RAMzine 24 | Download Festival, Clutch, Footprints In The Custard

rock & metal ISSUE #24 WWW.RAMZINE.CO.UK

CONTENTS

Breaking Bands Festival Review

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Footprints In The Custard

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RAMzine Classic

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Interview with Clutch

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Our review of the fifth instalment of Breaking Bands Festival, a festival to support underground bands.

The Manchester lads reveal their most disgusting festival stories and talk about new album A New Low.

Tom Dixon takes a look back at Judas Priest classic Sad Wings of Destiny.

We catch up with Dan Maines of Clutch to talk past ‘normal’ jobs, bands houses and The Weatheramaker Vault Series.

Download Festival

The Big Download Review

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SiXforNinE, Vax, Krysthla

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The review to rule them all. Our annual big review of Download Festival.

New release reviews.

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Downpour Fest returned with great sucess!

Hemina, The Bottom Line, Bokassa, Through Fire 20 New release reviews.

Eva Bartok, Sabaton

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New release reviews.

Children Of The Sun, Boomerang Rapido, Lagerstein 22 New release reviews.

Kid Kapichi, A Road To Damascus, The Drippers, The Survival Code New release reviews.

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Interview with Clutch Clutch have now launched The Weathermaker Vault Series.

We caught up with bassist Dan Maines at Download Festival 2019 to find out more.

21 Sabaton

Swedish Power Metal veterans, Sabaton are back on the front lines with a brand new album, The Great War.

Stop People From Making Money From Secondary Ticket Sales!

If the recent reports are true of big bands setting aside tickets specifically to put straight onto resale sites to make extra profit, then something is seriously wrong with the industry. It’s bad enough that we are sometimes paying over £100 per ticket for a stadium tour and up to £50 for smaller venue.

Slipknot by Matthew Higgs

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Footprints In The Custard

Tell us their inspiration behind ‘Ride My Little Pony Ride’.

The system clearly needs re-thinking.

Sometimes people simply can’t attend a show for specific reasons anymore and for this there should be a solution.

Perhaps it should be made illegal for companies to sell those tickets on, and only let the individual ticket holder sell it on where necessary, or perhaps have a system where you can apply to put your ticket back up for sale on the site that originally released the tickets?

What do you think the solution should be? Email us at info@ramzine.co.uk / Tweet us at @ram_zine if you have any ideas. Let us know if don’t mind us quoting you in our coverage on the topic.

That said, there are plenty of cheaper local shows out there. Support music, support new music, and get to some local shows!

Victoria Purcell Editor

On The Cover: Skindred’s Main Stage set at Download Festival 2019 by Abbie Shipperley.

Footprints In The Custard and Ward XVI at Breaking Bands Festival by Sophie Colvin.

BREAKING BANDS FESTIVAL 2019 The Best Small Rock/Metal Festival In The UK

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Review By Victoria Purcell | Photos by Sophie Colvin

t Stoke Prior Sports and Country Club in the quaint town of Bromsgrove, rock and metal fans have taken over this sunny patch of land for the annual Breaking Bands Festival which has this year doubled in size. Saturday night was a huge party with Devilfire and Witch Tripper headlining the two stages of the festival. Hard rockers Theia showed their talent and power, Chasing Dragons put on an emotive performance as they always do, and Death Valley Knights dazzle us with their long golden locks and dual-guitar riffing. All the way from Germany were the kings of the synchronisation, Godslave - very entertaining and energetic, getting the crowd to shout ‘Fuck You’ a lot is just their thing.

My favourite discovery of the weekend was These Wicked Rivers, styled as 60’s/70’s rockers and playing bluesy rock. I tried to buy a CD but alas their card machine could not get any internet connection, 2019 problems. These Wicked Rivers will be ones to keep an eye on over the next few years, I hope they manage to land some decent support slots, they deserve it. They just make it all look so natural, music that’s so good accompanied by a beer in the sunshine, loving life.

