Minors – Abject Bodies

Label: Holy Roar Records. Release date: 22 February 2019.

This is already a contender for nastiest album of the year. Canada’s MINORS are set to release second album Abject Bodies and it’s the finest slab of noisy, sludgy hardcore you’ll hear all year; it would even make the likes of CONVERGE and WILL HAVEN weep from the bleakness of it. It begins with the dismal title track – a doomy and dissonant instrumental before second track Consumed rips you a new one. Powerviolence bludgens you at the start of the song along with its urgent ‘chorus’. The brilliantly punky vocals make for a more intense listen.

Meanderist continues the angry-as-fuck intensity with its ferocious groove. It really does sound like the lovechild between CURSED and NAILS. It’s a white knuckle ride throughout. The noise seamlessly meanders (pun intended) into Flesh Prison which is a deliciously morbid and darkly groovy track. The sludgy riffs topped with powerviolent tendencies is fantastically striking, making for an all-rounded assault.

A chaotic, grindcore punkfest ensues with the magnificent Boneyard. It sounds exactly what you’d expect a boneyard to sound like; crushing, ugly and complete with unexpected blackened passages. The last half is a stunning chunk of devastating riffage. An outstanding track which is followed by an entirely different beast in the form of Erode. Beginning with a soundscape akin to ISIS or PELICAN, it slowly develops into the sludgy opus it turns out to be. The slow start heightens the sense of incoming catastrophe. The down-tempo continues with the addition of the tortured vocals, making for a downright filthy penultimate track.

The brooding finale Garden of Dismalism is back to the dark and distorted textures. The contorted soundscape builds up to create a chaotic and claustrophobic climax. Abject Bodies is anything but a relaxing listen with an uneasy tension throughout. One thing’s for sure – MINORS are more than an angry hardcore band…their sound is mature, calculated and terrifying. Listen at your own peril.

A Novelist – Folie

Release date: 8 February 2019. Self-release.

A NOVELIST is something of an eclectic project. Formed of vocalist and multi-instrumentalist Ben Nugent and drummer Alex Babineaux, the quirky duo are on a mission to expand the idea of what death metal can be through free and uncompromised expression. Now, I don’t mean to be a genre snob or anything, but I’d argue the Louisiana-based band are primarily progressive metal as they chuck all sorts of musical styles into the mixing pot. I guess this will make A NOVELIST a talking point in online forums for years to come… Genres and labels aside, second album Folie is a disgustingly impressive effort and each listen exposes a new nugget of intrigue.

Eerie opening track Folie Noire sounds like a hybrid of MARTIN GRECH and KARNIVOOL while the quieter moments of THE FACELESS look on. The slow build up bursts into a dark eruption that DARK TRANQUILITY would be proud of. It’s an interesting start to proceedings but next track Exteriors changes tack. It sounds like I’m listening to mid-noughties Victory Records bands again. The parallels to DARKEST HOUR and BETWEEN THE BURIED AND ME cannot be ignored. Just when you think you can guess the direction the song is going in, a new element is thrown in keeping you on your toes.

Third track Tombeau is a little chaotic. The uncomfortable guitar work at the beginning clashes with the harsh vocals but once the song really gets going it is the riffs which carry the song. They truly shine and twinkle here and when the snippets of clean vocals peep through it ends up becoming a bit of a thrill! A similar thing can be said for next track, Apparitions with its mesmerising riffs and hypnotic vocals. It’s an ambitious track with the inclusion of a plethora of weird sounds but it sounds more jazz metal than death metal. If the song was a bit more focussed it would be a masterpiece. The clean vocals really come to the fore here making Apparitions a stunning listen.

Electric organs and harsh vocals shouldn’t really mix but in Acacia Crown somehow the mad genius of A NOVELIST make it work with aplomb. There’s a real energy to this song which is addictive. The energy manifests into a crazy beast in Caveat Lector which begins with EDITORS-esque riffs and jazzy overtones but soon erupts into BETWEEN THE BURIED AND ME territory. I would have liked to have seen A NOVELIST push the jazz elements a little more, but they’re forgiven once the smooth vocals croon over the chaos.

Stockholm Blues is much of the same with its groovy jazzy undertones. The riffs in this track and Crestfallen stir a sense of nostalgia in me. There’s something about the guitar work and the vocals which remind me of metal from the late noughties but with a fresh, metallic crunch. It could be the production, it could be their influences, who knows, but it works and it sounds like a passionate endeavour. This is followed by Learning Paralysis which is an outstanding track. Probably the most ‘whole’ song on the album, it has a distinct beginning which returns throughout the track, making it consistent and focussed.

