Monday 30 July 2018

New Monster Truck Video - Evolution

Return With Brand New Video For ‘Evolution’

New Album 'True Rockers'
Released: 14th September 2018
Mascot Records / Mascot Label Group

 Monster Truck return with their brand new video for Evolution. The track is taken from the upcoming new album True Rockers, which will be released on Mascot Records/Mascot Label Group on 14th September 2018.

Speaking about the track and video, singer Jon Harvey explained: “Evolution, as a song, was a real shift in a different direction. It was very eye opening in many different ways for us. We wanted to keep the video looking like the image that we built rather than have another curveball. I think the juxtaposition feels more natural than we expected, and the end product speaks for itself."

It’s been two years since the mighty ‘Sittin’ Heavy’ came out and in the 18 months that followed its release, they played over 150 shows, which included arena tours with Nickelback, Billy Talent and for the final ever European Deep Purple tour - They also played with Black Stone Cherry, Volbeat, The Temperance Movement, Jane’s Addiction, Rob Zombie and Alter Bridge.

They  embarked on their biggest European headline tour to date selling out venues across the continent and thundered through main stage festival slots at RockPalast (Germany), Ramblin’ Man Fair (UK), Download (UK), Rock on the Range (US), Shiprocked (US) and Rock in Vienna (Austria) amongst others.

During the time on the road the band took a recording rig on tour and songs came together for what was to become ‘True Rockers’ and they began to send material back and forth to producer Dan Weller (SiKth, Young Guns, Enter Shikari). “When the inspiration strikes, use it, if you’re not gonna use it, you’re wasting it” says frontman/bassist Jon ‘Marv’ Harvey, “as soon as you think of something could be a good song, work on it, immediately. Inspiration is so valuable.” They then returned to Echo Mountain Studios inAsheville, North Carolina in July 2017 to record the album.

True Rockers’ is the sound of a band letting lose and having fun. Harvey affirms, “We want people to listen to it and have fun, have as much fun as possible.” “Yeah, that’s what I was gonna say too,” adds guitarist Jeremy Widerman. “I mean right off the beginning of the album you hear me scream at Marv. That just kicks off the entire vibe of the album. Us in a room, having fun, joking and yelling at each other.”

The album had been put to bed but the band were still bouncing around ideas and they had the opportunity to work with award winning producers Gavin Brown and Maia Davies on songs ‘Evolution’, Young City Hearts’ and ‘Hurricane’. “We had a chance to work with some hit makers so we took the chance, and what came out is different than anything we have done. Gavin and Maia were fantastic to work with. It added a lot of colour to the record and allowed us the opportunity to take a risk and branch out a little,” explains Harvey.

Elaborating further Widerman adds, “It almost wouldn’t be a Monster Truck record if we didn’t reach the supposed end of the process and then double-back to track a few extra songs in order to strengthen what was already a strong record to us.

Harvey has become a father since the last record was released and this life changing moment had a real effect on the songwriting. Whereas ‘Sittin’ Heavy’ was a more “serious” record, ‘True Rockers’ is the sound of a band letting lose and having fun. Harvey affirms, “We want people to listen to it and have fun, have as much fun as possible.”

This is the essence that is pumping through ‘True Rockers’, a band that formed only for fun back in 2009 have toured the world because they connect with their fans who want that from them. Upon the release of ‘True Rockers’ they will be three albums in and are steamrolling through the world picking up people along the way that want that wild ride and its feels like they are only just getting started.

Widerman adds, “Looking back to the beginning I think in a way, I knew it, I really did. Within the first couple of rehearsals we ever did. I always think back to how I knew this was something different to anything else I’d ever done. It was weird because I had to manage how excited I was, we all agreed that this wasn’t gonna be a band that signs a record deal and goes on tour. I was like, holy shit, this is better than anything I’ve ever done before. How am I going to convince these guys to go with it?”