Sunday morning starts with a pyjama party since Pulvarisor have the morning slot, their second slot of the weekend. They bring a very energetic performance and I think the whole camp site is awake now, but putting everyone in the mood to start the day again. Both set’s saw a few covers, most notably ‘Insane In The Membrane’ by Cypress Hill. Following them is an acoustic set by Collateral, chilled rock n roll vibes, which suited the vibe

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just right. And whilst there were a few hiccups from the band (forgetting lyrics, a couple of notes) it was refreshing to know that there were others just as hungover/ still drunk as the rest of us.

The only way to get through it is by knowing that we are in this together and probably a decent breakfast, both of which were provided.

Vain Galen tell us a story of a guy trying to insult them online calling them ‘a bunch of walkers’... I mean if you are going to be a keyboard warrior, at least spell your insults correctly! The crowd shout ‘wanker’ back at them during track ‘walkers’ to celebrate.

Psychoberrie may be due any day, but that doesn’t stop her performing a full set as lead vocalist of Ward XVI. We’ve never seen anything like it, a highly impressive and endearing performance from her and the band, who don’t hold back at all. They even added a new addition to their props, a baby doll psycho patient. This band of psychos love their theatrics, one’s you need to go and see live!

The fun doesn’t stop there as Footprints In The Custard are next, wearing their current stage attire for the very last time ready for new album A New Low. They are a band that thrive on a comedic performance but if you can get past the lyrics then these tracks are beefy as fuck metal too, just as we like it. Personally It’s good to sing along to a funny metal songs for a change, we don’t need to be so serious all the time.

It’s always a delight to see Brothers, Luke and Chris Appleton perform an acoustic set. The guitar is the tool of their trade and I’d go as far as saying they are probably the most talented guitar duo in the UK right now. They

both sing well too, they would have gone down much better supporting Rammstein then the piano due did on the recent tour, just saying. Someone needs to put them on bigger stages immediately. Then we get to see them again, headlining as Absolva with the rest of their band. Absolva are one of those bands who we’ve been following for a long time now and seem to be hugely successful over in Europe. If you like your music with decent guitar riffage, you are about to be set for life.

They’re are melodic whilst giving you enough beef, every member of this band it on point.

You can’t write a review about Breaking Bands Festival without mentioning the community spirit of the event.

The good thing about a small festival is that you end up becoming friends with almost everyone there. I’ve made countless friends at this festival over the years, shout out to camp fancy (not actually that fancy, we just thought we were because we had a table).

Speaking with fellow festival goers the only suggestion to Breaking Bands Fest was not to have the same bands playing twice. There are so many new bands out there who would jump at the chance to play a festival to get their foot on ‘the festival ladder’. This festival is about proving that platform, it’s in the name. Diversity in genre is certainly there, but the best part of the festival has always been being able to discover bands that you have never heard of before. We hope that Breaking Bands always remains true to that. If you are a new band looking to put yourselves forwards, band applications are open now, head to https://breakingbandsfestival.com/applytoplay.

Vain Galen

Ward XVI

Young Metalheads

Breaking Bands Fam

Absolva

Footprints In The Custard

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FOOTPRINTS IN THE CUSTARD Let The Bloodstock Debauchery Commence

By Victoria Purcell

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ootprints In The Custard are a five piece band from Manchester.

They bring party metal to a whole new level whether it’s with their actual song ‘Part Metal’ or their cover of ‘It’s Raining Men’ performed in mankini’s or ‘Gail Platter’ a song about Gail from Coronation Street being served for dinner by Ainsley Harriott, they are sure to get some laughs out of you. You can expect to see bums, tutu’s and to be honest… probably more then you bargained for at a live show. But this is level ten metal head entertainment value. We caught up with the band at Breaking Bands Festival to find out a bit more about their new album A New Low and what they get up to at festivals during the night...

RAMzine: How have you found Breaking Bands Festival so far?

FPITC (Collectively Footprints In The Custard): We found Breaking Bands Festival with a sat nav, none of us can follow directions enough despite having been here several times. We’ve only just got here today and it was horrible weather when we first arrived and now it’s really sunny. We’ve released all the pressure in the weather system, so everyone can thank us for that later.