The pace slows a tad for album finale Interiors, but this somehow emphasises the emotions exposed in the song. The vocals have an air of HOPESFALL about them (hence the nostalgia perhaps?) and lots of interesting components throughout the track pile up for an exhilarating conclusion. There is an exciting and unexpected blackened interlude with intense drumming which brings in a new element in Folie. This, along with the stellar vocals make for a thrilling climax.


Herod – Sombre Dessein

Label: Pelagic Records. Release date: 15 February 2019.

I recently stated on Instagram that 2019 would be the year for black metal and sludgy hardcore. I would be lying if I said I didn’t have HEROD in mind when I said this, as the Swiss group fall into the latter category with their progressive sludge and their hardcore brutality. Sombre Dessein is the band’s second record and the first to feature new vocalist Mike Pilat (ex-THE OCEAN) who has quickly become one of the band’s greatest strengths. Mastered by CULT OF LUNA’s Magnus Lindberg and boasting epic, heavy soundscapes, Sombre Dessein is the soundtrack to the death of a civilisation.

Fork Tongue Intro gets the album off to an atmospheric and crushing start. When Fork Tongue eventually worms its way in, it could almost be classed as dissonant with its suffocating, doomy tendencies. Featuring Bill Steer from CARCASS and the supplementary guitar playing from Pilat, Fork Tongue ends up becoming a brutal assault. You will soon learn what I mean about THAT RIFF dominating the track. Absolutely colossal.

Lead single Reckoning is a savage delight. There is an air of KNUT’s Terraformer (another heavy band from Switzerland!) which might give you an idea of the atmospheric heaviness at hand here. Even the clean vocals on Reckoning leave an eerie overtone. A truly monstrous song, you could do worse than start here.

This is followed by Don’t Speak Last, a 10 minute opus which begins with a claustrophobic ambience, tension and a sense of impending doom. The gradual build up becomes overwhelming until everything collapses into a storming spread of chaos. HEROD channel their inner DILLINGER ESCAPE PLAN during the hectic moments but the commanding outro hypnotises you into submission.

Fifth track Silent Truth sounds like a metal version of the Guinness advert with the horses in the waves (you know the one). This is apt as the song feels like the equivalent of being trampled by wild beasts. One of the heaviest songs on Sombre Dessein, Silent Truth is anything but silent. If you feel you need something a bit tamer after that assault then Mourning Grounds has got you covered. The mesmerising, clean vocals carry the song until it erupts into A LIFE ONCE LOST-esque barrage and an ending TEXTURES would be proud of.

Sombre Dessein comes to its devastating conclusion with There Will Be Gods. The mostly instrumental track is one of my musical highlights of 2019 so far. The sludgy grooves, the skull-crushing riffs, the euphoric climax…this song is a triumph and guarantees Sombre Dessein gets the send off it deserves. This year is going to be one hell of a year for HEROD on the basis of this superb album. All hail the progressive sludge.

Mastiff – Plague

Label: APF Records. Release date: 1 February 2019.

Listening to MASTIFF has finally put to rest my thought of what hellish sounds would be summoned if COALESCE wrestled with NAILS. If you’re after some sludgy hardcore with a powerviolence bite, then look no further than Plague, the hardcore merchants from Hull’s first release for APF Records. Much like the breed of dog MASTIFF share their name with, this band are a big and heavy beast, with aggressive howls you would not want to hear by yourself at night.

If the savagery of their work wasn’t brutal enough for you, then their lyrical content might give it the edge. Plague draws from the misery of the country and their disgust at the false humanity and deceit pouring from social media. Add to this the fact the album was recorded in one room and with no tracking at Studio 94 in Hull, and you get the idea of the relentless ferocity MASTIFF so unforgivingly unleash.

The band kick things off with Hellcircle, an aptly named track as the opening minute sounds like resonance from the bowels of Hell itself. When things get going it simulates the image of NAPALM DEATH having a scrap with MALEVOLENCE. Very nasty. Things slow down a notch with Bubonic,  which features an irresistible blackened element to the opening riff. There is a glorious sense of KYLESA from the middle onwards with the aggressive grooves and doomy stance.

The suitably titled Brainbleed mirrors how it would sound being bludgeoned to death by NAILS while CROWBAR watch on. The sobbing from the end of the track leaks into Quarantine, a swampy and suffocating ode to darkness, filth and suffering that the likes of LEECHED would be proud of. Lead single Vermin belches and vomits much of the same but with such an infectious groove it will catch like the plague.

