Goliath – Under The Glass (single)

Young North Wales based Thrashers Goliath release their debut single Under The Glass today, as the first single from their upcoming EP.

This is a well recorded first outing for the three piece, with a nice mix of riffs and grooves that give the track a real sense of drive and purpose. The vocals are, as always with a new band, something that may take some getting used to, with a mix of guttural booms, snarls and a few glimpse of cleans popping up, its an interesting approach and one we will look forward to hearing more of as the next three instalments of the EP are released in the coming months.

Available on all streaming services from 7pm, Go and check this out and give the lads a bit of support on their social channels. (we will post a link later)

Monarch – Future Shock

Euan takes a listen to the new album by Californian Thrashers, Monarch.

Monarch are back with their second record, ‘Future Shock’ in 2021. Monarch formed in 2008 and have since released an EP, ‘Dawn To Night’ and their debut full length, ‘Go Forth… Slaughter’.

Now they are back in the saddle with ‘Future Shock’, releasing on April 16th. The albums kicks into gear with the slaughtering opening track, ‘Blast The Seed’. It’s immediately clear that this albums blends traditional heavy metal and Thrash metal very well. Shredding solos and catchy choruses are abundant in the first few tracks. The production is very old schools and fits with the songwriting very well. The vocals are rough and crackly in the mix which keep the ferocity alongside the pristine musicianship.

The duel guitar work on ‘Shred Or Die’ truly does the title justice. The twin shredding from Casey Trask & Matt Smith is masterfully magical and fabulously face-melting. The rhythm section from Adam West & Gabe Mendez also provide a rock solid backbone to keep all of the sonic chaos standing. Perhaps the albums peak, track 7, Fatal Vector, has it all. Opening with an ode to Criminally Insane, with double kick twist, we fire into some of the tightest riff work this album has to offer. We’re then treated pounding triplet groove which switches to a melodic death metal inspired riff that kicks the listener into a fearsome throttling first verse.

Later we get an extreme metal mid section before ending back in the Thrash zone. The ability to blend so many influences together so well proves that Monarch are a thrash metal force to be reckoned with.

Monarch – Future Shock is due for release on 16th April 2021 and is available for pre-order via the Bands Website HERE

Blacklist – Blood On The Sand (Video)

Check out the Lyric video for the brand new Blacklist Single – Blood On The Sand, and read our review HERE

Solitary – Catharsis (video)

Our mates and two times Moshin’ The Roof On contributors Solitary released their latest single from last years world beater ‘The Truth Behind The Lies’ Catharsis today. Catharsis’ shines an unflinching spotlight on the plight of the homeless in modern day Britain, a cause that as you know we hold very close to our core.

Check out the video below and if you haven’t already, please consider picking up a copy of our compilation album Moshin’ The Roof On HERE

Speaking about the new video, Solitary front man Rich Sherrington said, “‘Catharsis’ deals with the debilitating state of anxiety, but the lyrics lent themselves really well to the homeless crisis that we wanted to highlight in the video. It’s an issue we feel passionately about and people need to see ‘the truth behind the lies’ – who’d have thought the UK government would misquote and distort the figures to mask the actual reality of the situation?”

The Truth Behind The Lies has received a swathe of incredible reviews from across the metal world and Solitary have had major features in magazines like Zero Tolerance, Metal Hammer and Aardschok.

“They sound hungry and mean…” – ZERO TOLERANCE 5/6
“… Solitary’s magnum opus; an undiluted thrash album with plenty to say and the songs to back it up!” – WORSHIP METAL 9/10
” …a stunningly fast and furious thrash metal rampage…” – METAL GODS TV 10/10
“… an uppercut to be enjoyed without moderation.” – MUSIC WAVES 4/5
“…a HUGE, stonking muthafuckin’ BEAST of an album.” – UBER ROCK

As well as highlighting the ongoing problem of homelessness in the video for ‘Catharsis’ Solitary have also contributed a track to the charity compilation album Moshin’ The Roof On Vol. 2, organised by the UK Thrashers group and featuring the cream of UK thrash. Find out more here:

The Truth Behind The Lies is available now on Metalville Records

The Crown –Royal Destroyer

Paul Hutchings checks out the new release from Swedish Death Metal warriors.. The Crown

Having formed in 1990 as Crown of Thorns, the band became The Crown in 1998, and apart from a break from 2004-09, have delivered high quality death metal for many years. 

2018’s ‘Cobra Speed Venom’ was undoubtedly a highlight in the long career of Swedish death metallers. For me it was possibly the pinnacle of a long and impressive career. Having steered their ship through the pandemic, which included singer Johan Lindstrand contracting the virus, ‘Royal Destroyer’ sees The Crown in robust, visceral form.

