Until Rain

Until Rain-Season V

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“Inner Season,” allows the piano and the vocals to shine through, bringing about some interesting melodical arrangements and a fascinating uplift. A very interesting way to start the album. “Running,” starts off thoughtful, with the guitar playing out a soulful melody. It slowly morphs into a darkened mesh of riff destruction and vocal chaos. “Patti,” soars and reaches for wind and pain without grafting away too much. “In Times Of Despair,” shimmers and shifts, with the wind taking things to new levels. “Qualia,” a haunting masterpiece that takes its time to really ingratiate itself in the listener imagination. “Miracle,” a rip roaring guitarist nightmare fantasy come to life.

“Restart,” sets the clock back and makes the listener truly think and ponder the questions are they are being asked, as the slow melodical slides continue. “Stay,” brings the piano out to works once more, providing some brief respite. “The Long Break,” is dark and heavy without every explicitly meaning to be, considering the softness of the vocal arrangements. “Ascending.” starts off soft and then gets heavy. “A Land of Nothingness,” ventures from the crux to the heart and back again. “Time Escape,” distortion supreme.

The album is out on 31st May via Rock of Angels Records.

Devils Gun

Devils Gun-Sing For Chaos


“Killer Machine,” starts things off with a maddening riff, sneaking in and out like a snarling monster. The vocals shriek rage their way into being. “Tear Down The Wall,” brutalises the listener’s ear drums, bringing about a perfect combination of rock and pure grit. “To The Devil,” thumps along nicely, with some interesting little croaks and shrieks. “Lights Out,” is another thundering pounder, taking things from one level to the next. “Sing For The Chaos,” starts off with a duelling acoustic melody, before it shifts gears and produces something quite fascinating.

“Electrical Shock,” a pounding grit machine that thunders into being and destroys everything in its path. “Queen of Destruction,” kicks things off with a solid one two jab and keeps going as the adrenaline kicks into gear. “Alligator Fuck House,” just grooves and busts some serious ass. “Bad To The Bone,” is a monster of a song, coming in with some serious attitude.

The album is out on 12th April via Black Lodge.

Idle Hands

Idle Hands-Mana

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“Nightfall,” comes in with a shifting melody, a haunting line in the background as the vocals come pounding in with some frenetic energy. “Jackie,” a thoughtful little melodic interlude, shifting with one wind and then another. “Cosmic Overdrive,” thumps and shifts, twisting and turning within, producing something definitely noteworthy. “Don’t Waste Your Time,” is slow and haunting, a steady build into something that hints at chaos. “Give Me To The Night,” is a frenzy, moving with pain and grift and channelling some serious energy. “Blade and the Will,” is a roaring melody combined with carnage and energy.

“Dragon Why Do You Cry,” is thoughtful, haunting and a shifting tonality, that brings about some fascinating twists and turns. “Double Negative,” shimmers and darkens with blinding light and chaotic energy. “It’ll Be Over Before You Know It,” is dark and brooding, shifting within and without of the energy lights for some time. “A Single Solemn Rose,” is a haunting tribute to times gone by without letting go of the present. “Mana,” haunts the very core of the listener.

The album is out on 10th May via Eisenwald.



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“Burn Love Burn,” comes in with the fire, and the haunting synth melodies. It progresses into something quite different, with thunderous riffage and some dark and discreet melodies. “Wind of Morrigan,” is a fast moving piece that brings elements of Gaelic jigs to the fore ensuring something new and cultural. “Tiger,” is a solid thrashing monster of a song built on huge riffs. “Red Moon Over Sonora,” is chilling and damingly haunting. “Mephistocrate,” filled with chilling melodies and some absolute shredding vocal performances is fascinating and engaging. “Afterworld’s Disciple,” is another banging song that ventures on the basis of a huge riff and bass melody, the vocals are soaring and crucial.

“When We Were Young,” haunting and reminiscent of days gone by with the keys providing some fascinating back drop. “Heaven’s No Place For Us,” shreds into being and delivers a resounding flashing flush. “Hand of God,” a soaring melodical uproar, that brings into being something truly resounding and ecstatic, a blazing masterpiece. “Rollerball,” a thumping galloping monster of a song. “Troy,” a fitting epic finish that paints an interesting image for the listener with soaring melodies and thrashing riffs.

The album is out on 26th April via Frontiers Music.




“A Place To Call Home,” starts things off immediately with a thumping riff. It then leads into a barrage of soaring melodies and brutal riffage that leads the listener into the time of their lives. “Take A Chance,” continues this cycle with some impeccable riffage that veers one way and another, the call and response vocal is simply intoxicating. “Helio’s Sun,” another thunderous rocker that takes the cake and smashes through boundaries as though they’re nothing. “Page Of Your Life,” veers one way and then another, taking turns to shift the rope and bring about something new and interesting. “Out Of Time,” creeps and crops and brings about some massive edge. “Hold Onto Right,” thunders and delivers something seriously gnarly.

“Handful of Sand,” gallops and roars with the appropriate rage lengths, bringing some new life into proceedings. “This Love,” is haunting and slow moving, bringing about some fascinating twists and turns. “Story of My Life,” rocks out, with a shredding guitar lead and some absolutely insane vocal melodies. “Who Wants To Live Forever,” the chilling and hauntingly beautiful cover of the Queen classic allows the vocals to truly shine through and build something truly beautiful within the ears of the listener. “Chameleon,” is slow bluesy moving rocker. “My Friend,” a nice little closer with that beautifully arranged acoustic guitar melody shifting within and without.

The album is out on 26th April via Frontiers Music.