Torture does what it says on the tin. A notoriously noisy and slow affair at the beginning, it gets you in a firm headlock before it pummels you silly for the duration of the last minute. Absolutely glorious. Much like Weep, a violent steamroller of fury crushing all in its wake. Definitely one of the more straight up ‘hardcore’ offerings on Plague, this track is stupidly heavy and violent.

The final nail in the coffin is Black Death, a disgustingly slow track of NERVEWRECKER proportions. What is most terrifying of all is this track was recorded in one take. Only bands who sell their souls attempt that feat now these days right? Considering Black Death is a staggering 9 minutes in length, that is a devilish achievement. In a scene full of over-produced, shiny and over-polished music, it’s so refreshing to hear a gritty, raw and unforgiving record. You can be sure Plague will be my soundtrack to the impending apocalypse this year.

Soilwork – Verkligheten

Label: Nuclear Blast. Release date: 11 January 2019.

I am delighted that one of my first reviews of 2019 is that of SOILWORK’s forthcoming album Verkligheten. This will be the band’s eleventh album and it feels like a long wait since their last release, 2015’s fantastic The Ride Majestic  (the longest gap between SOILWORK studio albums to date). One thing that SOILWORK fans and critics alike always comment on is how the Swedish melodic death metal group always evolve and release stellar albums even after two decades in the game. Even their rarities album Death Resonance had better material than some of their contemporaries (not naming names). But after such a long time between albums and with vocalist Björn Strid and guitarist David Andersson also playing in Swedish hard rock band THE NIGHT FLIGHT ORCHESTRA, does SOILWORK stand the test of time in 2019?

We’re introduced to the album by its title track opener, a slow-burning yet mesmerising instrumental which gets Verklighteten going at an unexpectedly slow pace. Thankfully second track Arrival blows the cobwebs away with its blistering, blackened intro. SOILWORK are back in business! It’s clear The Ride Majestic was a springboard for this stellar song. The big chorus is backed up full textures of sound. It’s glorious how energetic and alive this song sounds.

Bleeder Despoiler is the ultimate groovefest, like Stabbing the Drama 2.0, but it is Full Moon Shoals which provides the first surprise of the album. It is a lot more on the metallic side of SOILWORK than expected, but also with a big, cheesy chorus making it one of the band’s most poppiest offerings. Strid somehow gets away with it because his vocals are always top-notch.

The intro of fifth track The Nurturing Glance is richly melodic and the old school verse continues the metallic tinge to proceedings. As expected, there is another storming chorus but it is the melodic riffs which steal the show here. Having said this, When the Universe Spoke steals all the attention away. This is a song which is equal parts melodic and ferocious. It’s a fresh and heavy SOILWORK which provides a dense centre to Verkligheten. It was a good choice having this track in the middle of the album to prevent it sounding samey.

Unfortunately Stålfågel doesn’t keep the energy up with its classic metal infused melody. The Wolves Are Back in Town brings things back to more of an old school SOILWORK sound, but it is Witan which provides one of the more interesting tracks of the second half of Verkligheten. Witan has a subtle symphonic element to it which takes it to the next level, but the groove is irresistible.

After the forgettable The Ageless Whisper, SOILWORK deliver a corker of a tune with Needles and Kin. The instrumentation ramps up with this song, with the new drummer Bastian Thusgaard really coming to the fore here. Add some guest vocals by Tomi Joutsen from AMORPHIS and you’ve got a winner.

Last album The Ride Majestic ended on a spectacular finale, so I was expecting Verkligheten to also have an exhilarating conclusion. However, we are instead presented with You Aquiver, which despite its catchy melodies and charming riffs, doesn’t feel like a fitting closer for such a celebrated band. It leaves me wishing the album finished with the previous song. 

Verkligheten is still a really enjoyable album, but it loses momentum halfway through. Despite this, and to answer my question posed at the start, SOILWORK continue to prove doubters wrong. Yes they sound a bit mellower on this album, but they do not sound stale and past their sell by date just yet. They’re still churning out enough interesting ideas to remain relevant and if they can stay a head up above their peers there’s no reason why we couldn’t enjoy SOILWORK for two more decades.

Night Crowned – Humanity Will Echo Out EP

Label: Black Lion Records. Release date: 30 November 2018.