Don’t tell Monster Truck that Rock is dead. Rock isn’t dead, it’s alive and burning a trail across the globe. Don’t fuck with the Truck

Airrace - 'Untold Stories' Album Review

Airrace – Untold Stories

Airrace are one of those bands that so could have easily passed you by in the 1980’s. For me it was pure chance. A lad who I worked with was a fellow young rock fan and showed no signs of liking AOR, melodic rock and anything with a parpy keyboard. Until one day he came in with a cassette for me to listen to. It was ‘Shaft Of Light’. He raved, I said I’d listen. Well, it was free music. I loved it! I still do. Its up there, almost, with Indiscreet and Native Sons, its that good. However it was short lived, and their star ascended and then imploded in a very short time as Airrace were done by the summer of ’85. Their second album, which came a mere 27 yrs after the debut was also well worth the wait. (review here -  https://www.chesyrockreviews.com/2011/07/airrace-back-to-start.html) Murrell was still in position and sounded as great as he did all that time ago.

Fast forward to 2018 and here is their third album ‘Untold Stories’. Thankfully its here a bit sooner than 2038! Apart from Mansworth, it’s a complete change of personnel. In comes Dhani Mansworth (drums, The Treatment), Linda Kelsey Foster (Keyboards); Rocky Newton (Bass, Lionheart, ex-MSG), and Adam Payne (ex-Sepentine, Tidal).

The undoubted gem here is Adam Payne. The songs here are fantastic, but I did not expect this level from him, he has certainly upped his game, and Mansworth has cajoled a performance out of him that will undoubtedly bring him greater recognition. For now he is Mansworths and Airrace’s and lets just enjoy that. As a quick comparison – with Serpentine he sounded like Gary Hughes, and now with Airrace, he sounds more like Adam Lambert! That’s some vocal change. I shit you not!

So what do we have? Well, if you are already acquainted with Airrace then it’s a complete no brainer. If you are new to these guys then you are in for one of the AOR treats of 2018, if not THE treat of 2018. Opening track ‘Running Out Of Time’ has a beat and pulse that just hits you full in the face (and ears).  Its grandiose and Queen by any other name, and it’s a great way to introduce yourself, Mr Payne. It is one of the best tracks you’ll hear this year. ‘Innocent’ gain harks back to a time when this would have sold by the millions, and Kelsey Foster’s keys are literally ‘the key’ to ‘Innocent’.

‘Eyes Like Ice’ sounds like it’s the opening salvo to a Marvel movie (Wonder Woman) – it could easily grace a movie, such is its composition, with its big sounding chorus and cracking riff. On ‘Different But The Same’ Airrace and Payne in particular channels his inner Robert Plant for a very Zeppelin-esque heavy blues, stomping number, and is accompanied by some great organ playing (oo-er). If ‘Different..’ was Zep, then ‘New Skin’ has Deep Purple running through its veins with its Jorn Lord and Blackmore influence. An album wouldn’t be a melodic rock album without a ballad, and here on ‘Lost’ its maxed out with some fantastic layered harmonies that sets this ballad apart from the pack. Its ELO melded with REO and is something else. Its so smooth, you could use it for a chocolate advert. Marvellous!

‘Love Is Love’ IS Supertramp with a bit of Foreigner thrown in with its snappy and crunchy beat. ‘Men From The Boys’ has a nice big dirty riff, but someone with a voice as high as Payne, doesn’t quite carry off the sentiment.  “Summer Rain’ is pure unabashed pop, and is a summer track to be sure and could easily be picked up by Radio 2! ‘Come With Us’ is back on track and is all riff, and is straight out  rock n roll at its finest. ‘Untold Stories’ is over all too soon with ‘Here It Comes’, yet another feel good song that shows of Payne’s vocals.

What’s on offer here isn’t new, based on all the little influences, but all the songs are of a very high quality and have been written and performed better than most will muster in 2018 or any other year. 

If I rock up at Wolverhampton and Payne hasn’t got a blue badge in the van I’d be surprised, as this dude has traded his left bollock to sound this good.

'Untold Stories' wears its heart on its 70s velvet sequined sleeve and its legs in their 80s legwarmers. It's in my Top 3 of the year so far, and something will have to be bloody great to move this out.