RAMzine: When you first came on stage today, we were a bit worried that you were retiring your outfits?

FPITC: Well, we are actually retiring the outfits that we wore today. We’re about to get even more ludicrous and sexy. With our new album comes a new stage get up. If you are blessed with eagle eyes and you watched the ‘Clit Commander’ video you might

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have seen a sneak preview of the type of bullshit we are going to be pedalling in the future.

RAMzine: How low do you get on this new album?

FPITC: Six inches. Confusingly not as low as The Fanny Pee, that was the lowest of the low, that was in the upper mantle. There’s one song on there, that we still decide that we should never play live.

Russ: Oh ‘Sexsual Harrisment’? *group laughs*.

FPITC: That song is publicly available on Spotify. Enjoy us never playing it.

Fucking weird tune.

We’re about to get even more ludicrous and sexy” RAMzine: Back to your video for ‘Clit Commander’ that you released earlier this year... so in the video is the lady teaching you, is it a school?

FPITC: Yeah, mostly about sex. So it’s meant to be an exam in school and it’s about boys having fantasies about their teacher and stuff like that.

Ian: It just bought me back to my primary five teacher, she was something else. That was a strange ten year old wet dream, she ruined me, thats why im here.

Russ: It was an interesting one to film as we wanted to make sure that it wasn’t creepy.

FPITC: Which was hard. She covered us in cream, she got covered in rum, and there was some spanking and straddling. She was a great sport, she loved it. Her words at the end of the shoot were ‘I can’t believe you guys are paying me to do this to you’.

RAMzine: Did you use for real fantasies, how did you come up with the ideas for the video?

Russ: It was a long phone conversation with me and the director. To be fair he came up with a lot of it.

FPITC: They are all quite realistic though, we had the childlike fantasy, the very romantic, a lot of food, and the party animal. Russ was just heinously deprived. There’s a lot of throwbacks to shit we have already done, just in a sexier way.

RAMzine: What was your inspiration for track three, ‘Ride My Little Pony Ride’?

FPITC: The inspiration behind that one came from when we were in Dublin at a gamer bar where you could sort of like have your food on these old arcade tables, and they you give you tokens to play video games and it’s brilliant. But in one of the tables they just put a load of My Little Pony’s, and Russ is a bit of a Brony on the side, so it just came from a man loving is pony. It was only ever exaggerated when Red Dead Redemption 2 came out, when we all got really attached our horses.

Russ: Yeah those lyrics are actually about Red Dead Redemption 2, as I was just trampolining people with my horse. It was fucking ace.

Photo by Thunderbolt Photography

RAMzine: I think we need to get some more crowd participation during this track at the live shows!

FPITC: Haha we’ll get everyone trotting around!

RAMzine: Hell yes!

FPITC: We need to get coconuts, take one pass it on. We’re back to primary school again.

RAMzine: Track eight is called ‘Space Force’, tell us about that track?

FPITC: Well, at Amplified Festival last year it was a very hot weekend and we drank a lot of beer and it became a bit of an in joke actually. Hercule from Future Pilot was busting open his van door, pretending that it was a spaceship. It was about 4 o’clock in the morning and we were all leathered, we just went off on one until it developed and took a life of its own. Jordan from Evil Scarecrow was coordinating different actions, space force, horse force, parcel force. Parcel force is the one thing that we are really upset that we didn’t add.

We kinda felt sorry for Evil Scarecrow who played their set that night and had about twenty people in the audience shouting space force. Dr Hell just turned around to Jordan and said “Are they chanting parcel force?” and he was just like “yeah, and what?”. “Why do you keep air kicking your drums?” he just said “because… parcel force”.

We love how there was absolutely

no confusion as well, he just turned around and knew it was Jordan.

RAMzine: One day perhaps you could form a super band with Evil Scarecrow?

FPITC: Oh they would hate that so much. It happened once, at HRH Vikings when Jordan jumped on stage with us to play ‘Party Metal’ on the drums.

