RAMzine: Issue 4 - We Came As Romans & Download Festival by RAMzine

WELCOME

Contents

fter I finished my media degree at Southampton Solent University, I was elected as one of the Vice Presidents of the Students’ Union. Like in that episode of Fresh Meat, if the students want cheaper chips, it’s in your best interest to see if that’s possible, and do whatever you can to make that a reality. That experience has embedded in me a trait that will always want to listen and grow. I’m quite proud of issue 4, and all the contributors over the last month. Download D Festival was a recent voyage. We set ourselves the normal festival coverage target, not taking into account how large a festival Download is, and how much more time you spend on your feet, and traveling between bands. At first this was a bit of a shock to the system, but at no point did Marcus, Nathalie, or myself loose any passion for coverage - in fact being in that festival environment makes you want to do more. It’s safe to say we worked our asses off! If you have read the previous issues, you may notice a few changes here and there. We have taken feedback on board, and implemented. We start as we mean to go on, and hope to grow with every issue. As I write this, Milly is at 2000trees festival - look out for the coverage online soon. Once this is printed, I shall be at the beautiful MetalDays Festival in Slovinia. Follow my journey on Instagram - https://instagram.com/ ramzine.co.uk.

Victoria Purcell, Editor In Chief

Featured 04 Download Festival Review

See our massive 5 page review of our time at Donnington!

09 Introducing: the Dead xIII

We introduce you to ‘New Grave’ band Dead XIII from Manchester.

12 Vans Warped Tour UK Preview

This October plays host to the Vans Warped Tour UK - See who we are excited about playing.

Interview 10 We Came As Romans

Releasing their new self-titled album, we catch up with Dave Stephens.

13 Reviews -Archea - Catalyst -Senses Fail- Pull The Thorns From Your Heart -Heartbreak Remedy - Midnight Groove -The Parallax Method - The Owl -Calm For The Restless - Destroyed But Not

Defeated

-Direct Divide - Own Your Ocean -DoctoR Doom - This Seed We Have Sown -Midwayer- Thresholds -My Hollow - On Borrowed Time -Terminal Cheesecake - Live in Marseille -Damn Dice - The Great Unknown -Elements- Where We Once Begun -Awaken the Empire - Auora -Wearing Scars - A Thousand Words

-Nice to meet you at Download ‘15! See you next year!

Contributors

Download Festival Coverage by Marcus Wheeler, Nathalie Conway, & Victoria Purcell. Special Thanks to Lisa Billigham & Rob Billigham of Billebee Creative.

On the cover: We Came As Romans. Download 2015 Photos: Black Veil Brides by Lisa Billigham, KISS stage by Andrew Whitton, KISS fireworks by Danny North. Cover design by Ryan Stanikk www.ryanstanikk.co.uk Proofreaders: Neale McGeever, Marcus Wheeler, & Ásta Björg Hansen.

Reviews by: Steve Jackson, Alex Reeves, Neale MGeever, Andrew McMahon, Sean Raff erty, Stuart Iversen, Amber Spencer, Marcus Wheeler, Pagan Hel (Senior Writer), Neil Mach (Senior Writer). Vans Warped Tour Preview by Adam hemmings Neale McGeever (Senior Writer) - Introducing The Dead XIII

Day 1: Friday, June 12th Waking up to the sound of zippers zipping, I check the time to find that it is 7am - I tend to wake up early at festivals. I grab my towel and go for a shower, a hot shower - nice! On my way back to my tent, I stop off to get a cup of tea from the dedicated snack van, at this point I am reminded what extortion tastes like. 09:30 - I gathered my things ready for a busy day; together with the rest of team RAM, I headed over to the press area. After more tea, and feeling fully juiced, I went out into the main arena to top up my dog-tag - Download were operating a cashless purchasing system this year; I put twenty quid on, ahead of leaving, thinking that would suffice - oh, how naive of me. I got to the queue, which, at this point, consists of just me and a very tall goth - we’ll call him Gorgoroth, although I think his name may have been something like Daniel… - and we discovered that the system was ‘down’, much to the frustration of the festival goers and staff alike. Technology, eh! I decided to try another time. 12:55 - I wandered over to the main stage, positioning myself to get the best from the sound ready for my first band of the festival, ALL THAT REMAINS. They jumped straight in, bang on 1pm and we got a taste of how good the sound is on the main stage. The band were tight and, without going berserk, they used the stage well; at one point Labonte got involved with a bit of drumming. They certainly got us off to a good start. 13:45 - I arrived at the Zippo Encore stage to watch new grave outfit, FEARLESS VAMPIRE KILLERS. During their theatrical entrance, the bass drum kicked in and I just couldn’t help but tap my foot - yeah, I’m one of those people. There were a good number of people getting involved and singing along with encouragement from front man Laurence Beveridge. Sadly, the vocals were lost in the mix at times and for a while, the toms were not coming through at all. The sound issues were resolved mid-set and in time for a crowd pleasing rendition of Bonnie Tyler’s ‘Holding Out For A Hero’ - an interesting choice but it went down surprisingly well!

15:30 - The main arena was starting to get much busier and, unsurprisingly, there was a hefty crowd for LACUNA COIL. The thing we love about this band is their blend of melodic and heavy metal, this came out incredibly well despite the epic scale, which is further testament to the incredible quality of the sound on the main stage. We had caught up with Andrea Ferro (vocals) earlier that day in the press area, we asked him if he has noticed much difference since the band last played 6 years ago. He said “Download has always been good but since the last time we played it’s got bigger and better. There’s much more going on”. 17:00 - After a round of taking pictures, I stopped for some food in the VIP area and found a vegan vendor, Rupert’s Street. As I sat eating healthier fare than I would even have at home, I could hear the audience roaring with approval for BEARTOOTH, who were delivering their brand of metalcore. Having seen them just a couple of weeks prior in Reading, I can tell you these guys put on a great show and are well-worth seeing live.

Five Finger Death Punch by Scott Salt 17:50 - As I walked to get a good position in front of the main stage, the crowd were chanting ‘death punch’ to an almost unbearable, atmospheric rumbling. Then it happens, FIVE FINGER DEATH PUNCH open up with brutal track ‘Under And Over It’. By this point, people were cramming around the main stage, so much so that it was now becoming a challenge to navigate; those navigational veins were starting to form in the crowd. Ivan Moody defied the rules by inviting three kids on stage for ‘Burn, Motherfucker’; seeing them head banging whilst sat on in front of the drum kit brings a smile to my face. 18:50 - Anyone that has seen DRAGONFORCE before will know that they put on one hell of a

Words by Marcus Wheeler - Photos as credited

Dragonforce by Marcus Wheeler show and this was no different; they came out well and owned the stage like the metal legends that they are. The energy and musicianship of this band is astonishing and something that every metal fan should see at least once in their life. Watching them, you really get a feel for how much these guys love what they do (about two hours before the show, I saw Herman Li wondering around the back stage area with a guitar around his neck). Amazing performance from these talented, power-metal titans! 19:20 - I take a slow wander past the main stage as the mighty JUDAS PRIEST start their set; there was a lot of talk of this band in the run up; Ivan Moody (5FDP) even paid tribute by saying that he was looking forward to seeing them perform, and they did not disappoint. Despite the weather taking a turn for the worse, people showed in droves to watch, and then, under the ponchos, umbrellas and downpour, heads continued to nod. There really is nothing like the classics! 19:40 - THE ONE HUNDRED certainly put on a show; they packed out the fourth stage and had the whole crowd singing along to ‘This Is Your Downfall’. The applause and cheering was deafening. They were heavy, they were tight and there was a great rapport between the singer and the audience; being a smaller stage, they benefited from the intimacy that comes with the smaller scale.

