Accept – Blind Rage


Nuclear Blast

Buy the CD here and the MP3 here.

Review by Rick Ossian

As with many bands who did their thing in the early days of Metal and consequently ripped many of our collective heads off, Accept is a band that has had two lives.  Their second act, if you will, features the vocals of one Mark Tornilla (T.T.Quick).  Many of you will say that the first act was better, and that Udo Dirkschneider was the better vocalist.  In my opinion, when something such as this happens, the fans are many times the ones to benefit.  Not only do they have the band with the new music AND the capability to render the old tunes well; we also have Udo’s solo projects/band.   Best of both worlds, two for the price of one, etc.


Since regrouping with Mark in 2010 for the Blood of the Nations LP, these lads have produced one other record, Stalingrad, and have gone quite a ways in reclaiming their rights as Metal brothers known worldwide for their tenacity and fierce strength.  Today, in addition to Tornilla, Accept are Wolf Hoffman and Herman Frank on guitars, Peter Baltes on bass and Stefan Schwarzmann on drums.  This latest work of theirs is nothing short of brilliant, and I think listeners will find that they are still very much worthy of a listen or two.

Stampede, the opener, is a clarion call to metal heads everywhere.  The lightning fast riffs will have even the skeptical playing air guitar trying to keep up while simultaneously banging their collective noggins.  I know I did!  Last of a Dying Breed is a medium-steam chugger of a riff.  Mark Tornilla does himself proud here.  “Here’s to the rockin warriors/here’s to the heroes“, he bellows, as if to announce that he is still here carrying on the vocal warrior bit.  There is a tasty guitar solo at 3:45.

Dark Side of My Heart, on the other hand, is almost FM friendly – makes me wonder if this track will get any airplay. “Just a slave to the shadows/Just a pawn in this game/Drawn to the slaughter like a moth to the flame“.  Not exactly your run-of-the-mill love story!  There is the requisite guitar solo at the 3-minute mark.  There are also some more conventional lyrics: “You know it’s tearing me apart/knew it from the start/here in the dark side of my heart“.

Fall of the Empire, a longer number (5:44) is a bit proggy, almost battle metal at times.  It will have you recalling other bands from the genre, particularly Manowar.  Trail of Tears is a heavy duty tune, very neat riffs – uptempo stuff, very cool.  Wanna Be Free is another mid-tempo number, cool but sort of predictable at this stage of the game.  200 Years is a great, riffy tune with menacing vocals.

Bloodbath Mastermind features wickedly cool double-time riffage, and an awesome, shredding guitar solo at the 4-minute mark.  From the Ashes We Rise is another excellent tune.  The Curse features a cool guitar intro, with a mid-tempo run-up featuring guitar heralding the beginning of a monster.  It is a longer number, as is the closer, The Final Journey.  Most of these tunes feature good or great guitar solos, and very heavy duty drumming, of course.  I would be remiss if I didn’t mention that Mark Tornilla is a very good vocalist in his own right, whether you are a Udo fan or not.

There you have it, then.  Eleven good ones, some not as powerful or as manic as the others, but all well worth a listen


Linkin Park – The Hunting Party

Warner Brothers

Released June 2014

Right. Let’s get this over with shall we? Regular readers will remember what happened the last time I reviewed a Linkin Park album. Despite my longstanding love of the band their 5th studio album evoked a sense of such utter hatred in me that it took me three weeks to listen to The Hunting Party, because, quite honestly, I couldn’t bear the thought of them having released something that godawful again and every bit of promo I saw was Chester talking about how this time they’d “done something different“. Given last time they did that I had to break out the brain bleach, I was not optimistic.

Anyway, the album kicks off with The Keys to The Kingdom and ……. it’s alright. You’ve got Chester screaming, some heavy guitars, fantastic drum beats  and then Mike does his rapping thing and loads of synthy synthy stuff going on and yeah, it’s an interesting track that made me think ‘ok, maybe this won’t be so bad after all‘.  Then the album moves (via some weird little soundclip things) to All for Nothing and again, it’s an alright track.  It’s quite catchy and elicits a head sway, and by the time I was on my 3rd listen I was sort of singing along.  It’s not a fantastically strong track – there’s a very clear delineation on the album between tracks that are Singles and everything else, but it’s definitely listenable.

