The UK has been sacred ground for extreme music since the birth of heavy metal in the 1970’s. From the humble beginnings of Black Sabbath, to BBC Radio host John Peel and the rise of Earache Records, the intertwined history of the British Isles and metal is long and epic.
Looking to carve their name into England’s hallowed metal history, Manchester’s Ingested have come crashing into ’24 with their latest release, The Tide of Death and Fractured Dreams. This impressive new album is well written and well produced; showcasing Ingested‘s powerful and precise approach to death metal that includes punishing grooves, subtle melodic accents and restrained use of clean vocals.
The opening track, ‘Paragon of Purity’, is a tight onslaught of savage guitar work and machine gun drumming, guaranteed to raise pulses. It’s a well-crafted opener that is perfectly placed here because it offers no hint at the varied sonic layers to come later in the album.
‘Endless Machine’ is a groove-laden bludgeoner which will be an excellent choice for the band’s live set. This one will be a definite crowd pleaser, and will no doubt have fans moshing like crazy. This track is tailor made for the pit.
The third track, ‘Where No Light Shines’, is the standout of the album; featuring brilliantly written and well-layered guitar work that captures the listener’s attention immediately. The riffs on this one are expectedly tight, and the breakdowns are heavy. This could be another one that translates really well to the live set. A true masterpiece.
‘Starve the Fire’ is an interesting track highlighted by it’s off-tempo riffing and subtle use of clean vocals. It’s unusual vibe provides an unexpected listening experience mid-way through the album.
A personal favorite is ‘Numinous’; an atmospheric instrumental piece reminiscent of 90’s era death metal when every band featured at least one instrumental on every album. The use of keyboards in the background give this track a “melo-death” feel, not unlike the Gothenburg bands of the mid to late 90’s.
‘Pantheon’ is another “made-for-the-pit” crusher, featuring a colossal breakdown in the NYDM/NYCHC vein. This one will undoubtedly have the listener stomping about the house and breaking things… which could prove problematic if they’re your things.
‘Kingdoms of Sand’ is another standout with great riffing, while ‘A Path Once Lost’ is an atmospheric closer which features clean vocals throughout, and an almost Industrial vibe to it.
Overall, The Tide Of Death And Fractured Dreams is a rock solid effort that is absolutely worthy of the UK’s legacy of great metal, and the members of Ingested should be extremely proud of the effort they’ve put into this album.
The Tide Of Death And Fractured Dreams is set to be released April 5, 2024 via Metal Blade Records. Pre-Order Here.
ALBUM REVIEW – ARCH ENEMY
CLASSIC ALBUM REVIEW
Arch Enemy – Doomsday Machine
Reviewed by: Blake Mossey
Review Score: 9
As I was pondering what album I wanted to review for a classic album review I looked to one of my favourite bands Arch Enemy. I decided to write about their 6th studio album. Doomsday Machine from 2005. This was the 3rd of the 5 albums that featured Angela Gossow on vocals. Angela replaced original vocalist Johan Liiva. Angela was one of the first female extreme vocalist and influenced many females to get into metal music and that type of vocals. Check out our podcast episode on her first album with Arch Enemy. Wages of Sin from 2001. Me and my favourite witch Rebecca talked that album and about Rebecca also designing outfits for Angela Gossow and Arch Enemy. Take a listen.
Following the recording of Khaos Legions in 2011, Angela handed over vocal duties to Canadian Alissa White-Gluz, who continues as the band’s current vocalist. Angela remained with the band in a managerial role. Arch Enemy are pioneers in the melodic death metal genre. The album showcases former Carcass guitarist and Arch Enemy mainstay Michael Amott, alongside his brother Christopher on guitar, who has since left the band. Sharlee D’Angelo, ex-member of Mercyful Fate, handles the bass, while the formidable Daniel Erlandsson is on drums.
For me personally Arch Enemy was the first extreme metal band I really listened to. I was never into the death style vocals. Back in the days of cd samplers that came with metal magazines I first heard ‘Ravenous’ from the Wages of Sin album and the guitars and music blew me away and made me accept this type of vocals. To my surprise it was a female doing that growling. But that song and album hooked me on Arch Enemy and opened my mind up to that type of vocals.
ENTER THE MACHINE
Album starts off with a two minute instrumental which they used for the outro of their live shows. The melodic guitars of the Amott brothers on display to show case wants to come.