It is arguably one of the band’s strongest ever albums. Recorded in a mere six days, it continues from ‘Cobra Speed Venom’ in terms of sheer aggression and performance. The cohesion displayed within the band is impressive, with the Jeff Hannerman tribute ‘Let the Hammering Begin’ coming early and fast. It snarls and rages in typical style with some subtle Slayer homage thrown into the mix. There’s ample variety hidden away when you listen. ‘Ultra Faust’ slows the pace but not the intensity; the fiery thrash of ‘Full Metal Justice’, a damaging three-minute slasher reminds you that this is a band that can and will incite carnage in future shows.

The confidence of The Crown is such that they are unafraid to change style and tempo with ‘We Drift On’, a semi power ballad that is nestled towards the end of the album, but which still carries enough firepower to sit comfortably in the sea of brutality that surrounds it. Lindstrand roars his way throughout, his gravel throated delivery now trademark level recognisable. Thedual guitars of Robin Sörqvist and Marko Tervonen slice ferociously with razor sharp authority and the whole band moves with sledgehammer effectiveness. 30 years and counting.

The Crown may be an underdog in the world of death metal, but believe me, this is a dog with one hell of a bite

The Crown – Royal Destroyer is released via Metal Blade Records on the 12th March 2021

Brazen Bull – Brazen Bull

Whilst not the thrash or Death we usually cover, John checks out East Anglia metallers Brazen Bull and their debut self titled album

Brazen Bull are 5 piece hailing from East Anglia, England, They’ve made a name for themselves on the live scene, securing a support slot for N.W.O.B.H.M. legends Tygers of Pan Tang and it’s easy to see why with their self titled debut release. 

The opening riff on the album (1st single, Angels Nails) took me back to ‘82 and my first time hearing metal. Its a great N.W.O.B.H.M. Style riff but given an updated sound and the album as a whole is jam packed with these great riffs and powered along with a great beat courtesy of Jordan Strang and pounding bass from Luke Green. 

The dual guitar work of Charlie Allen and Hayden Hornsby works exceptionally well, especially the solo work, wonderfully melodic and full of emotion then head banging shred that enhances each track rather than the 30 second “look what i can do” twiddle fest. 

Vocally, Alex Martinez is a superb talent and his style and sound fits and creates the sound perfectly. 

Its very rare for an album to have completely solid tracks but BB have managed this, not one track is filler. From opening track to the finale The Boy and the Dancer each of the 8 tracks is a barnstormer stand out track (for me) is the tremendous Circus of Fears. 

As with most debut albums there is going to be comparisons, shout outs to heroes and influences and Brazen Bull is no exception (have a listen and find them yourself), but what they have done is put their own stamp on it. This is not just some copy cat style album but a serious rock/metal head banger of an album. 

The Album is out on Friday and available on BandCamp HERE

Twitch of the Death Nerve –Beset by False Prophets

Paul Hutchings steps up the brutal gauge and reviews the new EP from Twitch Of The Death Nerve, here’s what he had to say….

There’s death metal and then there’s brutal death metal. It’s the music that forms the extreme end of extreme, and which I freely admit I rarely head for. It’s usually a bit too much for me. But occasionally something that simply blasts the cerebrum is just what you desire.

Enter Twitch of the Death Nerve, a three-piece noise machine whose extreme brutality is relentless. The London three-piece, named after the 1971 culthorror movie by Italian Mario Bava bring a sonic disruption that inevitably scrambles the signals. Four new tracks that resonate with a deathly substrata hum, batter at the front door before kicking it in completely.

This is such an aural assault that blood flowing from the inner ear canal should be listed on the consent form that should accompany this release. The four new songs follow on from 2020’s incredibly well received ‘A Resting Place forThe Wrathful’. Each track comes with a sound clip that captures the essence of the track.

Of the four, the standout track is ‘At theTrial of the Exhumed Pope’, which creaks with horror and relies less on the intense filled battery and more on enormous death crushing riffing. Alongside the fresh pummelling, this release also includes the full nine-song set recorded at the Xxxapada Na Tromba festival that took place in Lisbon, Portugal in January 2020, just before everything went to total shit. A demonstration of the sheer firepower that these three musicians possess, one can only wonder at how Tom Bradfield -Guitars/Vocals can produce such demonic sounds. You can marvel at the insane pace that drummer Mauro Hammerition conjures up to propel the band forward or feel for Tom Carter’sgut rumbling bass that echoes in the very bowels of hell. It’s intense, filthy riff-laden stuff and the appreciative crowd certainly make themselves heard. 