Then we have the first big single from the album Guilty All The Same.  It’s a catchy track with riffs a plenty, rapping from someone called Rakim and it’s  track that is worthy of a goth/nu-metal club night.  It’s again an alright track.

But hold on a minute.  I’m three tracks into an album and so far the best description I can come up with is ‘yeah it’s alright’? Where’s my ANGRY Linkin Park?  Where’s the perfect coalescence of agony and rage that made Hybrid Theory and Meteora such epically brilliant albums?

10 seconds later my question is sort of answered by War.  Which has a bit of old school Chester screaming, but it seems a bit forced really.  As if  he’s not really angry any more and is just trying to remember what it felt like.  The guitars however are excellent and I thoroughly enjoyed them.  It’s another track that would be alright for a club night.  From War we move onto Wastelands which is rather mundane and repetitive, and then it’s time for Until It’s Gone, the second single on the album

Until It’s Gone is again, a fairly alright, track.  There’s nothing WRONG with it, there’s just nothing special about it.  There’s some interesting synth going on and some generically heavy guitar and it’s…… JUST SO BORING.

I’m bored.  Halfway through this album – the exact half point in fact and I am SO BORED I could chew my own foot off for the entertainment factor.  This is not an album to put on for a reason, this is an album to put on because silence is unbearable and you want to fill it with something that isn’t too engaging or oppressive.   Because of this very quality however, it’s going to be wildly successful and annoying people who don’t like rock or metal will listen to it and be all ‘oh yah, Linkin Park, love them‘ and then stare at you blankly when you play Crawling. 

Forgive me my Nu-Metal Hipsterism, but my point is proven by the boring pop-ishness of Rebellion and then Mark The Graves , which is just pure self indulgent creative wankery.  There are lengthy instrumental; sections that are well,  guitar wankery, and then it’s followed up by Drawbar  which is like listening to James Blunt with a more exciting drum line and no vocals and then there’s Final Masquerade which is all poppy upbeats and heartfelt lyrics and emphatic guitars and just………. *vom*

Finally, the album draws to a close with six and a half minutes of A Line In The Sand and with that Linkin Park’s opus to mundanity ends.

In summary – there are four listenable tracks on this album, three of which I wouldn’t object to hearing at a club night as a bit of filler between sets and the rest of it is a perfectly mundane and boring pop-rock album.   I’ll be honest, if this is the first Linkin Park album you’ve ever heard and you don’t mind poppy rock with synths then you’ll probably like it.  If you liked Linkin Park in 1999 you probably won’t.  I’m going to give it 2 stars because there’s nothing actually wrong with it and I wasn’t mentally scarred by listening to it, but it won’t be going in my personal music collection.




Overkill – White Devil Armory




Nuclear Blast

Review by Rick Ossian

This is not just a review. Ah, but then, this is not just an album.  Not just any old recording.  Anybody who was dismayed about the downfall of thrash metal can rest easy.  Overkill have released a proclamation of thrash reigning supreme with this, their latest release.  The mere fact that they have this level of energy after 30 years of rocking and slogging it out amidst the metal masses is simply remarkable.

Not only am I recommending this CD – I am going to promote it to the best of my ability amongst the thrash metal community in my little burg.  With any luck, this diatribe and any buzz I can generate will bring the boys to Nebraska!


To begin with, a bit of history may suffice.  Overkill hail from Old Bridge Township in New Jersey.  They have been slamming for 30 years now, and their current line-up is as follows: Bobby ‘Blitz’ Ellsworth on vocals, D.D. Verni on bass, Dave Linsk on lead guitar, Derek ‘The Skull’ Tailer on rhythm guitar and Ron Lipnicki on drums.