TAKING BACK MY SOUL
The song kicks off with intense drumming, leading into shredding guitars and Angela’s uniquely fierce vocals. It’s a fast-paced, thrash-like track that showcases a guest guitar solo by Gus G of Firewind. The guitar work is a standout feature in this song and across the entire album and well all Arch Enemy albums for that matter.
NEMESIS
‘Nemesis’ by Arch Enemy is a quintessential metal anthem and one of my favourites. It kicks off with fiery guitar leads that segue into Angela’s signature metal scream. The chorus is designed for audience engagement, chanting “One for all, All for one, We are strong, We are one.” It’s a staple in Arch Enemy’s live performances and unlikely to be dropped. The drum interlude midway is a highlight, showcasing Daniel Erlandsson’s intense style that perfectly matches the Amott brothers’ fierce riffs and melodic leads. True to Arch Enemy‘s style, the song dramatically slows down before surging forward with renewed energy.
MY APOCALYPSE
“Sudden implosion of silenced emotions Buried beneath a scarred heart for too long Delusions of hope fading away Dying like leaves on frozen soil”
Another live show staple for Arch Enemy. The lyrics complement the darkness of the riffs, portraying a personal apocalypse. It’s as if the individual is gradually vanishing from earthly existence, descending into darkness and depression, facing the ultimate apocalypse: death. This track is another favourite of mine from the band. It features an apocalyptic sound effect, and there’s a slowed-down atmospheric section in the middle that transitions into melodic guitar licks before returning to the main theme of the song. The echo effect is used effectively, which is a technique they regularly employ.
CARRY THE CROSS
‘Carry The Cross’ is a slower, heavy, and brooding track. Angela’s vocal delivery is venomous, particularly when she articulates “Carry The Cross.” It’s the closest rendition to a ballad with Angela on vocals, as she does not venture into clean singing like Alissa does now. While it’s not one of my favorite tracks on the album, it remains a solid song.
I AM LEGEND/OUT FOR BLOOD
The song begins with 1 minute and 20 seconds of instrumental music before launching into a fast-paced, ferocious track featuring Angela’s intense vocals. The thought of Angela screaming “I am out for blood, out for your blood” at me is quite unsettling. I think the lyrics of this song mirror the horror story ‘I Am Legend’ by Richard Matheson, which depicts a world where all humans have transformed into vampires, leaving only one man unaffected.
SKELETON DANCE
“Watch the skeleton dance On my grave My frozen hour of death Between birth and grave Here I am alone”
The song captures the final moments of a person’s life with a thrashy, fast tempo. It may not be the standout track of the album, but it features a killer guitar solo and pounding drums that keep it engaging.
HYBRIDS OF STEEL (Instrumental)
‘Hybrids of Steel’ presents nearly four minutes of the instrumental prowess Arch Enemy is celebrated for. The piece is a stellar showcase of the Amott brothers’ guitar work, echoing the influence of ’80s guitar heroes. It’s the kind of music that has you humming along to the guitar licks and solos. It’s surprising to me that Michael Amott hasn’t ventured into a solo instrumental album akin to what artists like Vai or Satriani have produced.
MECHANIC GOD CREATION
Angela delivers another brutal vocal performance in this piece, with an almost doom-like sensation yet maintaining a fast and thrashy rhythm. The song might depict the decline of human necessity in favor of robots. Angela’s lines such as “We are rendered obsolete, just a relic at their feet. Not cold enough, too human,” resonate with this theme. Song finishes with another blistering solo.
MACHTKAMPF (Power Struggle)
“All I had was All I gave Was it not enough? You took You take Never giving anything back”
This track features another riff-heavy, thrash-like groove. The solo work is incredible once again, accompanied by thunderous drums and bass.
SLAVES OF YESTERDAY
The album concludes with one of my favourite tracks, serving as an excellent finale. Erlandsson’s drumming is once again a dominant force in this song. It may not be one of the faster tracks, but it boasts a fantastic metal thrash groove. The majority of the lead parts on this track are contributed by Christopher.