The combination of new tracks and the live recordings works exceptionally well. It’s sick stuff, an orgy of brutality and a cascade of demented chaos. Sometimes isn’t that just what you need?

Coming at you on March 12th, direct from the infamous dungeons of Comatose Music, Beset By False Prophets will set the benchmark for brutal death metal in 2021.

Blacklist – Blood On The Sand (single)

We asked Robbie form The Thrash Metal Album Of The Fortnight Club to check out the latest single from Blackpool Thrashers Blacklist, here’s what he thinks –

This ever evolving world we live in never ceases to provide inspiration and ideas for musicians and songwriters . Often the most tragic, world altering events have the stimuli that inspires the most. To take something as monstrous and as life changing as War as the themeis common for creative minds. However, to be able to fully use that theme and ensure it’s far from cliche, tounge in cheek or not in Ill taste is rarer still. Blacklist have not only delivered a stunning commentary on the horrors of war but, ‘Blood on the Sand’ carrys a huge dose of respect and realism.

With its galvanising effect the song instantly hits those sweet thrash spots. The places that as many will try to reach are visited but often after a few listens. Blacklist however take you to those spots from the very start. As the dramatic harrowing but very real sounds of gunfiremakes way for an intensely crushing riff ‘Blood on the Sand’ lays waste to all in its path. It thunders along with a fine balance of aggression and character. The latter of which it oozes with. 

Theres no messing around! This is anthemic, blistering thrash metal. With a ferocious crunch to the sound theres simply no getting away from the attitude infused intense relentless batterythat the Blackpool thrashers can rightly say have made their own. 

The catchiness of the chorus is understated but sits perfectly and allows a slight respite from the exhilarating barrage unfolding. The grim, shocking tales being retold through the vocalswith conviction and a commanding delivery adding real depth and yet another layer of sonic fulfillment to the overall sound. 

You know a solo is coming too.  Where though will it sit? How will it affect the already razor sharp feel that’s been created. Fears are instantly quashed as the soaring  electrifying brilliance acts as an unexpected climax and the energy built in the song is reflected in the solo. 

As the song comes to a fiery satisfying conclusion you are left somewhat stunned by its imposing power. Such is the instantly gratifying journey Blacklist have taken you on the previous few minutes you are left thirsting for more.

With ‘Blood on the Sand’ Blacklist have unleashed a rousing statement of intent and upped the thrash metal ante. So if and when you use War as the theme to your song you damn well make sure you can inform and entertain in equal measure as Blacklist have excelled in with ‘Blood on the Sand’.

Blood On The Sand is released on all digital platforms on the 5th March. Pre-Save HERE

Bloodmores –Too Close to the Sun

Paul Hutchings comes over all Icarus and flies towards the big shiny thing in the sky… will his wings melt before his ears as he checks out the upcoming new album from Bloodmores!

Great Harwood isn’t somewhere I was able to point to on a map of the UK. In fact, I thought it was some poncy town in the home counties with a conservative MP and village fetes. All cream teas and ladies in hats. 

But after twenty secondsof ‘Virulence’, the opening track on Bloodmores second album ‘Too Close to the Sun’ I was reassured. It exploded out of the speakers and attached itself to my lugholes in a manner that only a riff-driven Northern band could do. Reassured, I noted that the band are from the Hyndburn district of Lancashire, which explains the grit and ferocity that oozes through this bludgeoning aural assault. 

Bloodmores comprise Connor Heelis on bass, drummer Chris Mansell and guitarists Richard Jodrelland Alex Cunliffe who also provides the guttural vocal roars. ‘Too Close to the Sun’ is a mighty mixture of thrash and death metal with an underlying groove that should ensure their appeal is wider than merely fans of one genre. There’s a welcome familiarity as you get stuck into this album. ‘Terminal Diagnosis’ and ‘Crypt of the Blasphemous’ have a drive and power that instantly gets the head nodding. If this was being played live, you’d struggle to restrain yourself from diving into the pit. The chugging riffage may be recognisable but Bloodmores have a contemporary style which is fresh and their own.

The switch during the pummelling ‘White Noise’ allows the band to open the throttle all the way and Cunliffe’s growling roars appear to be generated from deeper and deeper. There are times when you are expecting his oesophagus to land on the floor next to you, such is the strain he places on his delivery. Having reached this far into the album, with one ear barely hanging on from the eruptions through the headphones, it was something of a surprise to hear Bloodmores ease back for around 30 seconds, provide a breather before hitting some more massive riffs.