There are basically two different kinds of tunes on this disc.  Well, three if you count the intro (XDM), which is kind a new age doom intro, for lack of a better description.  Though I hate pigeon-holing, per se, there are two other categories here: 1) Longer tunes and, 2) shorter tunes.  The latter are what bugs me, but you already know why – I wish they were longer!  The former are wonderful in my eyes because, alas, they are longer.  In fact, a couple of the longer tunes almost belie a bit of progressive leaning.  The fact that they are quasi-proggy makes me enjoy them all that much more.  Let us delve into the batch!

The shorter numbers include the first slammer, Armorist.  All I can say about this one is just hang on to your hat, because you are in for a ride.  This track is nothing less than a double-time thrash-tastic triumph!  Down to the Bone borders on what we will refer to as ‘prog-thrash’ – not necessarily in the classic, time-honoured traditions that we all know and love.  When Overkill get proggy on your ass, it’s not because they’ve gone soft.  They just need a more sophisticated way of getting their musical point(s) across, if you will.  Bone is that rare critter that is both quick and progressive.  I found myself banging and bobbing my head and other body parts during this number.  There is an excellent guitar solo at the 2:45 mark, then back into the slamming double-time again.  A wicked maniacal laugh closes this one.

Pig is basically another Riff City, simplistically speaking.  Drums, guitar and bass abound in deluxe mode on the intro.  This is an all-out aural assault attack on the senses.  My favourite lyrical passage here goes like so: ‘Fillin’ up the black hole/countin’ up the devil toll/Welcome to the rodeo/Got you on the video’.  Not sure why I like it, just know that I do!

Bitter Pill is one of the longer numbers, but at 5:48 sort of rides the fence.  There is a creepy-cool guitar into, then almost prog-style thrash again.  Some very busy drumming going on, and straight vocals for the most part.  There is stand-up power here in Blitz’s voice, however.  At one point he bellows “OPEN UP WIDE AND SWALLOW”, and we almost want to, don’t we?  Fave vocal passage here is ‘Knock down/Turn around/Double down/ Break your neck‘.  At the 3-minute mark there is a brief instrumental passage, a breakdown of sorts.  Then the boys shift gears, and at 4 minutes a completely savage shredding solo turns melodic, then increases power at the 4:30 point.  This track alone is worth the ride!

Where There’s Smoke finds up back amidst the shorter, double-time slammings, if you will.  Of course, where there’s smoke, there’s fire! (surprise) At the 1:50 mark they shift gears again, and at 3:15 there is another bonkers solo.  Absolutely blazing shredding going on here.  At 3:55 we are back into the slam, and did I mention there are some killer little bass fills here?  Hooray for DD!

Freedom Rings is, at just shy of 7 minutes, falls of course into the epic category.  It is long and prog-esque again, but doesn’t fall into boring noodling or anything that would normally make us go ho-hum.  There is almost a lead bass solo intro here, a very cool lick by the way, and we find ourselves cheering for DD again!  The drum build into the main riff is a thing of beauty.  At 4:20 the fellows shift gears AGAIN, and at 5:20 there is more shredding of the fretboard(s).  At 6 minutes or so we are back into the slam, and Blitz screams “FREEDOM WILL RING“, just in case we missed the point.

Another Day sort of rides the fence again in terms of length, just under five minutes, but is no dud by any stretch of the imagination.  I was reminded, by turns, of the Beatles (??) ‘Helter Skelter’ track at the intro, then a bit of Testament and Anthrax here and there.  There is a neat riff at the intro to start us of, and our main character (‘a stone cold killer’) appears to be on the rampage.  I found my head banging and bobbing a bit again when this track came on.  You will hear why when you listen! “No voodoo child/No loaded gun”, yells Blitz, PLUS he uses those famous expletives that I adore so much! “Take your chances/For the Reaper to pass by“, shouts Blitz, warning us that, to this fellow, killing is just another part of another day!  The phased atmospheric riffs about midway through are a nice touch also.  At the 3:40 point there is yet another shredding steamer of a guitar solo, then back into the slam at about 4:15.  Some very moving passages here as well.