The One Hundred by Marcus Wheeler

Festival Review 20:05 - FIGHTSTAR played a good set, five days after Charlie Simpson’s birthday. Dan Haigh, on bass brought a lot of energy to the show and the group had the crowd singing along. 20:45 - I arrived at the Zippo Encore stage having purchased a poncho but already wet and trying to keep dry. I found BLACK STONE CHERRY well into their set, playing to a huge crowd that was packed right back to the vendors. Standing about on my own, it was not long before I was accosted by an eccentric fella called Sam, AKA The Jiggy Fiddler, who took great pleasure in feeding me cider and licking it off my face when he spilt it down me; one of those it-only-happens-at-festivals moments! 21:20 - SLIPKNOT. The crowd chanted for Corey, who addressed the crowd with conviction and sincerity, dubbing the festival ‘Downpour Festival’. I had spoken to several people in the run up, who told me they were most looking forward to seeing Slipknot, describing previous shows they’d been to. From this I was expecting something spectacular, and they certainly delivered. The stage show was staggering - the pyrotechnics and lighting were astounding. The band gave it their all - I spotted the Clown’s drum come off its stand so often that I now believe there is someone employed for the sole purpose of replacing it. Slipknot were a fantastic finish to the first day of the festival; Corey Taylor’s ability

to work the crowd is something to behold. He really got the crowd going when introducing requested track ‘AOV’. They were fantastic. One of the remarkable things I noted, which I heard through an interview with Corey that was played a number of times over the screens between sets; Taylor explained that they mix up their live sets rather than sticking to a single prescribed set list in order to keep things fresh and keep the band on their toes rather than just going through the motions of a performance; that freshness certainly comes across in their performances and serves as a great example of the professionalism of the band and the regard they have for their fans. Aside from the weather taking an unexpected turn, it was a great start to the festival.

Day 2: Saturday, June 13th 09:05 - Once again, team RAM headed to the press area for the charging and preparation ritual. 10:55 - It was still raining as I arrived at the Zippo Encore stage to watch THE LOUNGE KITTENS; nothing like a trio of sultry, hip-wiggling sirens to take the blues away! Acknowledging the hundreds that are stood in the rain to see them, they beckoned their Croissant Technician, who proceeded, after a bit of encouragement, to throw croissants into the crowd. They performed what they themselves described as the happiest version of Metallica’s ‘Sad But True’ and gave us all a laugh when they had the crowd do a ‘T-rexican wave’! They finished up with a fantastic medley which showcased their talent in the most creative way. 11:50 - Female fronted, LOVE ZOMBIES, delivered their upbeat pop-punk to an equally upbeat crowd and had them singing and clapping along.

Slipknot by Gobinder Jhitta

before opening up with ‘Cold Blood’; a good choice from their latest album Shadow Maker. Next up was ‘I’m Not Jesus’, which may well have been a nod to Corey Taylor, who provided vocals for the track on their 2007 release. As they got into the swing of Shadow Maker’s title track, I began to realise just how good they are to watch live, these heavy metallers with classic instruments; there is an enveloping aspect to the cellos that is just not achieved with guitar a depth that only string and bow can produce. They are a fascinating band to watch and I noted that the turn out, even at that time of day, was comparable to Black Stone Cherry’s crowd at 20:30 the previous evening. They paid tribute to Queen Elizabeth by playing a little rendition of ‘God Save The Queen’; however, the apparent lack of response from the crowd made it, sadly, an underwhelming addition to an otherwise high-impact set.

13:30 - There is something inherently dramatic about APOCALYPTICA’s sound, so they could not have failed to give us an atmospheric intro

Ace Frehley by Lisa Billingham 14:25 - ACE FREHLEY, of ex-KISS fame, did not disappoint. They played a number of KISS classics, notably ‘Cold Gin’, with its pumping bass line, and ‘Love Gun’ which visibly energised the crowd; despite both the rain and my suspicion that it would not be the only time we got hear these tracks, I lower my hood so the the treble is not lost at all; it was just too good to miss. Frehley, with his flawless set, left me tantalised and even more excited for KISS’ Sunday night performance. The Crowd by Danny North

15:35 - NORTHLANE delivered their crushing, djent-laden metalcore with impressive energy, almost pulling the crown into the performance with them. They were initially let down by staggeringly overpowering bass levels with the kick drum in particular but this was toned down later in the set. Seeing the photographer next to me retreat after getting showered in Josh Smith’s saliva, showed me that this band perform in the moment, tapping that instinctive and deeprooted energy that only comes from engaging fully in the ‘here and now’. Seeing them live will have certainly cemented Marcus Bridge in his role with the long term fans; of course, with the exception of those who cling desperately to the past - these naysayers are to be ignored. Northlane are as strong as ever.

blessed with a sound that is about as close to a studio recording as it’s possible to get on this scale. The legendary Mike Patton delivered a truly stunning performance, playfully interacting with one of the security guards to the side of the stage by borrowing his headset for a moment. Sadly, with a job to be done, I had to walk away to ‘Midlife Crisis’ to catch the next act on my list and in doing so missed Mike Patton jumping off stage to let a fan being escorted away on a stretcher finish ‘Easy’ (Commodores cover). 19:40 - BLACK VEIL BRIDES came on to an atmospheric intro; their sound was amazing from the first chord struck on ‘Faithless’, a great opening track, and already I was was feeling a bit better about having walked away from Faith No More. The stage and impressive wall of Marshall Amps, upon which the drummer seemed to sit. The energy and showmanship, along with timed pyrotechnics presenting an intermittent wall of flames, made this a stonking performance, and all this before they’d even finished the first song. Their sound was so powerful, clean and tight that my remorse for missing FNM had entirely faded by the time they had finished‘Coffin’.

Northlane by Marcus Wheeler 16:35 - CROWN THE EMPIRE opened with ‘Bloodline’, once they got going, the gave it all they had. Their energy and passion really came across well. 16:55 - Originating from Derby, just 30 minutes from Download’s venue, local indie rock outfit, THE STRUTS, an incredibly natural and fun-loving group, delivered an incredible set that very much deserved a bigger stage. With that said, the intimacy of Jake’s stage added to the atmosphere of the performance, most notably when frontman Luke Spiller jumped the barrier to join the doting crowd during a fantastic cover of TRex’s ‘Get It On’; he hushed the crown and his fellow band mates to orchestrate the finest moment of audience interaction I saw all weekend, splitting the audience in two halves and having them sing along in a well crafted breakdown. The sense of fun and enjoyment from both the band and the audience was palpable. Seeing The Struts was one of the highlights of my time at Download this year. 19:05 - The moment I’d been waiting for: FAITH NO MORE. All dressed in white with hundreds of flowers adorning the stage, it was one of the most unique stage set-ups I’ve seen for a rock show! I was so glad they were playing the main stage; as I have mentioned, the sound quality from the main stage has been consistently superb. The instruments were captured so well and the levels so expertly balanced that we were

often struggle to sound as good as the recordings; here, Manson was sounding even better than the recordings. Initially, in my mind and on my notes, I slate the dull interludes between songs and torturous screeching improvisation; however, there is something unsettlingly raw and authentic about Manson and his art, which extends beyond the music. The truth is, I find his screams uncomfortable, as much as I do the silence between songs, all of which add power to his performance. During ‘No Reflection’, he breaks a glass bottle on stage - who allowed that!? - and proceeds to twice nick his hand, then wipe his face, smearing blood across his cheek. How much is performance? Shock value? It seems to me that Warner has played the part for so long that he has become his art. That, or he has just become very, very good at it. 21:50 - Throughout Manson’s set, I could see a heck of a show taking place on the main stage; MUSE were in full swing and, at times, I felt like I was missing out on something truly spectacular. As it turns out, I was. They played a wide range of songs from their repertoire, and were about half way through their set when I got into position; at the back of the arena, the scale of the event and this particular performance was astonishing. The stage production was incredible. The lighting and back drop were astounding, the kind that you only see at an event this big. During ‘Rea-

pers’, I could see some huge black spheres bouncing around the audience at the front. Again, the sound was fantastic, and there is no question that Muse are excellent live - Bellamy’s voice is incredible - but I couldn’t help asking myself what this show would have been without the fancy lights, screens and pyrotechnics. But with that said, it was a heck of an ending!