RAMzine: Tell us your most disgusting festival story?

Sladen: I think that would be me passing out in a portaloo while Whitty was holding me up and my ex was wiping my ass for me because I’d shat myself.

Russ: I didn’t know about this!

Whitty: My golden rule at festivals is that if you pass out a festival you are allowed one time where I will carry you.

Sladen: I had about five people carry me back, you and two of the biggest people I have ever met, my ex and some other randomer who just decided they were gonna hold my foot.

Whitty: It was just me, helen and beth!

Sladen: Who the shit is helen?

Whitty: We had a great night. Sladens ex just came to camp and said “I need help, Sladen is face down on the floor.

Sladen: In my defence I had two litres of rum, half a bottle of jager and a decent amount of absence, and that was just the Thursday.

Whitty: The worst part was, you were such a little bitch. We would pick you up and get you twenty paces and

you’d say “let me down, im going to be sick” but you wouldn’t be sick, you’d just go fetal and sleep.

Russ: Going fetal, that’s the next song title!

Sladen: All I remember is waking up the next day with half of my New Rock gone, all the metal bits and the soul. I woke The next morning hungover as hell, I came out of my tent, did a front flip over someone’s guide rope then and just vomited all down myself. This was at Bloodstock two years ago.

Russ: Can I tell you a really funny thing that I saw at a festival, at Sonisphere, there was a guy and there was a row of urinals and you had to face people, and you were pissing towards each other. And there was one guy who just would shout (in a loud husky voice) “GOING OVERRR” and he would piss over the top and into the next one, opposite. It was so fucking amazing.

I loved it, then the guy immediately afterwards set himself on fire.

FPITC: And there was that time Ian tried to use the urinals as a tardess, pretending he was Dr Who with the urinals. But if we are talking about Ian at festivals we have to discuss Download. Download last year Ian crawls out of his tent and goes “guys I had the weirdest fucking dream last night, I was walking and I dreamt that I threw up all over myself”. And then he looks down at his shirt and goes, “oh I did!”

All over the Carly Ray Jepson t-shirt.

Ian: Apparently I had walked right round the race track about three times, so security took pity on me and finally pointed me in a different direction.

RAMzine: We will expect just as much at this years Bloodstock then!

FPITC: Oh it’s going to be a whole heap of debauchery, RAMzine: Lastly, if you could deliver one message to the nation what would it be?

FPITC: Don’t be a cunt. Respect everyone, love your neighbours.

Footprints In The Custard’s new album A New Low is out now. Head to https:// footprintsinthecustard.bandcamp.com for more details.

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Classic Tom Dixon takes a look back at Sad Wings Of Destiny...

I’m sure I’m preaching to the converted readers of RAMzine, but I think this is an album that should be revisited way more often than it is…”

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ou know you are getting old when you say things like “I remember it like it was yesterday”…well, I remember as if it was yesterday when, in 1976, I was sitting in the school hall with my fellow sixth formers discussing our favourite bands. I was extolling the virtues of Cream, Purple, Ash and Gallagher when a friend (thank you, Owen Huntingdon… I owe you a lot) suggested I borrow and listen to a band called Judas Priest on a new album with the evocative title of Sad Wings of Destiny. He brought it in the next day and I was taken straightaway by the imagery of the cover artwork…

Patrick Woodroffe’s picture ‘Fallen Angels’ was striking and matched the dark and heavy sounds that the vinyl contained. Although I still think there is something amiss with the angel’s right hip! When I got home and stuck it on the turntable it is no exaggeration to say that it affected me more than

any other album before or since. I already loved heavy rock, but this took the heavy and the rock to another level and yet still had room for a lightness of touch among the riffs and power chords that abound.

There are very few albums that are truly seminal in their construction and impact; even fewer that are stunning in their invention and cohesiveness.