I hope they can keep this line up together, as its pure gold. They deserve another album out of Frontiers, hopefully in a couple of years and not the long wait we have had so far. If it all finished tomorrow, its one hell of a way to bow out. Lets hope not.

Review 9/10

Review by Paul Chesworth

Airrace are –
Laurie Mansworth – Guitar
Adam Payne – Vocals
Rocky Newton – Bass
Linda Kelsey Foster – Keyboards
Dhani Mansworth – Drums

Tracklisting –
Running Out Of Time
Eyes Like ice
Different But The Same
New Skin
Love Is Love
Men From The Boys
Summer Rain
Come With Us
Here It Comes

September Tour – with The Treatment and

21.09.18CARDIFF Clwb Ifor Bach
22.09.18LONDON Underworld
23.09.18NORWICH Waterfront
24.09.18CAMBRIDGE Portland
27.09.18WOLVERHAMPTON Slade Rooms
28.09.18SHEFFIELD Corporation
29.09.18NEWCASTLE Cluny
30.09.18GLASGOW Stereo
Released 10th August 2018
Available on CD and Vinyl!


Thursday 26 July 2018

Classic Albums Revisited - No.2 - Icon 'Night Of The Crime'

Icon – Night Of The Crime

I’ve tasked the guys (and some friends) to do a write up on either of the following
  • -        a classic album that needs revisiting (is it as great as it was back in the day, or even better?)  
  • -       an argument for album that was never a classic, but it should be.
  • -       or, an ‘every home should have one’ contender.

My contender for a classic album, is Icon’s 1985 masterpiece ‘Night Of The Crime’. It’s a classic album to me, but to any fan outside of AOR then its one that would unlikely appear on their radar. It complies with two out of my 3 statements above.

Ask anyone what their favourite melodic rock / AOR album is and I doubt they will pick anything later than 1992. The obvious choices are Journey’s ‘Escape’, Foreigner ‘4’, Strangeways’ ‘Native Sons’, FM’s ‘Indiscreet’ or something like Aviator, Signal, Giant, and even Michael Bolton. Ask 10 different AOR fans and you will probably end up with 9 different answers. The list is always a decent one and one that you can argue down the pub for hours. My fave melodic rock album that should have sold by the millions is Icon’s 1985 masterpiece ‘Night Of The Crime’.

If a band has a song that turns up on your radio, car stereo etc and you never have to touch the dial or turn it off, no matter how many times you’ve heard it, then it’s a classic. Multiply one track by 10, and ‘Night Of The Crime’ is a perfect album for me. There’s not a single duffer in sight. Fuck, even the gaps in the tracks are worth listening to as they ramp up the excitement level for me.

They were formed in 1981 by high school buddies Dan Wexler (Guitar), Stephen Clifford (Vocals), and Tracy Wallach (bass). By The time it came to NOTC', in came John Aquilino (guitar) and Pat Dixon (drums). The album was released through Capitol Records and was produced by that talented fella Eddie Kramer, and mixed by another legend, Ron Nevison, and it features songwriting talent of Bob Halligan Jr. 

For whatever reason I cannot understand to this day, Clifford walked during the mixing process for personal reasons. Fuck, and double fuck.

Any producer/mixer worth their salt can polish a turd. They can make poor albums sound average, and make average albums sound good. One thing they can’t do is to make a shit album  - or an average, or a good album, great. There has to be something ‘there’ already. Icon came to the table with a great set of songs. Much to the point where they are that good a set, the producer would have to be a complete tool to fuck it up. Thankfully everything aligned for one of THE rock albums of the 80s.

