‘Em My Beautiful Hell, sitting beneath the blasts of Satanic yet melodic black metal. There’s also Greek language chants on The Blind Eye Of Antichrist, making for a cinematic third album from this rapidly rising Hellenic Black metal act formed by legendary bass player Jim Mutilator.

    Combining the approaches from their previous two albums, they also look to add more density to their sound with these traditional soundscapes such as ancient instruments and chants, used to counter their often Christian message and take things back to pagan beginnings. Flipping dogma on its head with Lucifer as the light bringer, while those that follow the book strictly often create their own hell, telling others about sin but being the most sinful of all, this power used to execute control.

    This message of breaking free of the dogma is throughout the album linking all the songs thematically, the spiritualism, the freedom and to coin a phrase the ‘non serviam’ of Hellenic black metal the overpowering influence on these songs. Musically though they don’t limit themselves to black metal, there’s the classic heavy metal power of the NWOBHM, particularly Venom, Tank, Angel Witch, the ones that are on the darker side of things, as the evil vocals from He barks, screams and snarls.

    Guitarists Nikolas Perlepe and Naberius in bright melodic union as they switch between leads and riffs, the thunderous bottom end of The Mutilator and drummer Vongaar dictating the pace, from blasting black metal, through early thrash, traditional heavy metal groove.

    Gone With The Devil is a tonic for the world as it is today, dark music for dark times. Avé Satanas, Avé Yoth Iria. 9/10

    Battleroar – Petrichor (No Remorse Records)

    One of Greece’s longest lasting and most notable bringers of Epic Metal, Battleroar return with album number 6, Petrichor, opening with a spoken word which promises that these songs once spoken “belong to the listener and the storm”, we immediately head on the search for The Missing Note, epic heavy metal from first chord as Battleroar are definitely back.

    The anthemic inspiration of Manilla Road, Omen, Crith Ungol, Savatage and Manowar are all recognisable from those first huge muscular riffs of Zack Kotsikis and Kostas Tzortzis. Undercut by the chest beating thunder from bassist Lukas Libertos as the velocity is dictated by drummer George Tsinanis. From the first song it gives you exactly what you have been waiting for since 2018.

    It’s bold, baroque and proper macho heavy metal with fantasy elements writ large across it, as The Earth Remembers highlights Battleroar at their core. With all the massive guitar riff, galloping bass, steel on steel drumming, it’s the violin of Alex Papadiamantis that is one of the main ‘lead’ instruments here. It’s used brilliantly to add folky moments on Atē, Hybris, Nemesis, Chaosbane and the battle balladry of What Is Best In Life? taking many of the solos in addition to the guitars.

    Petrichor features the vocals of new singer Michael Karasoulis and his voice is dramatic, theatrical but have the gritty snarl when the tracks like Legacy Of Suffering invite evil with gothic and thrash elements ala Iced Earth.

    For 26 years Battleroar have fought hard to be in the position they are today, standing as the generals of the Hellenic epic metal scene. With Petrichor they remind anyone who may have forgotten that they are the mightiest of the Greek warriors. 9/10

    From The Blackness – Conjuring Power (Self Released)

    From The Blackness is the musical creation of Sokratis, founded during the pandemic, the music and lyrics are written by Sokratis and he also performs everything, guitar/bass/keys/drum programming and even backing vocals. Though he brings in some guests to play the guitar solos, mainly George Lazaridis and Riccardo Benedini while the vocals are performed by Finnish session singer Eric Castiglia.

    There seems to be something of an unwritten rule about one man projects that they tend to be ok if they’re classic/power metal but not as much if they’re black metal, no one seems to get annoyed when it’s all cool leads and fist pumping but they do when it’s about Satan and being evil. I digress but it’s interesting as I pressed play I wondered had Sokratis conjured a great debut album?

    Well yes and no, musically he’s got it spot on, rampaging rhythms, great riffs that have influences from Sanctuary/Nevermore, Iced Earth and Manowar, all bands I love. There’s solos that love to just appear and blow the roof off and vocals that are varied and aggressive. It’s a great mix of old school heavy metal, thrash and power metal. However the overall impact is let down by the production as it does sound a rather flat and unnatural, the keys and drums especially.