This is all of that and more… Sad Wings was and is an album of sheer brilliance that has stood the test of time and remains one of the best albums in the history of rock. The band went on to embrace the “Metal God” sound and image as they built on the rock solid foundations of this masterpiece. It’s remarkable also for the fact that it was recorded by a band that was close to, literally, starvation and could well have been their last album had CBS not taken them on board; remarkable also because two mem-

Judas Priest by Ash Crowson

bers of the terribly Typically Tropical (altogether now: “Whoa, we’re going to Barbados”!) acted as producers.

Opening track, ‘Victim of Changes’ was such a statement of intent: the crescendo of twin guitars, then the riff, then hearing Rob Halford for the first time brought a whole new meaning to heavy rock… and, across its eight minutes it has it all: heavy chords, subtle and searing vocals, superb solos and even a built in ballad. (This track still sounds odd when I listen to it on CD as the first vinyl pressings had a jump at around the 90-second mark.)

Its creation, as I found out much later, is fascinating too as it is the melding of two songs: Whiskey Woman by KK Downing and the previous vocalist Al Atkins and Red Light Lady which was a song by Halford from his time in a band called Hiroshima. Regardless this is still one of the greatest songs of all time… yes, all time! As the man says, “Good God, pluck me!” Next comes ‘The Ripper’, a song of simplicity and yet so engaging with the twin guitars and vocal patterns despite the odious subject matter. Then comes a track that employs a ‘progressive rock’ edge that Priest have always employed so effectively and unpretentiously… ’Dreamer Deceiver’ is a slow, acoustic led ballad that showcases Halford’s effortless and unbelievable range and then adds equally lyrical guitar solos, all of which serve as an introduction

to the shorter, heavy masterpiece that is ‘Deceiver’: short and sweet with a chugging riff and more Halford vocal exercises. A great way to close side one and leaving you unprepared for a surprise when the first track on side two plays out. ‘Prelude’ is a sweet piano instrumental played with some aplomb by Glenn Tipton. It is a little out of sync with the rest of the album but, a bit like the orchestral intro to Walk On by Goddo, it builds the atmosphere and tension so that when they unleash ‘Tyrant’ it is even more effective. The riffs and tempo changes combine again with great multi-tracked vocals and guitar solos (although how Rob fits so many words in is amazing in itself, and he does sing “Mourn for our soul, pressed in fear” not mourn for arsehole!). Next track, Genocide’is another true classic with its weighty riff and lyrics that slate the impulses of man as well as providing the title for their next album, Sin After Sin. The bridge with Glenn and KK taking turns is also a sign of things to come… wonderful stuff. As is the next track, ‘Epitaph’. A piano backed ballad of such passion and power and with lyrics we should all relate too. Sure, it isn’t heavy metal Priest but it is a song that reaches parts others cannot reach, and Rob is again demonstrating that wide range but with subtlety and feel. “He’s our tomorrow just as much as we are his yesterday”… that is poet-

ry in many senses. Final track, ‘Island of Domination’ blurs into the previous track with the chugging riff that leads into a classic heavy rock song few others could carry off. The slower mid section is genius with the staccato riff and Halford letting rip backed by guitar phrases that tingle and make the “spine snapper” lyric more than apt. A great close to a superlative album.

I’m sure I’m preaching to the converted readers of RAMzine, but I think this is an album that should be revisited way more often than it is…I’d even go so far as to say that it is still the best Priest album yet. I acknowledge the vast canon of work (British Steel, Stained Class, Screaming etc. etc.) that has so much to offer but they do not have the diversity, passion or sheer invention of this classy, measured and brilliantly realised album. (I even have a soft spot for the much maligned Rocka Rolla).

Halford, Hill, Downing and Tipton were backed on this album by drummer Alan Moore who, bar a brief stint from Les Binks, is the best they ever had and deserves credit for his exceptional contribution to an album that if you do not have in your collection – regardless of your preference for metal, thrash, or any other sub-genre – you are ignoring the thing that helped shape rock music today.