Right from the opening bars of ‘Naked Eyes’ Icon and Kramer set the whole tone of the album. The guitar sound on ‘NE’ is just fantastic, and Clifford’s vocals are crystal clear. Nothing is fighting with each instrument to be heard. Bass lines and drums thump away at your body, particularly on Hungry For Love. More on that later.
Full album on YouTube (above)

‘Missing’ is an AOR gem, from the opening parpy keyboards and the wailing backing vocals, before the wonderful bridge and chorus. ‘Missing’ is one of the top songs of this genre bar none. ‘Danger Calling’ is one of the more harder edged songs on offer, but again the chorus is instantly memorable. ‘(Take Another) Shot At My Heart ‘ has that Wexler guitar tone that should have made him a household name. ‘Out For Blood’ builds on the 'Danger Calling' sound and is a twin guitar lovers wet dream of a number, particularly the intro, and is the nucleus of 'NOTC'.

‘Raise The Hammer’ moves slowly along with its pounding and menacing beat, and ‘Frozen Tears’ is the obligatory 80s AOR ballad, and sounds like its straight out of an eighties soundtrack. ‘Whites Of Their Eyes’ is as good a song as any of their hair metal counterparts could muster. ‘Hungry For Love’ was put on a compilation tape by my mate, and this was my Icon introduction, and gave me the fuel to find this album by hook or by crook. It’s a power ballad of the highest quality. The bass note 39secs in is just immense. I still play this song as loud as any of my equipment will manage to go. The album is over all too quickly with the powerful and anthemic ‘Rock My Radio’

Yes, others will undoubtedly spout Journey as the greatest AOR band, and they truly deserve their place in rock history. ‘Night Of The Crime’ has a very high bar set for this genre. Clifford's vocals are some of the best ever to be set to vinyl, and Wexler and Aquilino’s guitars are to die for, making ‘NOTC’ my contender for an ‘every home should have one’ and a classic album of AOR or any other genre.

The actual ‘crime’ is how the hell Icon didn’t become a huge band, as the talent is undeniably on show here. The fact that it all went tits up before they had the chance to finish what they had started is a crying shame. Icon are the only band from the 80s that I would literally kill to have seen back in the day.

Primal Fear - 'Apocalypse' Album Review

Former Gamma Ray vocalist Ralf Scheepers and bassist/vocalist Mat Sinner, two of the most respected German metal musicians, founded Primal Fear in 1997 and 21 years later, show no signs of slowing down. With 11 studio albums released, Primal Fear have become one of the most beloved and respected heavy metal bands around the globe, a true metal institution. Their last two studio albums “Delivering The Black” and “Rulebreaker” saw them climbing the charts and receiving even more critical praise than before. Truly, especially in recent years, the band has continued to raise the bar in terms of quality and musicianship with their release, constantly pushing themselves to find new ways to best themselves. And with the release of their new album, “Apocalypse”, Primal Fear has once again raised the bar in heavy metal to towering heights!  

Another first for me. I’ve heard of Primal Fear of course, but never actually heard any of their offerings. After a daunting but mesmerizing intro, ‘New Rise’ meets us with a nice galloping beat. This is Helloween all over and could easily sneak into the 'Keeper of The Seven Keys' albums without anyone notice it’s a different band. It’s a great opener to be fair, setting us up nicely for ‘The Ritual’. Some nice guitar riffs here. Very Helloween in the guitar solos. This track has a great base riff and keeps you entertained the whole way through. Lovino giving us some great double bass pedal work.
‘King Of Madness’ slows the pace down a little and then picks up again towards the bridge. This sounds very similar to Ross The Boss with it’s melodic chorus. I’m loving the duel guitar solos in this. It’s a great tune to be fair, growing on me as he song reaches it’s latter stages.

‘Blood, Sweat & Fear’ cranks the speed up significantly with it heavy double bass intro almost sending my thoughts towards Judas Priest’s Ron Halford era.

As I’m hearing this band for the first time I have no past work to compare with but I’m liking what I hear here. ‘Supernova’s’ intro is beautifully played between the two guitarists. There’s a slower mood with this song. Nothing spectacular, but it rolls on.