The more you listen to this album, the more you are pinned into your seat. The album may peak time wise with ‘White Noise’ and the title track, the two six-minute plus tracks on the album forming the pyramid in the centre. The latter is an all-out thrashing beast, which draws in influences from several UK thrash outfits and whilst there is clear evidence of influences, (bit of Sylosis creeps in for example), the band retain their own stamp on their music. It’s solid, it’s loud and in your face. It demands you bang your head. 

But then we arrive at the sting in the tail. ‘Suicide Pact’ already released as single number two a couple of weeks ago is a relentless battery which gives no quarter. And the band maintain that intensity for the final three tracks, concluding with yet another bruising assault, the aptly named ‘Defiant to The End’, a final stomp of the size 12s to the face. 

The UK thrash scene continues to pulse with a quality we haven’t seen for years. Bloodmores second album stands loud and proud amongst their peers. One to watch, and more importantly to buy when it is released.

Bloodmores – Too Close To the Sun is out on the 26th March 2021 and available to pre-order on BandCamp as digital or physical copes, plus some nice new Merch HERE

Summoning The Lich – United In Chaos

Asa takes a deep dive into chaos as he summons the Lich!

Summoning The Lich, for those unfamiliar with the band, are a Melodic Death Metal band from St. Louis, Missouri. Formed in 2017, the band have released a demo and 2 singles, all of which has been leading up to this full-length. The band is made up of David Bruno (Vocals), Ryan Felps (Guitars), John Flynn (Bass) and TJ Chilton (Drums) and are currently signed to Prosthetic Records. Now that the introduction is out of the way, I guess you’re wondering what the band sound like. Well, if their marketing campaign is anything to go by, they like to describe themselves as a “coked-up Black Dahlia Murder” and honestly, before I even dive into this album, that’s a pretty solid indication of whether or not you think this album will be for you. However, if you’re still reading, then I’m assuming you’re at least somewhat intrigued by the band so let’s get to the riffs and see if this album is a Black Dahlia Stunner or a Black Dahlia Borer.

‘The Nightmare Begins’ opens things up with dark chords that has a slightly Black Metal tinge to it. You’re then pummeled with blast beats, tremolo picked riffs and high shrieks before the more classic Melodic Death Metal riffing takes over. It’s here that the Black Dahlia comparisons become blatantly clear as the switching between the low grunts and high screams are almost identical the Trevor Strnad’s vocals. However, they do change things up midway through with a disgustingly heavy slamming breakdown that showcases Bruno’s rather insane vocal range, with gutturals and pig squeals thrown in and some nice use of almost clean-ish vocals adding some atmospheric layering that shows that this isn’t just straight Dahlia worship. It gives the band their own dynamic to play with, showing us that they can deliver brutality and melody in equal parts to punishing effect. There’s some great melodic lead work too from Felps that has a slightly neo-classical edge to it, providing a little bit of a shreddy fix for you guitar nerds out there. As an opener, it slams you in the gut then sucker punches you after, giving the listener a great taste of what is to come. And fear not because if you dig this, then there’s plenty left for you to chew on.

The second track is much of the same for the most part, with dark tremolo picking accompanied by blast beats, technical yet melodic riffs and savage breakdowns. However, the intro is incredibly atmospheric with use of dissonant melodies and croaking vocals that aren’t too dissimilar to that of Dagon’s from Inquisition. The chorus is rather catchy and Flynn gets to show us some of his rather impressive Bass chops. It’s a good continuation from where we left off, offering some new approaches to their sound yet keeping the core very much intact. ‘The Gatekeeper’ is a slower affair, with chugging riffs and a strong focus on atmospheric choruses, with increases in tempo to up the energy and more crushing breakdowns to get bodies slamming. ‘Demon Of The Snow’ is business as usual. Fast melodic riffs with a technical edge, slower tremolo picked riffs, blast beats and some impressive lead work, with Bruno’s vocals being the intense cherry to top it all off. ‘Predatory Reflection’ is much of the same but utilizing more of the atmospheric and dissonant aspects of their sound and once again showcasing more impressive Bass playing. And of course, bringing back the filthy breakdowns, in case you were worried they had forgotten about them.

We’ve reached the halfway point and we’re greeted with a barrage of ‘Acid Reign’ (not that Acid Reign, before you ask. I don’t think H is making an appearance on this any time soon). It’s the perfect blend of everything they’ve done before, almost a greatest hits collection of brutality. The title track has a moody, almost clean intro, with distorted chords, slow paced drums and the vocals come in to set the scene. After that, it’s straight to blistering speeds and unrelenting aggression. The chorus reprises the intro, and we’re even showered with some straight up Black Metal darkness at the mid-point before a rather delicious Bass solo. It’s one of the highlight tracks as it has a lot to offer the listener and doesn’t just constantly bombard you with sheer intensity. If that sounds awful to you though then don’t worry, because ‘Descend’ goes straight for the jugular and doesn’t just tear at it, it completely savages it and then throws it in the gutter. Speed and ferocity is the name of the game here, so just strap in and hold on tight as the maelstrom of riffs suffocate you in their all-consuming heaviness.