When you think you’re safe from the darkest of extreme metal for another year, NIGHT CROWNED emerge and launch their debut EP, Humanity Will Echo Out, to drag you to the depths of Hell. This EP is only three tracks long but it is enough to pack a punch and leave you fearing the dark. NIGHT CROWNED are a blackened death metal band hailing from Sweden. This terrifying troupe of shadow consists of members from various bands of the underground, including DARK FUNERAL, THE CROWN, NIGHTRAGE and CIPHER SYSTEM, proving NIGHT CROWNED have grown from the darkest of roots.

The seeds of menace are sown with first track No Room For Hope. The song delivers what it says on the tin. The suffocating, blackened complexity of the music smothers the listener and diminishes all hope. The opener crashes in, taking no prisoners with its symphonic air and ferocious drumming. The devilishly swift pace whips you up and spits you out in a flurry of polished guitar solos, demonic screams and epic instrumentation.

Second track Nocturnal Pulse provides the main core of the EP; the blackened riffs gallop with full force obliterating foes in its wake. The brilliant production ensures a massive sound, enabling the atmosphere generated by the band is a spectacular one. The commanding vocals are relentless, adding oodles of malice to the madness.

EP finale All Life Ends provides a horrifying conclusion. With its eerie instrumentation at the beginning, the song erupts into pure black metal perfection. Channelling their inner EMPEROR and CRADLE OF FILTH, NIGHT CROWNED demand your stamina keeps up with their unforgiving pace. Regardless, you’re left winded from the blistering close.

The intensity of Humanity Will Echo Out is unbelievable. It’s hard to accept this is a debut EP, as it sounds like the epitome of their genre. If this is what NIGHT CROWNED achieve with their first release, then what the hell are they going to conjure up for their debut album? All I know is I want to be there to witness the Armageddon. Brilliant stuff.

Unwill – Can’t Kill Me

Release date: 16 November 2018. Self-release.

Considering New York rock n roll trio UNWILL have played Warped Tour, shared stages with the likes of VANNA, LETLIVE and HE IS LEGEND, they’ve yet to make any ripples here in the UK. I very much enjoyed their rock-tastic debut album Past Life released last year and I also admire their punky/gothy edge. However, they’re far from original but that doesn’t mean you can’t enjoy their catchy and ballsy tunes. New album Can’t Kill Me is a bit edgier, a bit cockier and a hell of a lot groovier than its predecessor.

Opening with the confident Keep It Gold, UNWILL are flaunting their simple, yet sexy style with riffs-a-plenty and gang vocals-galore. Getaway boasts licks and riffs that MOTLEY CRUE would blush at, yet UNWILL still boast a kind of innocence about them that makes the trio more cheeky than debauched, which could work to their advantage.

Fault is a bit of a slow burner with its acoustic stance and slower pace. It shows an unexpected side to UNWILL and this unplugged song is oddly charming. We’re back in business with Say What? which is a flamboyant anthem and one of the heavier tracks on Can’t Kill Me, making it stand out. The dramatic ending is the highlight of the album and comes as a big surprise. I’ll say no more.

Album finale I’ll Be Damned begins like a 90s DEFTONES track and the grungy retro feel continues throughout. The rumbling bass and tempting vocals create an epic foundation of rock for their pop sensibilities. There’s something a bit BULLETS AND OCTANE and AVENGED SEVENFOLD-ish about UNWILL that would appeal to heavier fans of rock and the metal crowd in general. The crossover appeal cannot be ignored and is sure to play to their strengths.

UNWILL don’t threaten to push the boundaries of rock but they do threaten to push the boundaries of your record collection. In complicated times it’s good to have a fresh band playing unashamedly ballsy and catchy rock music, leaving you at risk of shaking your hips and banging your head along to the music. Don’t be afraid to indulge.

Avast – Mother Culture

Release date: 26 October 2018. Label: Dark Essence Records.

2018 is certainly the year of blackgaze. The strong love for the style has really come to the fore this year as well as love for the bands of the genre; ALCEST, DEAFHEAVEN and more recently MØL who released their stunning debut album back in April. October sees another debut blackgaze album, this time from Norwegian blackgaze/post-black band AVAST. What sets AVAST apart from the rest is the inclusion of their native country’s style of black metal. They use this to their advantage to give their music an extra bite but Mother Culture is an absolutely stunning beauty. What I enjoy most about blackgaze is the feeling and emotions I get from the shoegaze riffs and the extreme intensity, AVAST are already masters of this and the album speaks for itself.