King of the Rat Bastards is wonderful!  The title alone is worthy of mention, and the headlong thrash(ing) tempo just adds credo to the sheer force of this number.  As I mentioned before, for these blokes to have this kind of energy after 30 years is simply remarkable.  Broken record, Rick! Sorry, couldn’t help it!  By the way, at the 2:30 point there is another guitar solo, then after totally shredding the boards again, they slam back at us at about 3 minutes or so.  This is just another day – of the RAT BASTARDS! Blitz had to scream at the close again to remind us, but it IS an inspiring scream!

It’s All Yours is another shorter number, but a cautionary tale nonetheless.  ‘It’s all yours to keep/Don’t give it away’, warns Blitz.  This track is another heavy, mid-tempo number.  It has some nice riffing throughout.  Our protagonist has ‘a bulls-eye on his heart’.  I really liked that line for some reason.  Cool image.  There is another guitar solo here (surprise!), and an instrumental breakdown of sorts with some very cool drum fills.  More shredding at the 2:50 mark, and some of that exciting, stand-up power again!  Man, I need some new words!

In the Name is the closer, and at just over 6 minutes is another of the more prog-esque tracks.  For lack of a better word, this is regal thrash.  Again, you will understand when you hear it.  Which, by the way, I HIGHLY recommend that you do!  ‘In the name of the father/In the name of his dying son/In the name of why we fight’ - I am just digging the lyrics again.  Not the most profound of statements, mind you, but they work very well.  In the name of the nation is another bit I found repetitive but effective nonetheless.  A guitar solo and some barre chords and an ending jam that rivals anything on here, and soldiers chanting close out this last track.

I find myself a renewed, excited thrash fan after this listen.  I am seriously considering diving into the Overkill back catalogue to see what I’ve missed over the years.  Do yourself a favour – buy this CD.  That is all!


Fates Warning – Darkness in a Different Light



InsideOut Music

Review by Dave Smiles

Fates Warning are back with their first album since 2004’s FWX and the eleventh in their catalogue. Where FWX took an approach stripped down of many of the Fates Warning traits, Darkness in a Different Light brings the band back to full strength. FWX also felt dark in overall tone; Darkness in a Different Light maintains this, but contains elements of light throughout.

With band members focusing on various other projects, Fates Warning has been sporadically active over the past half-decade, having played 44 gigs from 2005 to 2011. A reunion of the Parallels line up (Alder, Matheos, Zonder, Aresti and DiBiase) in 2009 quickly led to the announcement that a new album was in the works.

The band spent a lot of time and hard work on this new album and it shows.  Aiming to make an album for the band and its fans resulted in a freshness that is often found on many debut albums.  This new album is the first to feature Frank Aresti on guitar since Inside Out in 1994.  New drummer Bobby Jarzombek makes his studio debut.  He’d joined in 2007 as part of the live shows.

The album kicks off with One Thousand Fires, an energized Prog Metal track with a melodic riff that grows within the 7 minutes plus running time.  Firefly is up next. With its catchy riff is the ‘could be’ single on the album.  Falling is a 94 second track that shows a gentle side to the band, quite a beautiful track about loss and uncertainly.  Alder’s singing is impassioned and haunting.

I Am is a great mid tempo rocker done in a way that only Fates Warning could do, and shows that in the nine years since the last album, none of the member’s abilities have waned.  Into the Black contains some various textures throughout and has a killer solo. O Chloroform is an interesting track with lyrics by Ex-Dream Theater keyboardist Kevin Moore. It’s actually an unused track from Matheos’s solo album Sympathetic Resonance.

At fourteen minutes, And Yet It Moves is the progressive multi-part song.  Kicking off with a dual classical guitar intro before the grinding chords kick in, this is one ride the old school fans will be sure to enjoy.

Having founded in the early 1980’s, Fates Warning are often credited as the pioneers of American Progressive Metal, inspiring genre favourites like Dream Theater and Queensrÿche.  With such an impressive catalogue of albums it would be hard to create another one that could stand alongside classics like Awaken the Guardian, Parallels and Inside Out.  Nevertheless, Darkness in a Different Light has enough solid song writing and powerful playing to hold its own amongst such classics.