To be fair its an album worth listening to and I can imagine these songs being good crowd pleasers live. By the time ‘Hail To The Fear’, ‘Hounds Of Injustice’, ‘The Beast’, ‘Eye Of The Storm’(an anthemic 8 minute classic) and ‘Cannonball’ (a thundering finale) entertain us I can’t help but feel quite satisfied from what I’ve heard. What I’ve noticed with this album is that every song has a great opening riff. I will definitely listen again as it is a very enjoyable album.

Score 7/10

Reviewed by Sty

Track Listing

  1. Apocalypse
  2. New Rise
  3. The Ritual
  4. King Of Madness
  5. Blood, Sweat, & Fear
  6. Supernova
  7. Hail To The Fear
  8. Hounds Of Justice
  9. The Beast
  10. Eye Of The Storm
  11. Cannonball

Ralf Scheepers – Lead Vocals
Tom Naumann – Guitars
Alex Beyrodt – Guitars
Magnus Karlsson – Guitars & Keyboards
Francesco Jovino – Drums
Mat Sinner – Bass & Vocals

Friday 13 July 2018

Classic Albums Revisited - No 1. - Helloween - 'Keeper Of The Seven Keys, Part 1'

We thought it would be good to start a servies of reviews on what we feel are classic albums revisited, or are long forgotten classics, classics that should have been, or are under the banner of an 'every home should have one'. Basically shit hot albums that deserve a write up, a dust off and played at maximum volume

First up in the series its Helloween's 'Keeper Of The Seven Keys, Part 1'

I’ll never forget my first live taste of Helloween. The infamous and ill-fated Donnington ’88. Helloween were first act on. Me and two of my friends were about a quarter of the way back when the Bailey Brothers introduced the band. Suddenly a huge void appeared and we ran and ran as quick as we could to the front. I stumbled, got picked up and the first thing I saw was Kai Hansen strutting into ‘A Little Time’, fag three quarters smoked dangling from his smirking lip….and then it went crazy. I’d lost my friends but I didn’t care. This was Helloween, and I was right in the thick of it.

A 6 x song blistering set consisting of 4 x Keeper (Part 1) tracks and 2 x Keeper (Part 2) tracks. The latter being released 9 days after this stunning set.

Hearing the tracks live just reiterated what a superb band Helloween were…………for four albums, and Keeper (Part 1) being the best of the bunch. Everything about Keeper (Part 1) was superb. The artwork, gatefold sleeve packaging, blue vinyl (if you were lucky..I was!). A proper complete package.

And so to the music. ‘Initiation’ is just the perfect intro for both the album and live. It’s superb guitar work and eerie harmonies work just brilliant and keep us expecting and waiting for ‘I’m Alive’. The opening riff showing you every reason why these guys were parallel with Iron Maiden for style and creativity. Inge Swichtenberg’s (R.I.P) sublime double bass work in this being the main attraction as the song gallops through at stunning pace.

Being Michael Kiske’s first album for Helloween, it didn’t take long to realise why the band made the decision for Kai Hansen to step down from lyric duty and concentrate on his guitars. I thought the band sounded great with Kai on vocals, but Kiske has took the band to a new level by the time ‘A Little Time’ isn’t even a minute old. Very Bruce Dickinson-like but who cares? Maiden did exactly the same with Di’anno didn’t they?

There’s no let up for pace as we hit ‘Twilight of The Gods’. Another galloping effort on a par with Maiden’s ‘The Trooper’. Lots of double bass pedal work and a very catchy chorus. Some nice harmonies in the verses too and awesome duo guitar soloing between Hanson & Weikath. Great stuff. ‘A Tale That Was Right’ gives us a breather and lets the band show us what they can do by slowing stuff right down. I’m hearing a harpsichord, acoustic and a beautiful guitar solo starting us off. Some great lyrical work from Kiske going on here. I can honestly say at this point in both Helloween’s & Maiden careers I would have to say Kiske was a far better singer than Dickinson, hitting every high note with ease while still sounding like there’s plenty left in the tank. This is a proper 80’s rock ballad but it works a treat with the solo’s in the middle.
‘Future World’ gets us back up to speed. Lot of similarities with ’22 Acacia Avenue’ here just before the verse kicks in. I’ll be honest, back in the 80’s when this album came out I knew there was similarities with Maiden, but never this much. But I don’t care, it’s still a classic album in time. And so to the ultimate finale….’Halloween’. From it’s haunting opening riff this song has you hooked through all 13 minutes and 18 seconds of it. It’s eerie, deep and moody beginning sounds like something from a horror movie, absolute classic stuff. We then gallop though the verses and chorus’ until the songs heads off into a different tangent. I suppose this is Helloween’s attempt at ‘Rime Of The Ancient Mariner’, and it doesn’t disappoint. We’re suddenly into a building up tempo and then head into the guitar solo’s. Breath-taking, as the song continues to tell it’s tale through stop-start and very clever musical pieces, with the music itself doing a lot of the talking. Whatever I write will not do this final masterpiece justice.