Black Veil Brides by Lisa Billingham 20:00 - Having navigated through the hoards of people spilling out of the tent over the Maverick stage, I arrived up front just as ANDREW W.K. kicked off with ‘It’s Time To Party’. I notice the bouncers are the busiest I’ve seen them all weekend; the crowd were gong nuts and, one after another, crowd surfers spilled over the front and were promptly ejected. The energy was astonishing but not unexpected from the man who likes to ‘party hard’! 21:00 - The stage was set, if not a touch misty, for the notorious MARILYN MANSON. As ‘Requiem’ played over the speakers it descended into a dramatic intro with silhouettes skulking through the smoke. Then the intro riff for ‘Deep Six’ started playing, prompting a roar from the crowd. Live performances almost always bring something that the recorded tracks lack but

Fellow team RAM member Nathalie adds: The crowd was fairly mixed, some die hard Muse fans desperate to see their idols, some regular Download festival goers not sure what this performance will hold or if its suitable to the typical Rock and Metal festival. Then it starts, BOOM! The opening chords to their new release ’Psycho’ start playing, the drill sergeant is yelling in the back ground and the crowd becomes united and excited. There’s a wave washing over everyone around and then the singing starts! Matt Bella-

Marilyn Manson Lisa Billingham

dience a chance to stop moving; a set expertly delivered with tons of energy.

Muse by Richard Johnson my’s vocal talents are second to none, this is a great moment! Following them from a teenager to a late twenty something, stood in front of the main stage at Download watching one of the most musically gifted bands I have ever heard. Their classical training shows undeniably throughout all of the albums. Delivering the classics from ‘Plug in Baby’ to ‘Knights of Cydonia’ and

13:00 - EVIL SCARECROW - I had heard rumours about these guys, and when I saw a festival goer dressed in a robot suit crafted out of empty beer cans, Carlsberg boxes and electrical tape, I knew I was in for an interesting show. The first thing that struck me was their image, are these guys serious?! No, they are not. But, damn, were they good! Frontman, Dr. Hell, is hilarious; admitting that they were low budget and could not afford fancy fireworks, he beseeched the audience of the Maverick stage to grab anything they could find off the floor, from cups and cans to grass and “sh*t”, and, on the count of three, to throw it into the air - of course the crowd willingly obliged. For ‘Robototron’, they had the whole crowd dancing like robots, a surreal but thoroughly entertaining performance! (It has to be seen to be believed, look it up on YouTube!)

showcasing the tracks from the new album. The newer tracks sounding more like Muse’s older material with a heavier reinvention and appear to really be appealing to the fans. Once Muse finished their set, everyone was in agreement. they smashed it! The atmosphere was brilliant.

Day 3: Sunday 14th June 11:00 - Supporting KISS on their European tour, ‘super group’, THE DEAD DAISIES, kicked off on the Zippo Encore stage with their upbeat, bluesy rock and roll. They opened with ‘Mexico’, a great start to the day - positive, feel good, groove based rock. Next up, ‘Midnight Moses’; perhaps the rain and mud was getting to people, but there weren’t nearly as many heads nodding as there should have been, perhaps it was just the wrong crowd? It was the first time I’d heard them, but I can safely say, I love these guys! Corabi addressed the audience throughout the songs in a way that only enhanced the live experience. ‘With You And I’, with its catchy, vocalised lead hook, hit the audience with so much swagger that they started to really come alive with most heads nodding and feet tapping. A superb and very natural performance, the experience of the group was wholly evident. 11:50 - Swedish hard rock outfit, H.E.A.T, arrive to a recorded intro for ‘Point Of No Return’, and jumped straight in with Erik Grönwall pouring energy from the word go. The opening track was well selected and followed on perfectly from The Dead Daisies’ set. They are theatrical, but without being cheesy. When the chorus of ‘A Shot At Redemption’, kicked in I could help but smile - it’s just such a big sound and so enjoyable! They delivered a seamless set and did not give the au-

Evil Scarecrow Marcus Wheeler

to really enjoy the performance. Foot stomper, ‘Brains’, is laced with some brutal riffs, and got people nodding and tapping along. Down-tempo number, ‘The Things I’ve Seen’, saw the main crowd swaying their hands along; a powerful and emotional song that provided a nice break to a generally heavier set. 14:25 - The rain had started once again in Donington Park, but WE ARE HARLOT were pumping out their high-octane hard rock on the Zippo Encore stage and doing a sterling job. Their feel good music was certainly working its magic; funky favourite ‘You Might Be The One’ had people singing along and moving. Their self-titled album recently spent about two weeks in my car stereo on repeat, so trust me when I say that their performance was spot on. 15:00 - Back over at the Maverick stage, the crowd gathering when I arrived made Andrew W.K.’s audience seem small, yet even that was spilling out of the tent. Even the photo pit for THE DARKNESS was packed, meaning we only got to shoot for one song each. To the side of the stage I could see Justin crowd surfing as the band eked out an extended intro. I also saw a couple of guys on stage with swords and shields - then it clicks: their opening track is ‘Barbarian’. I was held at the side for second track ‘Growing On Me’ and finally got to the front of the stage for thumping track ‘Mudslide’ but among the chaos of trying to get pictures, I was not really able to take in the performance. As soon as they

13:30 - Another Swedish group - what are they feeding them there? - BACKYARD BABIES, continued the swagger-laden theme of the Zippo Encore stage. They pulled a fairly large crowd as the arena started to fill up more. I noticed that the amps had been set up at a slant, a small touch but different and interesting! They performed a great set but were let down slightly by the levels, with an impressive looking drum fill barely making it through the mix.

The Darkness by Marcus Wheeler

Backyard Babies by Lisa Billingham 14:00 - My first thought when TREMONTI opened with ‘You Waste Your Time’, was these guys don’t f*ck about. A great, high impact opening track. The band lead by ex-Creed and Alter Bridge guitarist Mark Tremonti were a treat to watch. As it was all weekend, the sound from the main stage was excellent, which allowed me

had finished, we were ejected from the photo pit and into the swathes of people standing in the rain, at which point I had to get into a port-aloo to pack my camera away. All I can say is that they put on a heck of a show and the turn out for them was the largest I saw all weekend at the Maverick stage. 15:30 - I arrived at the Zippo Encore stage just in time to see GODSMACK play ‘Awake’. Awesome. Their sound is just so enveloping and works particularly well on this scale. I saw from my vantage point, that Sully really knows how to get his audience fired up; he opens a huge pit with pro-

mises of a feature in their upcoming documentary for a job well done. It was an engaging performance, which is what live music is all about - interacting with the audience and making the most of the platform. 16:50 - With the exception of Butcher Babies, THE QEMISTS were the most energetic band I saw all weekend; their electro-rock had the crowd bouncing up and down almost incessantly. There was so much energy and movement on stage, they just did not stop! They certainly got the best crowd reaction I saw all weekend on Jake’s stage. They were so tight and so heavy that I was thrilled that I got to enjoy their whole set. It was practically impossible to not move to these guys; the whole crowd was bouncing. It was refreshing to have something different amidst the plethora of rock and metal available and these guys absolutely smashed it.

brutality that followed really blew me away and created an instant fan. Their energy was immense; they did not stop moving and both Heidi and Carla got right up to the barrier in the faces of the audience. Twice I got whipped in the face by Heidi’s hair. Part way through their second song, Carla came on stage with a giant inflatable cock and tossed it into the audience. They have a heavy, heavy sound if you’ve not heard them before, check them out. If you can, go see them live.