Blues Pills – Blues Pills


Nuclear Blast

Buy the CD HERE

Review by Rick Ossian

Anyone who is into psychedelic music should pay attention here.  This is by far some of the best you will hear this year.  The music harkens back to the halcyon days of yore for the genre, and you will hear many artists that you may have heard before having an influence upon our heroes.  I myself was reminded of a veritable cornucopia of 60’s/70’s heavy metal icons, including Uriah Heep and Pink Floyd amongst others.

In order for us to continue, we should probably say a little something about the band.  According to their bio, Blues Pills are an ‘American/Swedish/French quartet’ whose home base is Planet Earth, specifically Orebro.  They are Elin Larsson on vocals, Dorian Sorriaux on guitar, Zack Anderson on bass and Cory Berry on drums. Collectively, they are one of the best bands I’ve heard in ages.  After checking out this, their eponymous debut studio LP, one would do well to check out their live EP from Rockpalast.  A fine ribald effort, indeed. Definitely worth checking into!

The folks in Blues Pills come charging smack out of the gate right in our faces with the opener, High Class Woman. It is a bass-rumbling, ass-kicking exploder of a tune.  It is exciting, and, as mentioned before, Uriah Heep-esque at certain moments.  It is absolutely loaded with the 60’s/70’s vibe mentioned above as well.  It dares us, challenges us, in a good way, to LISTEN UP and pay attention!  Ain’t No Change fools us a bit at first, sucking us into what appears to be an instrumental.  However, at the 1:15 mark, we hear Elin’s vocals cutting through the mix.  Slicing would probably be a more apt description of her voice’s ability to hack and slash through the positively wicked boogie of her cohorts’ assault!  Elin is truly a marvel to behold (behear?), and you will hear her voice do all sort of vocal acrobatics, if you will, throughout the rest of the excellent tunes on offer here.  By the way, there is a tasty guitar solo at the 3:15 mark!

Jupiter features a heavy duty psych intro straight out of the hippy rock era, thick with wah/crybaby squealings.  “I wanna show you my love“, hollers Elin, and we WANT her to show us!  There is a guitar solo here at the 1:40 mark, again thick with wah.  A brief breakdown follows at the 2-minute mark, then a jam at 3 minutes in, followed by another guitar solo, thick with wah and shredding till the end!

Black Smoke is a longer number, almost a torch blues in a way.  Elin has the ability to transport us back to the day when women sang as passionately as ANY man.  She is a righteous and powerful vocalist and we would all do well to listen up!  At 1:07 there is a guitar wig-out, for lack of a better word.  Some very serious blues going on here, talk of sinners and God in the lyrics, a guitar solo at the the three-and-a-half minute mark that is more feedback freakout than anything.  A boogie section, reminiscent of Status Quo in a strange way, follows, then another guitar solo at 4:30.

River sucks us in again, leading us to believe that this is going to be a mellow, Floyd-like number.  Indeed, the intro is distinctly that way.  More torchlight vocals via Elin.  At 1:20, things get kicked up a notch for some REAL blues, and at the 2:30 mark there is a positively incendiary guitar solo!

No Hope Left For Me is a stellar space blues.  This is obviously another vehicle for Elin’s vocal work.  Some incredible guitar work here as well.  Devil Man, by contrast, is a hard charger.  It is another vocal tour-de-force (surprise!), and features a very busy drummer on board.  “Truth will haunt you until your death“, Elin warns us.  This tune also includes a very 60’s-style rave-up at the 2:30 mark.

Astralplane is another bluesy, Floyd-y thing, and at some moments is redolent of a slightly harder-rock, almost heavy metal Joe Bonamassa/Beth Hart pairing.  It is a sweet, cool scary blues with some wicked licks!  At the 3-minute mark there is yet another wailing guitar solo.  This is, again, an almost combative blues, challenging the listener to be brave and LISTEN UP some more!  I only wish it were longer…

Gypsy is an old-style boogie number.  Status Quo again came to mind as I was listening.  There is some Hendrix mixed in there as well.  Lots of thick wah/crybaby soloing/riffing going on, and Elin wailing again.  At the 1:45 mark there is another guitar solo! Surprise!