Michael Thompson Band

Michael Thompson Band-Love And Beyond

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“Opening,” is tantalising, the guitar shreds, and the synths in the background provide some fascinating context. “Love and Beyond,” the title track is heavy and riff driven. The melodies fit themselves in nicely to this framework. “Save Yourself,” has the acoustic beginning, which moves within and without, and slowly changes the beat of things. “Passengers,” is a haunting overlay, the opening guitar melody starts and breaks into the bluesy riffs of days gone by. “Red Sun,” shreds. “Supersonic,” lets rip on the guitar front, creating the atmosphere of the perfect rock song and a half. “La Perouse,”is another fantastic guitar piece that brings together some fascinating melodies between acoustic and electric. “Don’t Look Down,” classic bluesy rock and roll shifting the tone and beat. “Far Away,” brings about an interesting shifting cowboy melody to things.

“Penny Laughed,” another great interlude that shows off the more haunting melodical side. “Love Was Never Blind,” another fascinating rocker. “Black Moon,” brings about some haunting overlays. “Flying Without Wings,” a straight ahead rocker from the eighties, with all the right melodical and tonal shifts. “Forbidden City,” takes a turn and snakes around within and without. “Stardust,” another deep rocker. “What Will I Be?” Another thoughtful melodical song that ventures into the dark processes of the mind. “Starting Over,” a song that brings interesting dynamic shifts to things. “Til We Meet Again,” a shredding guitarist opus.

The album is out on 26th April via Frontiers Music.

Jim Peterik World Stage

Jim Peterik World Stage-Winds Of Change


“Winds Of Change,” starts with the thunder of drums, it continues down the path of the soaring guitars, the keys come in at a latter stage and bring something new and interesting to the song. The vocals, are staccato. “Without A Bullet Being Fired,” is anthemic and soaring with the guitars and the synths providing that driving rhythm. “Proof of Heaven,” sees Jim bringing out the guitars in full. They sing and soar, and provide some fascinating entertainment. “Sometimes You Just Want More,” feels very eighties in the way it is set and the movement of the song lyrically and melodically. “Home Fires,” changes things up, it soars and simmers then produces some fascinating content melodically. “Just For You,” is a classic ballad shaped within and without.

“The Hand I Was Dealt,” comes in with that fascinating piano introduction before shifting gears into a certain type of heaviness with the vocal line narrates the story of a man hard done by. “Where Eagles Dare,” is completely out of left field with the shifting tone and dynamic of the introduction and the acoustic overlays, a fascinating dynamic. “I Will What I Want,” is a brutal shifting changing rocker. “You’re Always There,” continues down the route and shifts and shimmers producing something fascinating. “Avalanche,” is a rocker, pounding the shit out of everything and then driving a hard bargain. “Love You All Over The World,” takes an interesting turn, the lead guitar melodies float and the vocals soar.

The album is out on 26th April via Frontiers Music.




“Don’t Say You Love Me,” comes in with that fat synth intro and you just know that it’s going to be a fun song. The song swaggers around and the vocals and guitars meet one another in their little exchange for favours quite nicely. “Shelter of the Night,” keeps up the form with the synth intro, taking things one by one. The grandness of the whole song is encapsulated by the sweeping lead lick that comes in about fifteen seconds into the song. “Freedom Road,” is a soaring rocker, with a driving punch that leaves the listener desperate for more. The vocals provide the perfect story telling manual. “A Little Drop of Poison,” is dark and foreboding in the intro, with the piano painting a dark picture. The melodies then turn the song into a lament. “What A Fool I’ve Been,” is hardcore eighties rock and roll, right down from the synth to the riffage.

“Overload,” strives in with swagger, and dances upon the route. “Heart of Stone,” a solid number that produces some interesting counterlays between the vocals and the piano melodies, bringing the listener into a thoughtful mood. “The Night,” swaggers into being with some definitive riffing and a sharpness that brings about some serious thoughtfulness. “New Orleans,” changes things up with the introduction of the acoustic guitars in the interplaying melodies, before the guitars come in with heaviness. “All The Right Moves,” swaggers and grooves from the start.

The album is out on 26th April via Frontiers Music.

Aether Void

Aether Void-Curse Of Life


“Walking Down The Path,” is sombre and haunting, setting the perfect scene for some carnage to come. That carnage is perfectly delivered with “Golden Blood,” a song that weaves together two very interesting threads and makes the listener really sit up and take notice. “What You Reap and Deserve,” is Iron Maiden esque, it builds and turns and then riots into something truly grim and heavy, an interesting delivery. “Twisted Maze,” brings pure form to the scene and ensures that the listener is hooked. “One Last Dawn,” is haunting and allows Aether Void to show off more of their melodic style, before thundering into overdrive. “Hoax,” brings the piano in, and slowly ensures that the listener catches onto subtleties that might otherwise have been missed.

“Faithless Crusade,” smacks the listener in the face with its solid bass riff before diving into overdrive on the guitar riffs. “Misleading Promises,” comes in with a slow turnaround and then takes things to a new level, with some seriously edgy material that delivers on everything promised. “Death Wish,” is pure carnage, coming in fast and heavy and never letting go for an instant. “The Eternal City,” shimmers with pure rage and energy. “Angels Die Too,” a song that veers one way and then another, before slowly mapping out the carnage and creation.

The album is out on March 29th via Revalve Records.



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“Obey,” kicks things off with a unique little melodical bass line, taking things to an eerie bass line and then producing full juice. “Neuromancer,” veers this way and then that, with the synths leading the charge and smacking some serious shit into gear. “Ceremony,” is a grappling effort, sometimes producing melodical highs and other times just reeking a little too much.

“Street Spirit,” brings it back with some clarity. “Tria Prima 2,” slowly earns its way into the stop and start.

The album is out on 29th March via Lovely Records.