CLOSING THOUGHTS
This isn’t my favorite Arch Enemy album. Wages of Sin might be, but every album featuring Angela and Alissa contains some great tracks, and the musicianship consistently keeps me interested in the band. I haven’t listened to the first three albums with Johan Liiva, and although I’ve read many reviews claiming the band sold out when Angela took over vocal duties and their style became more melodic, they still remain one of my all-time favourite bands.
Arch Enemy – Discography Black Earth (1996) Stigmata (1998) Burning Bridges (1999) Wages of Sin (2001) Anthems of Rebellion (2003) Doomsday Machine (2005) Rise of the Tyrant (2007) Khaos Legions (2011) War Eternal (2014) Will to Power (2017) Deceivers (2022)
ALBUM REVIEW – BALANCE OF POWER
Balance Of Power – Fresh From The Abyss
Reviewed by: Blake Mossey
Review Score: 8
The founding members, bassist Tony Ritchie and drummer Lionel Hicks, are now joined by the band’s new lead vocalist, Hazel Jade, as well as guitarists Chris Young and Adam Wardle. These new members have taken over from former guitarists Chris Masimore and Stoney Wagner, who collaborated with the band on the upcoming album Fresh From The Abyss.
Balance of Power is a melodic/progressive metal band from the UK, formed in 1995. Their debut album was released in 1997. Fresh From The Abyss is their sixth studio album, marking 21 years since their last studio release.
Predominantly exploring themes of life and death, Fresh From The Abyss is a compilation of songs that either capture a singular moment in time or offer a broader reflection on the expanse of time and space, as well as the experiences of living and dying.
The album begins with ‘Last Man Down,’ an excellent representation of the band’s essence, featuring a robust opening that transitions into an almost 70s vibe, complete with a memorable chorus and impressive riffs.
The following three tracks embody the band’s more melodic metal style, with ‘Never Be Here Again’ highlighting Hazel’s vocal talent and the band’s skill in crafting complex song compositions.
Then, on the next three tracks, the band shifts into a higher gear with heavier riffs and a slightly increased tempo that enhances the power metal vibe. The standout track for me is ‘Abyss,’ which is the album’s heaviest song. Hazel’s vocals are particularly fierce and venomous, adding an evil tinge to her voice that really drives the song. ‘Velocity’ and ‘Deadlands’ maintain the band’s heavier edge, which will surely please long-time fans.
The album concludes with the seven-minute epic ‘One More Time Around The Sun,’ a heavily melodic track that once again highlights the band’s talents and Hazel’s vocal prowess.
Balance of Power has returned with a terrific album that melds melody with powerful metal. Long-time fans may need time to adjust to the female vocals, but Hazel’s performance is stellar, featuring lots of great riffs and solos throughout the album.
Album Available April 19th on Massacre Records. PRE-ORDER HERE
DISCOGRAPHY: 1997 – When The World Falls Down 1998 – Book Of Secrets 1999 – Ten More Tales Of Grand Illusion 2001 – Perfect Balance 2003 – Heathen Machine 2005 – Heathenology (Compilation) 2024 – Fresh From The Abyss
Firstly, I am aware that this release may not align with some of the metal genres we typically cover. However, Lee Aaron, the former Canadian Metal Queen whose poster once adorned my high school locker, is releasing her first covers album, and I wish to share her current endeavors. With eighteen albums into her career, Aaron has written, recorded, and produced music that has achieved gold and multi-platinum sales. Recognized as one of Canada’s premier rock vocalists, she has also ventured into jazz, blues, and even opera. She has received numerous awards and accolades, including a recent 2023 induction into Canada’s Walk of Fame.
Lee Aaron made her mark on the metal scene in 1982 with her debut album, The Lee Aaron Project. However, it was her 1984 release, Metal Queen, that truly earned her that title. Her subsequent albums like, Bodyrock, Some Girls Do, also enjoyed significant sales, marking the height of her metal/hard rock era. While I wouldn’t categorize her as hair metal, she emerged during that period in the ’80s, and I found Lee Aaron far more appealing than any of the hair metal bands at the time.
So now to 2024 and Lee Aaron thought it would be fun to take on something she has never done and that is a covers album. So she decided to make Tattoo Me. Lee Aaron states, “It started out as a heartfelt nod to artists we’d been influenced by in our youth, but the truth is, we didn’t stop being influenced or being fans at 18, so the list kept evolving. It covers a few decades and a few unconventional choices, but it was incredibly rewarding to make!”