AVAST’s lyrical content lean towards the philosophical and poetical stance on social and environmental issues. Mother Culture is a concept album which examines the myths upon which modern civilisation is based and there is a looming sense of an impending catastrophe. Based on the philosophical novel Ishmael by Daniel Quinn, you know this going to be an intelligent and thought-provoking listen.

The album begins with the mesmerising title track. Building a wall of sound, the band erupt into a WINTERFYLLETH-esque black metal cascade. The pace and intensity of this song is spot-on, grabbing the listener in at the first chance and latching on for a post-black assault. When the shoegaze riffs kick in it’s a stunning switch to light and triumph, like when the sun rises after a frightful night. Absolutely beautiful.

The triumphant riffs and ambiance continues with the phenomenal instrumental track The Myth. It’s more post-rock than post-black, along the lines of MAYBESHEWILL and PELICAN but it just makes Mother Culture that little more spectacular. As the last guitar note rings, the song shifts suddenly, but seamlessly into the blistering Birth of Man. This track steamrolls through, obliterating everything in its wake. The atmosphere and depth of the sound are absolutely crushing, yet a calmness does descend for an IHSAHN-esque break during the intensity.

The World Belongs to Man is a bewitching track of ambitious proportions. There is a heart wrenching element to this song and the desperation and pain spills out into your ears. The rich textures of sound provides a massive tapestry for AVAST to project their philosophical woes creating an exceptional experience. An Earnest Desire is a more laidback affair which somehow amplifies the yearning. It deceives you into a false sense of security with its delicate and brooding instrumentation, but it bursts into blackgaze perfection. It’s another example of the songwriting prowess of AVAST and the true potential of their craft.

The impeccable Mother Culture needs an equally remarkable finale to do the album justice. Luckily Man Belongs to the World provides a fitting conclusion to this devastating blackgaze showcase. This track is a bit more modest compared to other songs on the album in terms of pace, but this somehow magnifies the components of AVAST and allows you to appreciate the timbre of the riffs and emotion of the vocals. The reduction in tempo and textures towards the end could imply the forthcoming catastrophe. Each component is wiped out until there is only feedback, then silence.

An absolutely breathtaking debut record, AVAST are sure to be accepted as one of the new blackgaze greats. The ambition, ability and intelligence of this record is profound. After listening to the intensity on the record I am eager to experience Mother Culture live. This is only the beginning.

Skyharbor – Sunshine Dust

Label: eOne. Release date: 7 September 2018.

It feels like I’ve been waiting an incredibly long time for this album to drop. There is so much to be said about Sunshine Dust. It’s been a long time coming. After losing Dan Tompkins to TESSERACT again (which I was personally thrilled about as I always thought Tompkins thrived more in TESSERACT), SKYHARBOR had to find a new vocalist and solidify their line-up. They’ve struck gold with new frontman Eric Emery, who thankfully isn’t a Dan Tompkins copycat, but is a stellar singer in his own right.

But this is all old news! It’s been 3 years since the band released Out of Time and 2 years since they released Chemical Hands. Both incredible tracks and arguably the best material SKYHARBOR have ever done. Or so I thought anyway. When the band were picked up by record label eOne, they re-recorded all of the tracks they had written which involved a re-working of the previously released songs. Chemical Hands is now Synthetic Hands, but more about that track later.

Opening track Signal is a hauntingly calm intro and an opportunity for Emery to tease his prog-perfect vocals. We are soon brought to our senses with Dim, which is anything but. What I found frustrating about older SKYHARBOR is the songs never seemed focused enough. This isn’t the case with Sunshine Dust and with this track it is the perfect tune to reintroduce themselves to old fans and new. With a modest verse, but a storming chorus, Dim is going to grab your attention and the band will sure enough keep you interested until the end of this magnificent album.

When next track Out of Time was originally released I thought it was spectacular. Luckily most of the original magic remains with this re-recording. With its spacey beginning, rumbling bass and glorious riffs this song is a winner. The only noticeable change which is immediate is the vocals are higher in the mix in the chorus and sound a bit sharper, this is obviously only ever going to be an improvement! I adore the futuristic elements in this song and we all know that this chorus is going to get every fan belting it out at shows. I’m incredibly glad they’ve kept this song for the album.