18:25 - IN FLAMES did not pull a crowd as large as I thought they would considering the break between Slash and Mötley Crüe. They still delivered a great performance although the audience interaction seemed strained at times, but Fridén worked with it fairly well. They certainly benefited from the sound of the Zippo Encore stage, sounding as heavy live as they do recorded. 19:00 - MÖTLEY CRÜE, opened with ‘Saints Of Los Angeles’. It was an honour to see the selfproclaimed “world’s most notorious rock band”. They sifted through the classics, and it was no surprise to see they were joined on stage by some female dancers. Nikki Sixx rocked a microphone that was suspended in the air. 19:15 - I headed over to Jake’s stage to catch BUTCHER BABIES. I did not see them coming! I was taken aback when Heidi and Carla came on and really didn’t know what to expect. The

21:05 - From the very first moments, I knew KISS were going to be amazing and was getting excited just watching them make their way to the stage. I stayed to enjoy their opening track ‘Detroit Rock City’ before heading over to see Enter Shikari. 21:15 - Headlining the Zippo Encore stage, ENTER SHIKARI put on a f*cking monster of a show and had pulled a hefty crowd away from ‘the greatest band on earth’ - the only reason some people are not here, as I overheard, is because “Enter Shikari are young and have plenty of time left to play.” Over the years, their pioneering sound has matured and, I would even go so far as to say, perfected. The lighting was fantastic, complementing every riff breakdown and double kick-drum blast. I catch the fantastic, melodic, bounce-fest ‘The Last Garrison’, a track

17:20 - SLASH featuring Myles Kennedy and The Conspirators, drew what appeared to be, most of the Download crowd and delivered a stunning performance worthy of his reputation. For

‘The Dissident’, Slash donned a double necked Gibson SG. He then pulled another out for ‘Anastasia’, but this time stepped it up with a standard electric and electro-acoustic duo. ‘You Could Be Mine’ and ‘Sweet Child Of Mine’ were personal favourites, taking me back to my younger years. Unsurprisingly, ‘Sweet Child Of Mine’ had thousands of people swaying their arms in the air. There is only one way to say this: ‘Paradise City’ rocked fucking hard- an absolute classic and what a song to finish on. If that wasn’t enough, Slash, in a grandiose and effortless display of musical prowess, finished off with a face melting solo even while playing behind his head - it has been done before, but come on! How often do you get to experience that? Incredible in the most literal sense of the word.

arrived in time for the firework finale; an insane finish worthy of headliners - a special send off for the band, as this was apparently their last ever performance at Download festival as they complete their final tour.

that really showcases their talent; however, as much as I wanted to stay, I felt I had to go and see the rest of KISS’ performance.

Butcher Babies by Marcus Wheeler 19:40 - Arriving in time for the start of LAMB OF GOD’s set, I noticed the Butcher Babies crowd was not far behind me - apparently, like myself, into their heavier music. Lamb of God were sounding superb and were going down well. Every time I looked at the front of the audience, I could see people crowd-surfing and feet where hands should be. When Randy Blythe asked to see hands in the air, the crowd dutifully responded to create a huge, beige sea of arms. 19:55 - Despite being made to feel guilty by Randy when he thanked everyone that had stayed to watch them, I headed over to the main stage to catch some more of Mötley Crüe; the ring of fire and flame bursts were just too alluring. I

KISS ending by Danny North

21:50 - After a short break, I arrived back at the main stage with the rest of team RAM to ‘God of Thunder’. During ‘Cold Gin’, Vicky (Editor) spotted some contraption making its way towards the stage from the sound desk area; it became clear what was happening when Paul flew out over the crowd to play on a pedestal during ‘Love Gun’. We navigated further into the crowd in time for a sing along to ‘Rock and Roll All Nite’ and found ourselves well positioned for the grand finale, which was the most rock and roll ending I have ever seen - fireworks galore; explosions; confetti; thrashing guitar and pounding drums; a smashed guitar. It was insane. Head to www.youtube.com/TheRamzine to see all 20 of our backstage interviews, including Black Veil Brides, Black Star Riders, The Dead Daises, & All That Remains. Interviews by Victoria purcell & Natalie Conway.

Introdcing: The Dead XIII Made up of Kurt, Symon, Ste, Paul and Spike The Dead XIII (pronounced ‘The Dead Thirteen’) are a horror-metal act from Manchester. Formed in 2013, the men in make-up count ROB ZOMBIE, MISFITS and MURDERDOLLS as major influences. The band formed when they realised there was a gap in the market for a bigger spectacle in the local music scene: “We’re a group of friends who wanted to do something that we couldn’t see anyone else doing at the time. We’ve always been massively inspired by stage theatrics, particularly the crossover between music and horror. That was really missing in our local scene, so we decided we would give it a go. Since then it has just taken off massively and taken us on several tours all around the country!” The Dead XIII have elements of industrial, metal, horror-punk and other influences in their music. A very unique sound. The band describe it as: “It’s hard [to describe] particularly with the new album we just write what comes naturally to us. We each have different styles that come together to form The Dead XIII sound. Joining heavy, sometimes industrial style riffs with rock n roll influenced lead lines. Everything we do is about energy and that feeling you get when you hear a song and just have to move to it. Recently people have associated us with the New Grave movement and we’re all for that, though we’re definitely at the heavier end of it!” Despite their heavier sound, The Dead XIII have been a big part of the current ‘New Grave’ movement and have been on tour with the likes of FEARLESS VAMPIRE KILLERS, WILLIAM CONTROL and BAD POLLYANNA. The five-piece

are now about to embark on a nationwide tour headlined by ASHESTOANGELS with the help of FAREWELL MY LOVE on the ‘British Horror Story’ tour. Their homecoming gig in Manchester is already sold out and they will continue to reach new audiences across the country. The band are really looking forward to this tour: “We are really excited to be out on the road with those guys,” the band continue “ A lot of our fans have been asking for it to happen for a long time and it’s great that everything has finally lined up to make it happen”. The men in make-up hope to reach new audiences with this tour as well as revisit their current fan base, The Dead XIII told us: “They [Ashestoangels] have been having a lot of success lately, particularly with the New Grave movement, so we are really pleased to be able to get out on a full tour with them. It’s also a privilege to be joined by the awesome Farewell, My Love, who are playing the UK for the first time -” Seeing the band live, with two other acts, is a great introduction to their sound and tracks from their new album, they continue “For us as a band this tour marks the start of a new chapter, it’s the first opportunity for people to hear the songs off the new album live. A lot of what we do is about the physical reaction of the crowd and energy of the music”. The Dead XIII’s debut album Catacombs will be released in August and will feature tracks such as ‘Frostbite’ and their latest single ‘XIII’. This track was also featured on Terrorizer Magazine’s latest cover-mount CD bringing their music to a vaster audience. The band describe the album as:

“basically encapsulating everything we have learned in the last few years from being in the band. It’s got a notably different sound and feel to our first EP, it’s faster, heavier and we think it captures what we do in our live shows a lot more. We just can’t wait for people to grab a copy and to hear how they feel about it now!” Although the Manchester metal-heads have worked very hard to get the album finished, and put together live shows, they have had a few crazy moments: “Between Spike falling through a stage, Symon running round Edinburgh in a dress and Ste going flying over Paul on stage and breaking his ankle then continuing the show to name just a few! Out of all the amazing crazy times we’ve had with fans and people we’ve met all over the UK it’s very hard to say. So we say come and party with us and experience it first-hand!” The Dead XIII will be touring this July with headliners Ashestoangels and Farewell My Love at the following venues: 20 Newcastle Globe 21 Leeds Santiagos 22 Norwich B2 23 Sheffield South Sea Live 24 Huddersfield Parish 25 Leicester Shed 26 Southampton Joiners 27 London Camden Barfly 28 Bristol Thekla Check out RAMzine.co.uk for a review of the tour, as well as news on everything rock and metal.

By Neale MGeever

interview

etroit metalcore outlet WE CAME AS ROMANS are set to release their new inspirational Self-titled album on July 24th via Spinefarm Records. This will be the bands 4th studio album to date, and the anticipation is reaching a high amongst fans. The band have just toured Australia, and then joined the US Warped tour, before they set off to tour their new album. We caught up with Dave Stephens (vocals) via the powers of the internet, as he sits in the back lounge of the bands tour bus in Charlotte, North Carolina. VP: How are you doing on Vans Warped Tour? I’m doing well! It’s an exhausting tour but every single day is so exciting and our shows have been incredible. VP: Do you have any Warped Tour stories so far? On the night of my birthday my band mates, along with members of AS IT IS, and some of the Fearless Records guys broke into a pool. We were so drunk, fooling around, pushing each other into the pool and building diving platforms out of chairs, and acting like a bunch of wild animals. It’s unbelievable no one got hurt and we didn’t get kicked out!

VP: Looking around on the internet, a few people here and there tend to get scared that you’re going to create a softer sound. But then you release something such as ‘Regenerate’, or previously ‘Hope’ (which certainly was not soft) Why do you think some fans have that fear? Fans fear change just as any human fears

We Came As Romans Dave Stephens

change. As a musician I would get so bored writing the same record continuously, evolution is necessary to keep the band happy and (as much as they don’t want to admit it) the listener happy. It’s frustrating to see fans so concerned about whether if it’s ‘heavy’ or ‘light’ - what happened to enjoying a song because it is a GREAT song?

“Regenerate is a call for action, a cry to make people stop fighting“ VP: Do you think this is a softer album overall? We didn’t write this record to be heavy or light, we wrote a ton of songs and picked the best ones. It just so happens that 4 songs of the 10 are the heaviest songs our band has ever done! But a lot of what’s left are songs closer to the active rock direction. VP: Could you talk us through a few of your favourite tracks on the new album?

‘Regenerate’ is my personal favourite on the record, I’m tired of seeing people so divided in the tough times America is currently facing. It seems everyone is living for themselves and putting others down, thinking it will lift them up. We’re putting our faith in things that have zero proof of existence instead of having faith in your fellow man. ‘Regenerate’ is a call to action and a cry to

By Victoria Purcell make people stop fighting each other and start fighting the real problems in this country. ‘The World I Used To Know’ is my other favourite, it’s a staple of what the rest of the record is lyrically. As we grow older we view the world in a different light, that youthful naivety and spirit fades away and were left seeing how terrifying the world actually is. Although it all sounds very negative, I believe that happiness is still out there but we need to search a little harder to find it. Although the record is written about things we’re unhappy with, it doesn’t necessarily qualify as a ‘negative’ record. I’m pointing out things I’m scared of, sad about, and angry with, in hopes a positive change will come from it. VP: This album sounds more refined and the production is excellent. We wrote and recorded this record very honestly. David Bendeth wouldn’t let us tune or time vocals, time drums, or program bass. Because of this we were forced to all get better at our instruments! Musically and lyrically we held nothing back. We are saying exactly what we want to say, writing what we want to play, and creating music we’d like to hear! VP: We love the use of clean vs screamo, it’s a part of what makes you WCAR. How does the lyrical writing work for that? Joint effort, or one person’s responsibility? Josh and I write all the lyrics and then Kyle and I do rhythms and melodies together.

VP: You have moved record labels a few times over the years, but have now settled at Spinefarm Records, what made you choose them? They’re committed to the project and they have the same ambitions as we do for this record! We just want everyone working for the band to be on the same page as us and be just as motivated.

“You want your listeners to beg for new music’’ VP: Some of the bands we have interviewed this year have been telling us that the way the music industry is now - bands need to be releasing music quicker, releasing EPs every 6 months, what’s your opinion on this? I disagree. Musicians don’t get paid for creating music so why keep creating it for the majority of people to just steal it? It costs hundreds of thousands of dollars to record an album and it’s very difficult to recoup those costs when people don’t feel the need to actually pay for their music. Not to mention, releasing music so quickly diminishes the demand for new music. You want your listeners to beg for new music so when you finally release it, they’re ecstatic. Another subject that has been up for discussion recently is the decline of CD sales - at Rockcomm UK, Moose from Team Rock Radio said ‘‘We are heading towards people not buying physical music at all’’. What do you think about this? With the release of Apples new streaming program, people that ‘buy’ music are actually only donating. For $10 a month you can listen to every single song ever for no extra cost. I’d like to see bands start being taxed as ‘non-for-profits’. We have to pay hundreds of thousands of dollars to record and no one has to actually buy it at this point. So how do you make back that money? You can’t. Touring is the only thing that puts money in our pockets anymore and you can’t physically do it 12 months a year so you can’t expect to pay it off by touring more often!

It is interesting to hear different sides of the story from bands in different stages of progress, in different genres, and countries. 2015 could be a year in which some bands question their longevity. Although UK tour dates have not yet been announced, Dave tells us ‘‘With a new record out, we’re touring everywhere!’’ - we should expect to see WCARs back here soon. The band will drop a new video on July 24th. Find out more at www.wecameasromans.com.