Little Sun is the closer, and it is a mellow, slower number, at least at the intro, featuring some tribal drumming.  This one is almost lullaby-esque, and features two guitar solos, one at 2:10 and one at 3:10.  All things being equal in the rock world, then, this is a release to definitely take note of.  In particular, if psych/blues is your thing – especially if you like those proceedings a bit on the HEAVIER side! Top marks!


The Spiral Sequence – Through Shadow Into Light

Spiral Sequence


Spiral Sequence

Review by Dave Smiles

The Spiral Sequence is a solo project from multi-instrumentalist James O’Toole, who hails from Melbourne in Australia. All the song-writing, performances, recording, mixing and artwork were done by O’Toole, the only thing he didn’t do was the final mastering of the album, which might be a good thing. There’s always the danger of being too close to your work.

It’s impressive that one man has created an album that could be considered the soundtrack to the apocalypse, but when you add to it an astute social commentary, anthems for the working class and some mysticism as well you have an album the ‘thinking man’ can sink his teeth into.

The name The Spiral Sequence comes from the Fibonacci sequence and along with his lyrics show O’Toole is educated and motivated to use his music to inspire people to seek out answers.

The ten tracks that make up Through Shadow Into Light fuse alternative, metal and experimental music and provides a unique sound within the metal genre. At times taking the brutality of Slayer, at others the haunting moods of Mercyful Fate or the doom laden Type O Negative, but it always comes together as a fully realised piece of work that would not be out of place next to Porcupine Tree’s Fear of a Blank Planet or even Iron Maiden’s Seventh Son of a Seventh Son. This is an ‘album’ not just a collection of songs.

There are universal themes throughout the songs, raising questions about the value of human life, governments, personal decisions, struggles, conflict, love, loss and social awareness. If you like your metal with thought provoking lyrics, then this will get some heavy questions raised.

Nibiru takes us on a journey of a cosmic wrecking ball, based on a supposed disastrous encounter between Earth and a large planet – planet X or Nibiru. While this event holds no scientific proof of its apparent occurrence O’Toole manages to paint a picture of impending doom. After this song of cosmic doom we’re quickly grounded with If, a song about self-reflection and personal decisions.

Dehumanisation, followed by Sacrifice take us into the war for profit territories, the latter paying respect to those who have died on battlefields. It’s a common theme to metal songs, but few bring as many visuals to the listeners mind than what O’Toole manages to do. The Rage takes us to the war we face every day in the repetitions of the working class. The relentless performances on all the instruments within these songs fit the subject matter perfectly.

Surface is a reflective tale about loss and giving up which lures the listener along as we sink into the acceptance of helplessness before the mood changes subtly, forcing us back up to face another day. It’s rare that the music, lyrics and singing fit together so well to create an overall feel. This is art.

Killer guitar riffs, awesome drum work and thought provoking song writing. This could be any metal fans favourite ‘unknown’ band. For me, at least, it’s gotten under my skin and insists upon repeated listens and it’s been a while since any album has had that effect on me.

Rating: ****/5

Lost Society – Terror Hungry



Nuclear Blast

Review by Rick Ossian

To begin with, I just want everyone to know that the mere fact that I am doing another thrash metal review is NOT lost on me!  I am well aware that I probably do not do nearly as many thrash as I would, say, straight classic rock, heavy metal or even progressive metal reviews.  So, what’s the story, then, you might say?  Slow day at the office? Meager selection?  Not even close.  In fact, being a listener of and writer for WWRS is the main reason.  Since I’ve become a reporter of metal news, for lack of a better word, I appreciate the tunes much more, it seems.  So, enough of my prattling, on with the show!