    Whether this was a stylistic decision to make it sound retro or just maybe limitations I don’t know however it does have quite the punch you’d want. However you have to keep in mind that this a self written, self performed, self produced debut album and there’s a lot skill here. With a full band of real players and a bigger production, From The Blackness could be hot on the heels of the big boys on the Greek scene.

    As it stands Conjuring Power, has all the potential but the execution let’s it down a little. 6/10

    Fullmoon Cult – Unleash The Wolves Of War (Khaoszophy Productions)

    Back to the more familiar realms of Hellenic black metal and the rough, tremolo riffage of Great Plea To The Realm Of Most which opens the debut full length from trio Fullmoon Cult. The trio go under pseudonyms with Chaos Kommando on drums, Askalaphos on guitar/bass and Alastor on vocals, standard black metal shenanigans really and you can say that about the music as well.

    It’s full on 35 minutes of frigid blasts, lycan war cries and production that makes it sound like the mics were in another room when they recorded it. Now this is clearly a stylistic choice as it’s sort of what black metal should sound like especially that 2nd wave when it was new and dangerous, rejecting the over production.

    Now that still doesn’t mean I’m hip to it, I much prefer a lot of the black metal bands that fleshed out their sound, however a little bit of this goes a long way and Fullmoon Cult capture that feeling of 2nd wave intensity so if you like it then come howl with their pack. 7/10
  • Reviews: Yoth Iria, Battleroar, From The Blackness, Fullmoon Cult (Matt Bladen)

    Yoth Iria – Gone With The Devil (Metal Blade Records)

    Yoth Iria embrace their heritage more than ever with their new album, with extensive use of traditional Greek instruments such as clarinet on the classic metal anthem Dare To Rebel and fiddle on Give ‘Em My Beautiful Hell, sitting beneath the blasts of Satanic yet melodic black metal. There’s also Greek language chants on The Blind Eye Of Antichrist, making for a cinematic third album from this rapidly rising Hellenic Black metal act formed by legendary bass player Jim Mutilator.

    Combining the approaches from their previous two albums, they also look to add more density to their sound with these traditional soundscapes such as ancient instruments and chants, used to counter their often Christian message and take things back to pagan beginnings. Flipping dogma on its head with Lucifer as the light bringer, while those that follow the book strictly often create their own hell, telling others about sin but being the most sinful of all, this power used to execute control.

    This message of breaking free of the dogma is throughout the album linking all the songs thematically, the spiritualism, the freedom and to coin a phrase the ‘non serviam’ of Hellenic black metal the overpowering influence on these songs. Musically though they don’t limit themselves to black metal, there’s the classic heavy metal power of the NWOBHM, particularly Venom, Tank, Angel Witch, the ones that are on the darker side of things, as the evil vocals from He barks, screams and snarls.

    Guitarists Nikolas Perlepe and Naberius in bright melodic union as they switch between leads and riffs, the thunderous bottom end of The Mutilator and drummer Vongaar dictating the pace, from blasting black metal, through early thrash, traditional heavy metal groove.

    Gone With The Devil is a tonic for the world as it is today, dark music for dark times. Avé Satanas, Avé Yoth Iria. 9/10

    Battleroar – Petrichor (No Remorse Records)

    One of Greece’s longest lasting and most notable bringers of Epic Metal, Battleroar return with album number 6, Petrichor, opening with a spoken word which promises that these songs once spoken “belong to the listener and the storm”, we immediately head on the search for The Missing Note, epic heavy metal from first chord as Battleroar are definitely back.

    The anthemic inspiration of Manilla Road, Omen, Crith Ungol, Savatage and Manowar are all recognisable from those first huge muscular riffs of Zack Kotsikis and Kostas Tzortzis. Undercut by the chest beating thunder from bassist Lukas Libertos as the velocity is dictated by drummer George Tsinanis. From the first song it gives you exactly what you have been waiting for since 2018.