We Came As Romans Self-titled

Spinefarm Records As we saw with their previous album ‘Tracing Back The Roots’, We Came As Romans have their set sound and style, however they do like to mix in a range of genre styles to their albums. I would have to agree with Dave, and say this certainly does keep the listener entertained and on their toes. Nobody likes too much of something right? Here We Came As Romans display their core sound which is Metalcore, but they expand upon that on tracks such as ‘Who Will Pray’ when they take a slower more melodic tone. The lyrics shine through passionately, allowing the listener to really connect with the song in whatever way they need to. ‘The World I Used to Know’ starts with this same effect, and even though lyrically about past chances and missed opportunities, it actually gives quite an uplifting effect. ‘Memories’ again on the same track, a philosophical song that makes you want to stop and think about what you are doing with your life. ‘Tear it Down’ turns up the heavy, putting the album back on the metalcore track. The use of synth really makes for great rhythms. This gets even better on the next track ‘Blur’ - with a good pair of headphones or speakers, there really is so much to audibly excite. ‘Savior of the Week’ has a bit of a groove to it, another uplifting track. A great breakdown towards the end - a bit to get the crowd clapping

and fist pumping along. A teasing piano introduces ‘Flatline’, passionate sing-a-long vocals leads this tracks sound, as if you are running towards something - as they mix styles in what is now a stamp of a great We Came As Romans song. ‘Defiance’ is another strong track to which you will want to nod our head, as it promotes the great breakdowns that WCAM are so good at producing. The album ends with ‘12:30’, I can’t put my finger on it, but this song sounds exactly like an ending track (probably because it is). The album has been designed well, and just seems to wholly fit together. If you are a fan of softer vs screamo vocals, you no doubt already have this album on pre-order. The new album takes you through the phases, from explosive to softer moments. It is a creative piece that allows you to walk through your own head. One of those albums that probably has a different meaning to each listener. An album that makes you ponder - sometimes you need a great album to help you think through stuff, and this is a great album for that. For me, an album that allows you to spark new ideas, providing a real connection with the music. Overall this is a very prevailing modern metal album. FFO: Of Mice And Men. Released July 24th 2015.

FESTIVAL PREVIEW So that time has come around again - Americas biggest travelling festival has commenced! Since its incarnation in ‘95, the festival has been a great place to go chill out, listen to music, find new bands, listen to some comedy, watch extreme sports and have the best day of your life. Originally a showcase of alternative and punk rock music, the festival has evolved over the years expanding its inventory of bands and atmospheres, becoming much more diverse. It was in 2012 that the tour first came to the UK and we are so glad that it did! Now some of the best bands from around the world can be found all at the same event... WIN! The UK leg of Vans warped tour 2015 already promises to be an extremely exciting show. There will be a lot of happy faces on the 18th Oct, and a lot of aching necks on the 19th! You can expect Asking Alexandria to steal the show, with co-headliners Black Veil Brides! ASKING ALEXANDRIA have a new front man to showcase by the name of Denis Alexandrovich Shaforostov and will no doubt be playing the new single ‘I Won’t Give In’ . By the time of Warped, AA will be in full swing of their UK tour. If we are all lucky, we may even get the chance to hear some other new tracks that the band have been writing since recruiting their new front man. I’ll keep my fingers crossed, and my toes, legs, arms, lungs etc... BLACK VEIL BRIDES will be playing their last UK show for 2015 as the band are possibly entering the creation zone after a huge year of touring around the world! You should not miss this band, unless you didn’t go. But then the question will arise,‘‘Why didn’t you go?’’ - of course you will go! Check out our interview with Black

veil Brides from Download Festival, on the RAMzine Youtube channel right now! During the day you can witness some of rock and metals finest! Coming back to the UK this year will be Memphis May Fire, Chunk! NO, Captain Chunk, The Word Alive and The One Hun-

dred just to name a few you shouldn’t miss. MEMPHIS MAY FIRE will be blasting songs both old and new and promoting the deluxe edition of Unconditional that is set to be released on July 17th and contains two new tracks, as well as acoustic versions of ‘Beneath the Skin’ and ‘Need to Be’. If there ever was a ‘Need To Be’, it was to be watching this band at Vans Warped UK! CHUNK! NO, CAPTAIN CHUNK! are going to be

one of the bands that really stand out this year with the release of their 3rd studio album Get Lost, Find Yourself - you’ll be guaranteed to be leaving with a smile on your face! If you’ve not heard this band, you’re missing out. THE WORD ALIVE have been busy for the past two years, releasing two albums and doing multiple tours including their own headline tours and playing at last years Vans tour, they are back in the UK again showing us why they are a staple for this kind of event! THE ONE HUNDRED have also had a busy few years, touring like there is no tomorrow, and this year taking on a mammoth load of festivals, including Warped. This is a band that shows musical diversity, yet they fit in so well, showing there is most certainly room for a bit of infectious electronica in rock and metal. It’s rare you see Bryce Avary of THE ROCKET SUMMER, in the UK. This will be a great chance to see an atmospheric band that make use of many instruments which, on record, Bryce tends to play all himself. Admit it! You are also excited to see Trace Cyrus shake it with his band METRO STATION. Promoting their recently released album ‘Saviour’ this looks like the furthest they will get South in the UK, so far. REEL BIG FISH, always put on a really fun live show! Get your skanking shoes on, and dive in for some good old skater rock. The 2015 line-up for Vans Warped UK is more than incredible, in fact, it is absolutely mind blowing! A tour made for you by people like you! This is shown when you buy the tickets; the promoters make a conscious effort to keep ticket prices low as it is a relatively inexpensive tour compared to many other festivals. This year the line up is insanely huge, so huge the co-headliners alone will destroy the rock you may or may not live under giving you reason to buy a ticket and if you’re lucky, you may even find a new rock whilst there!

By Adam Hemmings 12

Reviews

- Death - Punk - Rock - Prog - Brit Rock Archea

Senses Fail

Heartbreak Remedy

The Parallax Method

Calm For The Restless

Catalyst

Pull The Thorns From Your Heart

Midnight Groove

The Owl

Destroyed But Not Defeated

Self-Released Words: Pagan Hel Starting with ‘Omnicide’ the rather tinny beating of drums soon turns into a gargle fest as the vocals come into play. The track morphs into a malignant invasion attacking the senses with no mercy while ‘Silhouette’ is a more epic affair but none the less seething and brutal. ‘Vacuum’ reminds me of the music to a black and white silent movie at the beginning and in between becoming a lot more serious. ‘Cryosphere’ is an artistic track that breathes fire into the equation and can boast a hypnotic lilt. ‘Pyrochrysalis’ is again quite an epic track that has a lot of meat on its bones and is gripping as fascinating due to a feast of imposing textures that offer a considerably haunting presence as well as all-out madness. ‘Salt’ is a beautiful romp of keys that are backed up by a catchy beat and scathing vocals – a beauty and the beast track – Superb! ‘Quad Damage’ leads the way in a bid to pulverize, offers addictability and wins the race. Strange title, ‘His wanted position’ however it’s epic, bold and forthright. ‘Helios Ascend’ has softer tones running through its veins but doesn’t lose intensity. The final track on the album ‘Sol’ is bitter sweet with its harmonious voices and offers a celestial drama of melody and a great track to finish on. The album has a lot to offer and for those who love the gravelly vocal it is a real treat for the aural cavity! It’s not all wild and untamed either, what you get here is a feast of various riffs with real melodies attached and something solid to relate to. It holds power only the Swedes can produce with that added hint of epic! The textures are not thin on the ground and its lavish keyboards hold the answer to the bands superb sound, although it’s a great mix of beauty and the beast with lots more besides.

Pure Noise Records Words: Alex Reeves It’s been 13 years since Senses Fail began making music. One of the classic bands of the mainstream emo wave of the early Noughties, their discography is dominated by angsty pop melodies over driving guitars. For many years they were the archetypal emo band. Not anymore. Since drummer Dan Trapp departed the band, to be replaced by Poison the Well’s Chris Hornbrook, vocalist Buddy Nielson remains the only member from the original line-up. As a result, this sixth album marks a drastic change for the band. Having recently opened up about his personal issues with addiction and his sexuality, Nielson clearly had a lot to get off his chest here. That makes it their heaviest release yet, a cathartic explosion of hardcore energy that’s almost unrecognisable from the emo band they once were. While 2013’s Renacer featured plenty of screaming and stomping of feet, Pull The Thorns From Your Heart feels like a more mature attempt at a hardcore record, nailing the really heavy bits and weaving in much else besides. Opener ‘The Three Marks of Existence’ blasts the record into being in a churn of punk riffage and frenetic vocals like Every Time I Die, but the journey of the album takes the listener through many flavours of hardcore, from the hip-hop-like flow of ‘Take Refuge’ to the postrock ponderings of ‘Carry the Weight’. ‘Dying Words’ has some of the most chestpounding riffage on the album and breakdowns to tear down the rafters. Nielson’s lyrics are honest and confessional throughout, focusing on themes of self-acceptance, dealing with loss and making the most of life. Despite its aggressive demeanour, this album could be the most positive message Senses Fail have ever delivered. Released 30th June 2015.