The biggest shock of this album is the total re-working of Chemical Hands into Synthetic Hands. With an entirely new beginning, new title and new lyrics I was initially disappointed it wasn’t like the original, but after a few listens you’ll soon appreciate it in its new form. The melodies are mostly the same and the guitar wizardry of Keshav Dhar and Devesh Dayal is really emphasised here. I’m especially pleased they kept the last two minutes roughly the same, because the climax of the song is one of the highlights of the album. This is how melodic progressive metal should be done.

After such a strong track I am bewildered SKYHARBOR have another belter immediately after in the form of Blindside. One of my personal favourites of Sunshine Dust, its ambient beginning is utterly mesmerising, but the huge chorus storms in with oodles of feeling. I really enjoy the delicate riffs of this song, with some of the elements reminding me of shoegaze and postrock. This softer approach also introduces Disengage_Evacuate. With Emery’s hushed vocals you’re led to believe this will be a low-key song, but it’s got another crackin’ chorus. This is one of their more eclectic tracks, but it is one I don’t find myself returning to.

Ethos is another strong track. It’s got a NORTHLANE vibe and an excellent message. There is something triumphant about this song, it is probably the lyrics but the accompaniment somehow sounds optimistic too. This is a bit of a contrast with Ugly Heart, which is a bit of a heart-wrenching track but a beautiful song. The subtle riffs and atmospherics in Ugly Heart really help to make this track shine, along with Emery’s powerful vocal performance.

The Reckoning provides an electronic-fuelled interlude which I find to be a much needed ‘palette cleanser’ before the last chunk of the album. You’ll see what I mean when you’re confronted with Dissent, a DEFTONES/FINCH-esque stomper of a track. There is a brilliant nostalgic/grungy air to this track – progressive grunge? You’ll need to save energy for the rollercoaster that is Menance. It’s got a strong, melodic beginning and a charming chorus but the last half is a ferocious beast which catches you off guard. It merges flawlessly into Temptress which is another interlude, albeit a rather tense one.

This album has been a fantastic voyage through prog, ambient, rock, post-rock and metal, but nothing prepares you for the near-perfect finale – the title track. If one song on Sunshine Dust was going to give you goosebumps, it was going to be this one. It’s a beautifully laidback and melodic song, but the ending is a masterpiece. Dan Tompkins never quite reached climatic heights like this with this amount of power, and this is where Emery really proves himself. This impressive album needed something special to close it and SKYHARBOR pulled it out of the bag. The band will no doubt propel themselves back to the forefront of progressive metal with this effort. It will be very well deserved. Welcome back.

Chandrian Kill – Bring Out Your Dead

Label: Bar3 Records. Release date: 7 September 2018.

When presented with a debut EP with only three tracks on it, I approached with caution. Turns out three tracks is nowhere near enough for a release of this calibre. I was blown away with the quality of the songwriting and production, and after reading up about the band it’s no surprise CHANDRIAN KILL are a promising new project. The band are currently a two-piece with years of experience between them; vocalist Nic Whitmore toured the UK and released two albums with NUMBER ONE SON and was signed to Visible Noise Records; his bandmate Ted Clark is best known for his work with MOESABOA (Basick Records) and MY LIFE IN THE MAKING. Clark started writing on his own and sent Whitmore some early tracks. The project ended up being CHANDRIAN KILL and the result is the brilliant Bring Out Your Dead.

Kicking off with first single I Collide, it’s a bit of a DEFTONES-infused gem. It also reminds me of later FINCH, the melodies and riffs are a compelling  and nostalgic force. I think this will play to the band’s strengths as most people should be able to find something they like when listening to the EP. There are some interesting electronic effects in the chorus and a dash of djent to keep the young un’s happy but all in all this is an extremely solid track.

Second track Filter Off sounds like it was written in the early 00s with its bold riffs and vocals. I can imagine this track sitting quite happily on a film soundtrack amongst the big American types. The hushed FAITH NO MORE-esque moments are magical and the trail at the end of the chorus is simply delightful, but it is the unexpected techy turn of events which holds your attention.

Last track Remain Alive has a different vibe to it completely. It starts off chill but just ends up being an absolutely massive song – the chorus is HUGE. It again has a bit of a nostalgic sound to it, but it still sounds so fresh and exciting. This is unfortunately the end of Bring Out Your Dead. It might be a blessing after all because if it was a full length with songs as big as this, then we might be crushed under the massive weight of melodies and riffs. This is a thoroughly enjoyable release but I can’t yet quite gauge whereabouts CHANDRIAN KILL fit in the metal scene. I’m hoping they will release another EP before they commit to a full length, as I feel they haven’t found their sound yet. A very strong start though.