‘Hymns (Of The Witches Of The West)’ slows things down a touch, but don’t take that as a time to take a quick breather. Regardless of the tempo the band opts to play at, the vehemence of their songwriting is relentless. Switching between faster, melodic sections and slower atmospheric refrains is this bands greatest strength, and this track has both of those in spades. ‘Death Crystal’ is the shortest song on the album so it’s not surprising that it cuts to the chase. There’s nothing you haven’t heard the band do before already, but it’s a short, swift kick to the nuts that is all about forward momentum. The penultimate track, ‘Temple Of The Bone’, is more business as usual. You want speed? Sure! You after crushing chugs to ensure you need a neck brace soon after? They’ve got you covered! Dark, haunting melodies that could make the coldest of men weep? No problem! It’s all here and on full display. And it’s now that we’ve reached the end of our journey, with the final track making sure it ends the album just as destructively as it began. ‘The Lure Of The Necromancer’ gives you everything the band has in their arsenal, a storm of fire hailing down until nothing is left. Most final tracks opt for a big, epic affair but this is purely about maintaining the unrivalled stopping power this album possesses. In fact, it’s more focused on punishing you than any other track on here with the ruthless ferocity of the riffs hitting harder than ever. And then it just ends. No flowery, 10 minute outro. No final gasp for air or sweet little refrain. Just a vicious bludgeoning leaving you with blunt force trauma. It’s ballsy, and exactly the kind of ending an album this unrelenting needs.

Now that the album is over, it’s time for some final thoughts. Firstly, I want to commend the performances on this album. It’s absolutely ridiculous how much talent these guys have, and everyone is on form, firing on all cylinders throughout the whole run time. The guitars are tight despite the technical nature of the riffs, the bass is insane, the drums are next level pulverizing and the vocals are wild with an awful lot of variety. The songs are well crafted too, with lots of little layers and switching between tempos and emotions is seamless. The whole album is one fluid motion of extremity. The production is top notch stuff, with everything sounding clean and allowing the surgically precise performances to stand out. Everything is audible and it’s an incredibly crisp final product. Some people may prefer the more DIY, dirty type of sound but for music this intricate, with so many different things happening and with the speed and technicality being so off the charts, it’s pretty much mandatory for the production to be this way, otherwise everything would get lost and you wouldn’t be able to appreciate what is happening anywhere near as much.

With that out the way though, I guess it’s time to get to some of the stuff people may struggle with. Firstly, this album is 12 tracks long. The tracks even out to roughly 4 minutes each so it’s not really that long in total length, but I think just seeing the 12 tracks and knowing how intense this experience is may put some people off. Then there’s the fact that there’s quite a lot of more Slam/Deathcore influences thrown in, which may also be off putting for others. There’s certainly little to no Thrash on this release so I wouldn’t go in expecting that as you will be sorely disappointed. I think the biggest thing though is that the songs don’t have much variety. To some, that’s completely fine but to others… I can imagine that it might get boring very quickly and that discerning when a new track begins could be overwhelming, especially when you couple this with just how relentless and extreme the album is. It’s a lot to digest and it all comes at you with rapid ferocity. There’s not time to breathe, to gather your thoughts or to try and collect yourself. And I can understand how this will just be too much for some, because it was at times a little much for me. I like to listen to the albums I review quite a lot before doing the actual review in order to give everything a chance but sometimes, this listen was a bit tough to get through in one sitting and it meant it took longer to do the review.

However, with all of that said and done, this is a pretty damn incredible album. The slamming breakdowns aren’t always for me, but they’re used to devastating effect. The riffs are the right mix between technical prowess and melodic flair, with atmosphere and moody dissonance aplenty. This is 12 tracks of pure extremity and it’s completely shameless in that regard. I’m almost fairly certain that this album would gladly destroy the cosmos if given half the chance, such is the destructive nature of this behemoth. It’s a lot to endure but it’s ultimately worth it and is something that I know a lot of people will enjoy, especially if you’re a big Black Dahlia fan like I am. If you want your Melodeath married with technical precision, slamming brutality and blackened atmospherics, then I highly recommend checking this one out. You won’t be disappointed.

Summoning The Lich – United In Chaos is released via Prosthetic Records on the 26th February 2021