Self-Release Words: Neale MGeever Heartbreak Remedy were formed as a result of a drunken night out. They say never make any major decisions whilst drunk, but they also say great times don’t happen by having a salad. Heartbreak Remedy don’t at all sound like they’ve had a bad night – and they aren’t going to stop here. Their debut album Midnight Groove rolls out with ‘Convoy’ which introduces their Sunset Strip influences as well as celebrating classic hard rockers such as Zepplin and AC/DC. Like a convoy it charges with full throttle. Heartbreak Remedy channel Angus Young and co numerous times on this album. Like a lot of the best new bands in UK and wider world – Heartbreak Remedy have self-released their album. The only difference with The Midnight Groove is … you can kind of tell. The production is patchy at best. Which is a real shame as these are brilliant sleaze/ hard rock songs such as ‘Girl At The Bar’ and ‘Heartbreaker’. If these songs had a production redux we would have a classic debut on our hands. Having said that, this record is not without its great moments – ‘Cocked and Loaded’ is a true highlight. A quaking bassline opens this track which owes a lot to KISS and Def Leppard, with a bit of ZZ Top in the middle. You could even class Heartbreak Remedy as a heavier and more serious version of Steel Panther: Great musicianship and a throw-back to when rock ruled the world. Even the questionable album sleeve is reminiscent of those bands that made rock ‘n’ roll what it is today. Heartbreak Remedy have a bright future ahead. Frontman Matt Penn’s Paul Rogers – esque vocal needs to be turned up, as well as the previously mentioned production problems. Otherwise this is a great hard rock album worth tracking down. Released 11th Sept 2015.

Self-Release Words: Andrew McMahon The Parallex Method have an interesting concept, the obvious theme of space, and then there is the battle between the owl and the squid which is said to transmit a message about the sub-genres of Modern Prog. The Parallax Method this September will release their debut album Owl. Evolving from the ashes of Hard Rock band Isolysis. The Derbyshire three-piece are however not new to this having thirty years of collective experience. The Parallax Method comes across as a very exciting band. For fans of progressive and instrumental rock or metal this is an act that fits very well in a similar category to bands such as Scale The Summit. The band also take inspiration from such modern acts such as Tesseract, Karnivool and Periphery. The music is a combination of somewhat cheeky and off time riffage and a of heavier chops interspersed by ambient and sometimes dreamscape like sections - ‘Honey I Shrunk The Squid’ displays this well. Listening to the album as a whole, it might have benefited from a more grandiose level of production. Some of the heavier areas lose oomph and it can be imagined that with full drive behind particular riffs, the band would come across slightly more aggressive in areas and might have got across their message more effectively. Having said this there is a certain charm about the production and it compliments the overall vibe. This band has a lot of potential and with more progression their sound will be immense. All of the right ingredients are there and the musicianship is impressive. Their next revolution of songs is likely to be something to certainly look forward to, The Parallax Method shall stay on our radar. Released 11th Sept 2015.

Self-Release Words: Neale MGeever Stevenage is one of those places we have all heard of, and unless you live there or nearby, you don’t know much about it. On Homes Under The Hammer it would be described as having ‘great transport links to London’. Alt-rockers Calm For The Restless hope to put Stevenage on the map. Destroyed But Not Defeated being their second EP, could be the biggest thing to come out of Stevenage since the 11:45 to King’s Cross. The 5-track EP starts with ‘After Tonight’, which is somewhat of a punchy throwback to mid-00s Britrock from bands like InMe or Bullet For My Valentine. The following track ‘Shadow of a Man’ is a mellower affair – vocalist Don Macaulay really sets this band aside from other acts of this genre. Their Biffy Clyro influence shows on this track as well as ‘Lost to The Ocean’ and ‘Blue’ (not the boy-band), which itself has a rather interesting intro. Experimenting with guitars and showing musical progression this track stands out the most. However closing track ‘Bury Me In The Waves’ is a little darker and more like AFI or The Cure. At this point I am tempted to use the dreaded phrase ‘nu-metal’. A lot of these tracks remind me of the kind of acts you would expect to support POD, Linkin Park or Incubus. Not a bad thing, but this is certainly a style that belongs in the past. On the other hand, CFTR are still an unsigned band: This could be a great starting point to improve on. A lot of bands change in process to breaking through, and this EP is a great starting point for a potentially brilliant band. You just need to look at CFTR’s biggest influence – Biffy Clyro, who didn’t break through until their fourth LP. Calm For The Restless can safely say they have made a solid, listenable EP which has some questionable production but is much more than most bands achieve in their career. Released 4th Sept 2015.

Released 28th August.

Reviews Direct Divide

DoctoR Doom

Midwayer

My Hollow

Terminal Cheesecake

Own Your Ocean

This Seed We Have Sown

Thresholds

On Borrowed Time

Live in Marseille

Unsigned Words: Victoria Purcell I challenge any band to make a Violin sound like its righful place is in rock music! Direct Divide do this well - it gives them a folk vibe, however this is a Symphonic Rock band at their core. They are earthy, but dramatic. One of those bands that nobody could deny were entertaining, they could fit in at a range of festivals. Vocalist Razz has a strong voice, Kevin Proctor on keys and guitar makes some beutiful sounds at times, and can turn things up a notch along with Valdemar on the drums. Realeased July 24th 2015.

Ripple Music/STB Records Words: Steve Jackson In the day and age of protools, where bands seem to care more for production perfection, the music can feel soulless; we tend to forget that it’s about the vibe and playing music you adore. DoctoR DooM must have a real love for 70’s psychedelic blues rock as they absolutely nail the vibe, sound and spirit of the time. Be it intentional or not, the music is uplifting, you can’t help but smile and swig back a whiskey or 5 while the jams roll. This Seed We Have Sown contrasts the brutality of the metalcore. Released 24th of July 2015.

Imminence Records Words: Pagan Hel St Simon’s Island must be ablaze with this quintet of hardcore bruisers at the helm. The band being spawned in 2013 - forging ahead Midwayer have produced an amazing 6 track E.P that provides attention grabbing and satisfying moments of pure undiluted pleasure, capturing that steely melodic presence, it comes out literally brawling with the senses. Its punk essences spice up the proceedings while the progressive traits are truly uncompromising! Released 5th July 2015.

Self-Released Words: Steve Jackson When you take the devastating groove of Pantera, add the technical polyrhythm’s of Textures and then slightly sprinkle the ambience of Cynic, you get My Hollow’s On Borrowed Time. However unlike many, My Hollow has originality to the way the music comes at you. The music, while being very technical, never becomes bloated, no riff out stays its welcome and there are some truly inventive breakdown moments. Nothing typifies this more than the standout track ‘History of Violence’. Released 31st July 2015.