‘Follow The Sign’ brings us back down to earth and takes us right back to the start and gets us ready for Initiation again. A classic album from a classic time. I’d love to go back to the day I bought this album and heard it for the first time. These times are few and far between. Needs to be heard.

Score 9/10

Reviewed by Sty

Track Listing

1 – Initiation

2 – I’m Alive

3 – A Little Time

4 – Twilight Of The Gods

5 – A Tale That Wasn’t right

6 – Future World

7 – Halloween

8 – Follow The Sign


Michael Kiske – Lead Vocals

Kai Hansen – Lead Guitar / Backing Vocals

Michael Weikath – Lead Guitar / Backing Vocals

Markus Grobkopf – Bass / Backing Vocals

Inge Schwichtenberg - Drums

Wednesday 11 July 2018

Destinia - 'Metal Souls' Album Review

Destinia – Metal Souls

Joined by Ronnie Romero (Rainbow, Lords Of Black, CoreLeoni), Marco Mendoza (The Dead Daisies) and Tommy Aldridge (Whitesnake), Japanese Heavy Metal Guitarist Nozomu Wakai is set to release the new album “Metal Souls”under his project Nozomu Wakai’s DESTINIA

The new generation Japanese guitar hero Nozomu Wakai blasts his way into the world on board his project Nozomu Wakai’s DESTINIA, with music composed / written / produced by Nozomu himself. Nozomu Wakai has previously released two albums, “Requiem For A Scream”(2014) and “Anecdote Of The Queens”(2015), by the project Nozomu Wakai’s DESTINIA. He has been recognized in the Japanese hard rock and heavy metal scene for his contributions on guitar / compositions / sound directions to releases by the country's leading musicians and anime's.

In 2016, during a quest for new musical directions, Nozomu witnessed a stage performance by Lords Of Black, featuring vocalist Ronnie Romero, at Loud Park 16, the world famous metal festival in Japan. Though Nozomu was well aware of Ronnie's abilities, he was hit hard by the new Ritchie Blackmore's Rainbow singer’s live talent. A direct offer was made, and it was decided that Ronnie would join Nozomu and participate as the vocalist in his project.

Having set his musical course for the new compositions, Nozomu made the decision to offer Marco Mendoza, bassist from The Dead Daisies and solo musician, and Tommy Aldridge from Whitesnake, the rhythm section duties to add extra strength to the music. It was an obvious choice for Nozomu's music, demanding the presence of two musicians with vast knowledge of the history of hard rock and heavy metal. Upon listening to Nozomu's music, Marco and Tommy were thrilled to get involved.

Nozomu describes the musical directions and aspirations of DESTINIA as 'classic modern' heavy metal. 'The music goes beyond the authentic hard rock and heavy metal in the same vein as Rainbow, Whitesnake and Dio - it is completed with the contemporary, modern sound styles. I am confident that I can create new music with these musicians.'

I have admiration for Perugino Serafino in moving slightly away from the normal for Frontiers. Don’t get me wrong, Frontiers still has more fluff than a mattress stuffing factory, but the cracks of other genres are starting to appear. With Destinia, if you love your sing-a-long’a’metal by numbers, or a fan of Maiden/Helloween/Firewind/Primal Fear (or anything german) crossed with your classic metal then, dear reader, look no further.