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CLUTCH

The Weathermaker Vault Series, Band Houses and ‘normal jobs’

By Victoria Purcell

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ost known for singles ‘Electric Worry’, ‘X-Ray Visions’ and ‘A Quick Death in Texas’ Clutch have been going for over two decades, released twelve studio albums and now they have played main stage Download twice. Their 2015 album Psychic Warfare saw huge success after being highly anticipated by the rock community and their last album Book Of Bad Decisions was critically acclaimed. Since 2008 the band have been signed to their own record label, Weathermaker and ‘The Weathermaker’ is an instrumental song off of 2004 album Blast Tyrant. The band have now launched The Weathermaker Vault Series. We caught up with bassist Dan Maines at Download Festival 2019 to find out more.

RAMzine: You just played the main stage how was it?

Dan: It was awesome, really good, great crowd. We had to warm up quick. We just got off the plane yesterday, so I slept for thirty six hours! Yeah I feel good.

RAMzine: Wow, you slept for thirty six hours, that’s impressive!

Dan: well, it was more like six but it felt like thirty six.

RAMzine: Tell us about The Weathermaker Vault Series, we are guessing by the name that you have a secret vault of unreleased material that you are now putting into a release?

Dan: We do, it’s full of many treasures, songs being one of them. We recorded a handful of songs in the studio with our friend J Robbins out of Baltimore and some of them were covers and some of them weren’t. We’re going to

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be releasing them through the summer digitally.

RAMizne: You have already released ‘Evil’ and we saw that when it was announced on Facebook that Neil said, this is a song that we have loved for many many years...

Dan: Yeah it’s a cover of the Cactus cover of the Willie Nixon song. Howlin’ Wolf does a very different version too, we grew up on the Cactus version.

RAMzine: Going back to the start of the band, did you have a normal full time job way back when?

Dan: I did, I never really had a proper job working for somebody else though.

When I was in high school my family opened up a bike shop. My brother and I grew up riding BMX bikes, it was kind of our lives for the majority of our childhood. So we opened up a bike shop whilst I was still in high school in ‘87, I started jamming with these guys (Clutch) in ‘89, and actually for a hot second we were holding band practises after hours in the bike shop.

RAMzine: Makes a difference from the typical Garage…

Dan: Yeah originally we were jamming in Jean Paul’s parents garage and we were doing that for a long time. We had a practice space that was connected to a furniture showroom, so every time we were hauling our stuff in and out of the practice space we were damaging their showroom furniture along the way.

RAMzine: So when did you reach a point that the band knew it was time that you needed to focus fully on Clutch and quit jobs?

Clutch fans support live music and you couldn’t ask for anything better than that.”

Clutch by David Dillon

Dan: It was probably by the time that we had got touring the self-titled album, we were just trying to get on the road as often as possible. It’s really hard to find a cool boss who will let you to take off for four or five weeks at a time. I mean we by no means at all could afford to not have day jobs, so I myself was still living with my folks, while we were still touring on that album. Very shortly after that we moved into a band house in West Virginia, and that is when we starting writing material for The Elephant Riders.

RAMzine: Does the band house still exist?

Dan: The house is still there yeah, we were actually just there sometime early last year. We visited the house, it was fully dilapidated when we were there, and we put no effort into cleaning it up, we were just renting. But shortly after we moved out somebody did buy it and they had been working on that house a lot because it looked totally different when we went back to visit it. It didn’t have a spooky scary vibe at all, it looked quite nice.

RAMzine: How would you describe a typical Clutch fan?

Dan: I think that they are a lot like me and you, regular people who have a passion for music. If I had to point out a defining characteristic of an average Clutch fan it would be that they support live music and you couldn’t ask for anything better than that.

RAMizne: Will Clutch be coming back to the UK before the end of the year?

Dan: We just announced a UK tour that we are going to be doing in the UK in December in Southampton (17th), London (18th), Leeds (19th) and Nottingham (20th).

Clutch have just released the second single from the Weathermaker Vault Series which is ZZ Top cover ‘Precious & Grace’. You can check it out over on the bands YouTube channel now. We look forward to seeing which tracks they release later this year.