LINEUP: Lee Aaron – lead vocals Sean Kelly – guitars Dave Reimer – bass John Cody – drums
This covers album is mostly a mixture of some classic rock classics that inspired Lee in her younger years and a few obscure tracks.
From the scorching blues-rock of Nina Simone‘s 1960 hit ‘The Pusher’ to the defiant energy of Alice Cooper‘s 1972 anthem ‘Is it My Body’ and Fleetwood Mac‘s ‘Go Your Own Way’, AARON delivers a performance that is sultry, growls, purrs, whispers, and wails. She seems to revel in infusing these classic songs with her own vibrant spirit. Her voice remains as adaptable and potent as it has always been.
Standout tracks include Jet‘s ‘Are You Going to Be My Girl’, Canadian rockers Heart‘s ‘Even It Up’, and my personal favorite, Led Zeppelin‘s classic ‘What Is and What Should Never Be’. As one of my all-time favorite bands, it’s very enjoyable to hear Lee Aaron‘s rendition of it, and she does an admirable job covering such an iconic band and song.”
Lee Aaron and band sound great covering these songs. Definitely more in the hard rock/blues style. She still sounds great and if only I could find that poster that used to be on my locker!!!
ALBUM REVIEW – STORM UPON THE MASSES
Storm Upon The Masses – Crusher Of Souls
Reviewed by: Kenneth Gallant
Review Score: 8
I recently reviewed the latest release from Aborted and immensely enjoyed the brutal assault. So here is another band that brings heaping amounts of blast beats, razor-sharp riffs and featuring voracious vocals. Of course I’m talking about Storm Upon The Masses, who share all the same qualities as Aborted and possibly throw in a little Krisiun and Suffocation for good measure.
Their overall death metal sound is a punishing mix of brutality and aggressiveness taken to hyper level speeds. I will say this Belgium based band know how to steer the ship with frantic riffs and bestial growls. The pacing is relentless on opening track ‘Seas Of Infinite Plague’ and once you get past the creepy opening, it becomes a little ditty to split your ears apart. The vocals are raspy and monstrous sounding, but it’s the thrashy layering of riffs that caught my attention the most.
The sharp contrasting sounds of guitars and blast beats push tracks like ‘Unleash The Demonic Surge’ and ‘Warfare Ungodly’. However, one of my favourite tracks close to the midway point features some vocal assists by Julien Truchan of French death grind band Benighted. He lends his pipes on ‘Murderous Exhibition’ to give the song an added extra zing vocally. But for me it’s the galloping riffs that drive the track to a satisfying conclusion. Then you get ‘Return To Ash’ pummeling you into submission when the blastbeats hit you square in the face. I absolutely love the lyrics written so insidiously and procuring a line from good ‘ole Pinhead himself as he proclaims tearing your soul apart.
The title track ‘Crusher Of Souls’ is a bombastic masterpiece, allowing Brecht Putteneers to unleash his best growls yet on this one. ‘Cauldron Of Carnage’ is a mega-stomp of pummeling blast beats and featuring lyrics about worshipping the lord of gore with a cauldron overflowing of maggots, decaying body parts and human skin. It’s fiendishly written and one heck of a wicked song to boot. Lorena Moraes of technical death metal band Triagone comes in to lend her shrill vocals as another layering effect to the proceedings. She fits right in on ‘Arterial Red’ and I have to give the band props for selecting the right guest support.
The last track ‘To Follow’ begins with a sample of skittish sounds and a heartbeat, before a malevolent voice is heard saying before you die, I will put your children underneath the knife. It sounds like it could come from one of the subsequent Hellraiser sequels, although I am not entirely sure. Regardless, it’s a chilling beginning to what amounts to a ripper of a song and ‘Excessive Retaliation’ is a solid closer for my tastes.
Crusher Of Souls is a worthy follow-up to 2018’s ‘The Ones Who Came Back’. The album’s themes of annihilation, destruction, horror, and mythical creatures continues to churn the lyrical content preoccupying the band’s mindset. The music is brutal at times, but I love the thrashy riffs and the layering of the blastbeats and vocals. Storm Upon The Masses continue providing solid death metal and I do look forward to where they go next.
The album will be released on April 27th, so go out and get your copy as soon as that date rolls around. This is an independent release. PURCHASE HERE.