I cant imagine any of the above talent comes cheap. That’s what some of these Japanese guitar players of par excellence do – they have backing to match their twiddly-widdly talent. None of the above will play for food, even for an Italian! The line here up is pure class.

But, just because you can spend £300m on footy players, it doesn’t guarantee a title. Undoubtedly Wakai is a pretty good/shit hot guitarist., and probably has been since the age of seven!  There’s your ‘standard’ metal fare, with some clichéd song titles, and some stand out tracks to be had. Wakais riffage is great, and his soloing is up there with the likes of Malmsteen and Impelliteri. There’s little nods to the likes of Yngwie (The End Of Love), Dio (Raise Your Fist), Whitesnake (Take Me Home),  Firewind (Be A Hero) to name but four. The opener/titile track really grabs you by the ears and showcases the talents of all present here. As a massive Rainbow fan, its good to see Romero getting extra exposure to the wider world. His signing is bang on point, but some of the tracks are ‘samey’ with little texture or light and shade. There’s certainly enough here to drag it above the realms of average. Its probably the most melodic I have heard Romero since he sort of broke out a couple of three years ago

So, as a power metal offering, the songs are good, there’s plenty of melody, the players excellent, but the vocals are within a range that good have greater expansion. As a project, I would have seen this doing a lot better with 3 or 4 singers from this genre to really make the songs ‘pop’. If you’re a fan of the genre it is definitely worth a punt.



Nozumo Wakai – Guitars
Ronnie Romero – Vocals
Tommy Aldridge – Drums
Marck Mendoza – Bass

Metal Souls
The End Of Love
Promised Land
Take Me Home
Raise Your Fist
Be A Hero
Cross The Line
Judgement Day
Ready For Rock

Monday 9 July 2018

Pound - 'S/T' Album Review

"Instrumental grind duo Pound play a super groovy, mathy form of the genre... The mathy chaos shares as many similarities with The Dillinger Escape Plan and Meshuggah as it does with other grindcore bands." – Decibel Magazine

Seattle duo Pound will release its debut, self-titled album, July 13th 2018 on Silent Pendulum Records. The duo of Ryan Schutte and David Stickney – takes influence from across the spectrum of grind and doom, from Nasum to Sleep, then chops up these influences and delivers its own brand of hyper-shred-math that twists and turns relentlessly, dropping occasionally into monstrous grooves. This is instrumental irreverence capable of dazzling tech-heads and Neanderthals equally.

Pound's unique setup consists of a baritone 9-string guitar and two drum kits positioned at a 90-degree angle. The sounds extracted from these unorthodox instruments adds up to an entirely new vibe that belongs only to Pound.

The music's machine-like nature is reflected in the song titles – each title is a symbolic representation of a rhythm contained in the song.

Oh My God I am in LOVE!!!! This album is just unbelievable!! For what I’m sure will be noise to a lot of people, to me, this is just pure aggressive, pin point thrash played in such a way I have never heard before.

If you’re not going to appreciate the music, you HAVE to appreciate the playing style here. It’s tight, accurate, nasty, deep, mean. There are no vocals so how do these guys remember everything at such speed?!?!? Phenomenal stuff!!!

I’ve never heard playing like this in my life. I can honestly say that these guys are unbelievable at what they do, and deserve all the success that I hope they get. Do NOT not listen to this.

Score 10/10

Reviewed by Sty

Track Listing

1) x..x..x..x..x..x..x
2) x.---.x.---.x.---.x.---
3) x.x-.x-x.-x.x
4) --.x-x.--
5) -..-..-.x-..-..-..-..-..x..-..-..-..-....
6) -xx.-.xxxx-xx.-.xxxx-xx.-.xx
7) -.x-.x-x-.x-.x-.x-.x-x
8) -x--x--x--x--x.x-x.x-x.x-x.x


Ryan Schutte - baritone 9-string guitar
David Stickney - drums