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A ROLLER COASTER OF ROCK N ROLL!

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f you have heard anything about this year’s gathering of the rock gods, known as Download Festival to mere-mortals, you will have heard about the issues with the weather.

Nicknames have included: Brownload, Downpour, Drownload II, Mudload, Down-mud, mud-mud (that last one is taking it too far I think). Yes it rained, and yes it was very muddy. This was not great for campers and those trying to traverse across the festival site. Yet I suppose, this is English summer time, it’s bound to rain. If there wasn’t mud at a British festival, you would probably ask for your money back. RAMzine is aware you have heard all these jokes before. Don’t worry, plenty more dad-jokes ahead. Nevertheless, this is your annual big, fat, juicy, undefeated, undisputed, bootylicious review of Download Festival 2019. Day-By-Day we hope to fill you in on all the goings-on at the sacred Donington Castle grounds.

Downloaders don’t do things by halves though, surviving the early camping days and ready for rock n’ roll action.

Granted that the layout is a little different from previous years but that could improve things. Other changes have been made to favour a ‘greener’ festival. This is a great step made by organisers and other festivals should follow suit. No single-use plastic on site and campers are encouraged to

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By Neale McGeever

re-use their tent. We don’t need any speech from David Attenborough. This has also been a great year for health and well-being as ‘Rock Fit’ and ‘DO. OM Yoga’ took place on Thursday morning. Fantastic! On with the music!

AND closing Friday’s main stage. Not a long set, but we get a hand full of their own tracks and end with a rendition of ‘Rainbow In The Dark’.

Kicking us off on the Avalanche stage are competition winners Penshui.

This is something totally different, if I had to coin a subgenre I’d call it ‘grime-core’. Sounding like a cross between The Streets and Enter Shikari. Boasting just a vocalist, bassist and drummer there’s a touch of Death From Above about these. Different for sure, still enjoyable.

Back to the Avalanche stage for Canada’s finest genre fusionists Sumo Cyco. Making their Download debut, they have managed to fill out the tent.

Very impressive for a band who have released two albums fan-funded. Trust them to get the crowd on their feet.

Vocalist Skye gets amongst it, even trying the Slipknot-esque sitting down thing. A surprise cover of ‘BYOB’ by System Of A Down gets most people’s attention but the set is finished with ‘Move Mountains’. At this point, it is fully expected that Benji from Skindred is to join them on stage for this duet, they are playing tomorrow after all. No dice, unfortunately. Nevertheless, this is a phenomenal showcase for the ‘dancehall-punks’ and maybe their ticket to a bigger stage next time.

It’s an unofficial tradition that one of the days of the weekend is almost a nod to the original Monsters Of Rock festival from the 80s and 90s. I suppose with tonight’s headliners Def Leppard, Slash, Whitesnake, etc.

Friday is that day. The opening band on the main stage is Last In Line, for anyone who doesn’t know they were formed with the surviving members of Dio. That means Vivian Campbell is doing double duty today. Opening

Meanwhile, its the battle of the classic-rockers as Tesla take the main-stage and Skid Row takes the Zippo Encore stage. Tesla essentially comes with the Def Leppard package, after following them on tour around Europe. It sort of feels this way too. Not sure if the main stage is the place for this band, I honestly don’t think anyone came to Download for this set.

However, Skid Row put on a fierce performance. Although ex-Dragon-

Friday Before we start: don’t believe the fake news. I don’t believe many packed up and left the site before the festival began; this is one of the busiest Downloads I can remember.

Air Guitar Championships by Abbie Shipperley

Last In Line by Matthew Higgs

Downloaders by Sarah Koury

Pengshui by Sarah Koury

Sumo Cyco by James Bridle

Downloader by James Bridle

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force singer ZP Theart is on frontman duty, this feels like raw Skid Row, cramming in all the big hitters. I don’t even need to tell you that they kept ‘Youth Gone Wild’ until last. Oh look, the sun is out.