    It’s bold, baroque and proper macho heavy metal with fantasy elements writ large across it, as The Earth Remembers highlights Battleroar at their core. With all the massive guitar riff, galloping bass, steel on steel drumming, it’s the violin of Alex Papadiamantis that is one of the main ‘lead’ instruments here. It’s used brilliantly to add folky moments on Atē, Hybris, Nemesis, Chaosbane and the battle balladry of What Is Best In Life? taking many of the solos in addition to the guitars.

    Petrichor features the vocals of new singer Michael Karasoulis and his voice is dramatic, theatrical but have the gritty snarl when the tracks like Legacy Of Suffering invite evil with gothic and thrash elements ala Iced Earth.

    For 26 years Battleroar have fought hard to be in the position they are today, standing as the generals of the Hellenic epic metal scene. With Petrichor they remind anyone who may have forgotten that they are the mightiest of the Greek warriors. 9/10

    From The Blackness – Conjuring Power (Self Released)

    From The Blackness is the musical creation of Sokratis, founded during the pandemic, the music and lyrics are written by Sokratis and he also performs everything, guitar/bass/keys/drum programming and even backing vocals. Though he brings in some guests to play the guitar solos, mainly George Lazaridis and Riccardo Benedini while the vocals are performed by Finnish session singer Eric Castiglia.

    There seems to be something of an unwritten rule about one man projects that they tend to be ok if they’re classic/power metal but not as much if they’re black metal, no one seems to get annoyed when it’s all cool leads and fist pumping but they do when it’s about Satan and being evil. I digress but it’s interesting as I pressed play I wondered had Sokratis conjured a great debut album?

    Well yes and no, musically he’s got it spot on, rampaging rhythms, great riffs that have influences from Sanctuary/Nevermore, Iced Earth and Manowar, all bands I love. There’s solos that love to just appear and blow the roof off and vocals that are varied and aggressive. It’s a great mix of old school heavy metal, thrash and power metal. However the overall impact is let down by the production as it does sound a rather flat and unnatural, the keys and drums especially.

    Whether this was a stylistic decision to make it sound retro or just maybe limitations I don’t know however it does have quite the punch you’d want. However you have to keep in mind that this a self written, self performed, self produced debut album and there’s a lot skill here. With a full band of real players and a bigger production, From The Blackness could be hot on the heels of the big boys on the Greek scene.

    As it stands Conjuring Power, has all the potential but the execution let’s it down a little. 6/10

    Fullmoon Cult – Unleash The Wolves Of War (Khaoszophy Productions)

    Back to the more familiar realms of Hellenic black metal and the rough, tremolo riffage of Great Plea To The Realm Of Most which opens the debut full length from trio Fullmoon Cult. The trio go under pseudonyms with Chaos Kommando on drums, Askalaphos on guitar/bass and Alastor on vocals, standard black metal shenanigans really and you can say that about the music as well.

    It’s full on 35 minutes of frigid blasts, lycan war cries and production that makes it sound like the mics were in another room when they recorded it. Now this is clearly a stylistic choice as it’s sort of what black metal should sound like especially that 2nd wave when it was new and dangerous, rejecting the over production.

    Now that still doesn’t mean I’m hip to it, I much prefer a lot of the black metal bands that fleshed out their sound, however a little bit of this goes a long way and Fullmoon Cult capture that feeling of 2nd wave intensity so if you like it then come howl with their pack. 7/10
  • WEARY WIZARDS FEDERATION Return With Afternoon Show At MO’S DESERT CLUBHOUSE

    Magic DOES happen! Weary Wizards Federation are coming back after a brief slumber and have declared a welcome home party for one and all Mo’s Desert Clubhouse on May 16. While your attendance stops short of being compulsory, if you’re NOT there you will miss out on not only the Wizards’ first live performance in […]
  • Every Big Rock + Metal Album Released Each Day in May History

    Here is a breakdown of the best rock and metal albums of all-time that have been released form each day of May. Continue reading…