Lost Society are four blokes from Jyvaskyla, Finland, and were formed in 2010.  They are, collectively, Sammy Elbana (guitar and vocalist extraordinaire), Arttu Lesonen (also on guitar), Mirko Lehtinen (bass) and Ossi Paananen (drums).   Now let me tell you something about these four: Firstly, they can really jam!  There are some excellent passages here, a giant bag of riffs to pull from throughout.  Secondly, our friendly vocalist Sammy is a screamer AND a singer, and is more than passable at both.  Thirdly, and finally, they curse a LOT.  This is something that I have found particularly entices and excites me.  I do not know why.

The boys start things off with an intro proper, simply titled Spurgatory.  It features a demonic laugh at the outset, heavy duty riffage, as if to call us to attention.  Game Over has double-time bass and drums for its onset, and the main riff and screaming as mentioned aboe come into play, but not for the last time.  Wow, what a riff!  I keep seeing a heavy metal restaurant called Bag O’ Riffs (Open All Nite) when I imagine where these cats might play for a venue…again, not sure why.  Just try to keep up please!


Attaxic features much cursing and some MORE serious riffing, especially the heavier-than-thou main riff.   Lethal Pleasure is a no-holds-barred, in your face kind of number, with more cool and screaming and holy crap dig that main riff! Again!

The title track is a real piece of work, careening along at what could only be described as triple-time!  Of course, there is more cursing, perhaps because expletives are just really cool — maybe just because they can if they want to.  The screams and the musicianship are par excellence once again.

Snowroad Blowout finds the Bag O’ Riffs opening in the morning with their breakfast special.  They’ve just sliced out another big portion of riff pie, if you will.  This number will make you want to stand up, tap your toes and fingers, bang your heads, play your air guitar/drums, or even perhaps pick up actual instruments.  It is one of those tunes that is sort of a call to arms for metal heads (ANTHEM!), and it will inspire you if you are anything like yours truly.  Sammy screams “We’re all gonna die!” and you almost believe him.  Some seriously heavy-duty, free-wheeling thrash on board here.


Tyrant Takeover is a bit more sedate, but still ass-kicking, skull-impinging, mind-infringing metal.  And again the Bag O’ Riffs is open all night tonight, serving a fish-and-chips special for all my friends across the pond.  Double and/or triple-time frenetic beats and shredding seem to be the nom du fare here.  At one point Sammy belts out “KISS MY ASS!!” and you almost kind of want to.  Well, not ME, but I know folks who would…  This is heavy duty and very fast, and features a guitar solo about 2 minutes in, then again at 2:40 and 3:45.  This might be the best number on the recording thus far.  Total shredding at the close, but not surprising at this point.  Like I said, these boys can REALLY jam!

Overdosed Brain includes a drum -heavy intro and a wicked-as-hell cool main riff again.  There is some excellent lead work accompanying the proceedings here as well.  I am fast becoming a fan of these fellows.  Thrashed Reality (indeed it is!) has me wondering just HOW these guys just keep getting better and better as they go along.  It is heavy duty stuff, and just try to keep up on your air drums, I DARE YOU! I did and I did NOT succeed!

F.F.E. (Fucked For Eternity) is another heads-down and bar-the-door number.  More cursing is involved as well.  I’m sounding a bit broken record again, but the main riff kicks ass!  Simply and completely, I might add.  Brewtal Awakening is another killing heavy riff-racked tune, with a really cool wicked lead at the outset, then total shred again as we burrow our way in.  At 1:20 they shift gears into a headlong thrash again.  “OH SHIT!”, yells Sammy, then at about the four-minute mark, it goes back to a classic rock riff breakdown.  One more guitar solo is thrown in at the 4:10 mark for good measure.

Mosh It Up is just as the title would suggest to you, an open opportunity to get your mosh one, as it were.  The opening riff and scream will get you excited again, as it did me.  There is a heavy main riff (surprise!) and Sammy bellows “SHIT OUT OF LUCK” at one point, amongst other expletives.  It is evident that Sammy likes to swear!  At 2:45 there is a lovely guitar solo, switching to total shred again at the close.

Wasted After Midnight is another killer, totally heavy and totally fast.  After all, why let up now?  It also includes a pretty cool main riff.  And why not?  All of the other tracks do too!  Top marks!