Artificial Head Records Words: Neil Mach These five guys are pure geniuses as well as being serious musicians who have produced an amazing hardy 5-Track E.P that is rhythmically addictive. The softer moments allow us to catch a glimpse into the other side of the bands varying nature and prove they are not all screechy and gruff for the sake of being screechy and gruff - they do hold a sweeter side and have thrown these little off shoots into the mix in a very subtle way. Each one holds its own tell-tale adventure. A carnival from the eighties. Released 11th August 2015.

Damn Dice The Great Unknown

Sean Rafferty

Unsigned Released 24th August 2015 The Great Unknown marks London quartet, Damn Dice’s, first step into the... well, great unknown of music. Branded as a blend of hard rock and metal, The Great Unknown wastes no time in showcasing the band’s ability to pull hook after hook out of the bag for many of the album’s tracks. Soon you start to wonder why the band didn’t just call themselves ‘Snog’ since they are pretty much KISS with more oomph. The first few tracks on the album are quite pleasing, there’s a lot to admire in the originality of the hard hitting riffs and there isn’t a solo unworthy of the term ‘Epic’. Although, several songs in you start to wonder what is this band’s USP? That’s when ‘Bang Your Head’, ‘No Fear’ and ‘Take The Fight’ jump in to redeem this record. The first of this trio brings in a true party anthem with a bold chorus and a nice balance of slow and fast riffs. The following tracks follow in similar fashion adding some unique flavour to this album, brought to an admirable close with ‘Home’ - a strong acoustic-lead track that will certainly leave an impression on you. It’s clear that Damn Dice have been honest about what they bring to the table with this album. Perhaps one or two elements in tracks are overused. Nonetheless, The Great Unknown is a satisfying record overall, sure to please hard rock fans of any nature. It sets Damn Dice up for a hopefully fruitful career and we’re envious of anyone who will get to hear these tracks live in the near future.

Elements Where We Once Begun

Stuart Iversen

Un-signed Released 17th August 2015 Having formed in 2013 Elements are back with their second EP, Where We Once Begun. However, line-up changes and a switch up in sound means that this is really the start for this Southampton based alternative rock back. Opening up with ‘Shaman’, an electronic heavy, pop rock song, full of woo hoos and a big old fashioned chorus. You’ll know where you stand with this band pretty damn quickly. As lead singer Graham Rogers declares “I’m a superhero don’t you know” - you will either scoff or be so caught up in the moment that all you want to do is sing along. This is a chorus centric album of fun rock songs, which bears a lot of similarities to bands like All Time Low and You Me At Six. Even when they get a bit more introspective on ‘Plotting Treason or Saving the World’ they still deliver one of the best choruses on the EP and they prove that they know exactly what they’re doing. Closer ‘Torchlight’ is the real highlight though, much more of a rock song than its counterparts, it leads to a melodic chorus and the declaration that ‘there is nothing wrong to holding onto a dream’. It shows that Elements can write a song and if they can channel that they may just do something huge. If you like your rock dark and introspective then Elements are not going to be for you. However, as the summer seems to finally kick into gear there is something incredibly satisfying about sitting in the sun and listening to some good pop fun. With Where We Once Begun, Elements deliver exactly that.

Reviews Awaken the Empire

Amber Spencer

Auora

Century Media Records Awaken the Empire have released 4 albums since they started in 2009 and the anticipated 5th, Aurora will be coming to us on the 24th of July 2015. ‘Insomniacs Unite’ is the first and definitely the strongest song on the album, it not only engages listeners with the catchy chorus, but also sends a message to listeners - which is what Awaken the Empire are all about. Damien Lawson has spoken about how this record is more of a movement, and product of emotional and physical fight, which arguably has a positive effect on the audience, giving them music they can connect to, much like other brilliant and successful bands including The Color Morale and Beartooth. It is hard these days to decipher which genre an album or a band fits into, so if I was to suggest anything it would be, if you’re a fan of 30 Seconds to Mars, Linkin Park’s more recent albums such as The Hunting Party or even some of Black Veil Brides then you should really give Awaken the Empire a listen. Some of the other songs on the album, including ‘Cruel World’ start you off with a slow start and build up to a heavier middle and end and again, bring catchy meaningful lyrics. Arguably the beginning of the album is the strongest and the middle fills the album out but can be a little repetitive. However, most of the songs really stand out and demonstrate Awaken the Empires full potential. ‘Cruel World’, ‘Holding My Breath’, ‘I’m Not Invisible’ and obviously ‘Insomniacs Unite’ are definitely the songs to look out for on Aurora. That’s if you’re like me and are looking for heavy alternative rock that gets you off your feet as well as brings real meaning and emotion. Some of the songs start us off with a piano sound, or electronic score which is quickly turned into heavy guitar riffs which fade out slightly but very quickly to

bring in the vocals, such as ‘Ashes’ and ‘Cross My Heart’. Whilst the middle of the songs are energetic and undeniably will create many mosh pits. However, I can’t help but feel some of the songs may be a little rushed, lacking any real build up. ‘A Tribute to Rome’ is a slower one on the album, starting off very quiet and focuses more on the vocals, with an eerie, dream-like sound to it. This song definitely shows off Lawson’s voice but is also intriguing as it stands out from the others and is hard to compare to any other band. ‘For Never For Always’ finishes the album, which came as a surprise to me as I found it was one of the weakest on the album. The guitar, bass and drums take over this song and sound a little mashed together, making it hard to distinguish and remember. However this does not take away the fact it again has fantastic and meaningful lyrics like the others. Overall I felt a little mixed about this album, with some songs really standing out, filled with memorable and catchy lyrics compared to others that sounded a little

rushed. However, Awaken the Empire are defiantly going in a positive direction with this album and I recommend you give them a listen.

Marcus Wheeler

Wearing Scars A Thousand Words

Candyman Records No longer is it enough to just hammer at the bottom string, far too much of that has been done already. Things did get better when seven and eight string guitars became more prevalent; however, again, this has now been done to death. Likewise, the (now) classic formula of heavy, palm muted chugging and brutal screaming vocals is becoming more and more bland. Bands now, if they are not breaking new musical ground, need to, at the very least, start bringing something more polished, more considered and more refined; Wearing Scars, although not pioneers in what they are doing, they have brought us exactly that something polished, considered and refined. Based in Northampton, Wearing Scars are an amalgamation of former members of Sacred Mother Tongue (Andy James, Lee Newall & Craig Daws) and Chris Clancy formerly of Mutiny Within. Bringing us their debut album, A Thousand Words, their experience is immediately apparent from the first track, ‘Become Numb’. The fact that we were able to listen to the tracks in uncompressed .WAV format is a treat; the clarity of sound is fantastic and really helps to separate the elements within the songs. ‘Become Numb’ is a fantastic opener, that does not initially give away too much but kicks in with an understated and well paced riff which is complemented by the drums. when Chris’s vocals kick in, it becomes clear that they have created something that has evolved from their previous experiences. The tracks that ensue are well crafted with clear and melodic vocals; the pace and sound affording a versatility that makes this album a good all rounder - it is not one of those albums that you have to be in a specific mood for.

We are offered something a bit more edgy with ‘A Last Goodbye’, which steps up the pace a touch but still very much maintains the hard rock vibe maintained throughout the album. Title tack, ‘Wearing Scars’, lends a more melodic and melancholy feel before uplifting into something more triumphant and empowering in its sound. Overall, the album is not treading new ground, but it is a well composed and well produced album that certainly stands out in terms of its quality. The vocal delivery is very accessible and will undoubtedly have fans singing along during live performances; to top this off, it is backed by some great hooks and heavy guitar riffs that provide a well balanced musical platform for the vocals.

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