A walk down to the Avalanche stage and fans are still waiting on Icon For Hire. After a delay, we are only left with a 20-minute set, a good 20 mins but we really wanted more from a band like this on the rise. Following is another clash of heavyweights. On the main stage, Clutch deliver their own brand of stoner-rock. Drawing a huge crowd. Frontman Neil Fallon comments “This guitar sounds like it’s been in a warehouse in Manchester for six months” not sure what difference that makes but their signature sound remains. Quite a chunky set, getting those muddy wellies moving. Whereas the Dogtooth stage sees Conjurer, not to be confused with the horror movie series. The loud-as-hell metalheads blow the top off this tiny tent. A half hour of power.

Back to the Avalanche stage for a Japanese band that has been talked about a lot so far: MAN WITH A MISSION. Complete with wolf hoods, this looks like something special already. This band basically fuse electronic hip hop and dance music elements with punk rock and a tad of metal. This is such a fun band, crowd surfing, getting the audience to do a special arm-wave, if that wasn’t all they also invite members of Zebrahead onstage for a track too. We hope to see this lot again soon.

Yet again we face another clash. This festival is so stacked. Sacrifices have to be made, so Whitesnake on the main stage is our next stop. The hard-rock legends may not be the same band they were when they first played Donington, but still worth our time as David Coverdale has still got it.

Stepping out to ‘My Generation’ by The Who (for some reason), Whitesnake starts strong with ‘Bad Boys’ and quickly getting into the classics like ‘Love Ain’t No Stranger’. This is a 14

Coverdale has never lost his golden voice over the years” ‘proper’ band as your Dad would say.

Quite a long set including guitar and drum solos. One of the things that are most impressive about Whitesnake is that Coverdale has never lost his golden voice over the years, unlike some of his contemporaries. This is clear when classics like ‘Is This Love’ and ‘Here I Go Again’ are more or less pitch perfect. It’s great Whitesnake have had a career spanning over four decades but maybe time to take a step back and let the new kids step up?

Over on the Zippo stage, Opeth is giving us the biggest crowd pleaser by announcing they aren’t paying anything from their new album. Not to say the new album isn’t good, but you see a complex band like Opeth for their layered back-catalogue. Every band should do this.

Slash returns to Download after his triumphant headline set with GNR last year, this time with long-time collaborator Myles Kennedy and The Conspirators. This collaboration has

Def Leppard by James Bridle

had a long enough life that they manage to fill a 14-song set with 12 original tracks leaving room for the GNR classic ‘Night Train’ and Slash solo track ‘Back in Cali’. Kennedy’s rock vocal is undisputedly one of the best in the world, yet the main attraction is clearly Slash’s playing.

Finishing off with ‘You’re a lie’ and ‘Anastasia’ this is something that needs to be seen to be believed. Not as epic as GNR’s headline set last year but still a great show. Quick check in to the Dogtooth stage (well stand outside, the tents so small) for a bit of Jinjer. Again, more people outside this tent than in it. Travelling all the way from Ukraine, you would expect at least the Zippo stage. Jinjer is a bit of throwback to the nu-metal days, a bit like Sumo Cyco or to some extent Skindred. Definitely worth a look if you’re looking for something different.

Hop-skip to the Zippo Encore and horror-rock god Rob Zombie is closing this part of the festival for the night. Apparently, this is part of the ‘Twins Of Evil’ tour with Marilyn Manson. Except Manson isn’t here.

Interesting. Zombie is always a crowd pleaser and this set is no different. All the classics from ‘Living Dead Girl’ and ‘House Of 1,000 Corpses’ as well as a couple of White Zombie numbers and a surprising cover of ‘Helter Skelter‘ (The Beatles) of course accompanied by imagery of Charles Manson. This is another thing about Zombie – he

knows how to use clips of movies as part of his show, being a director himself he has an eye for detail.

Funnily enough a trailer for his new movie ‘Three From Hell’ plays before his encore of ‘Dragula’. What a great show. It’s obvious why Zombie is a popular choice at Download and why he’s headlined Bloodstock. Would be interesting if Manson and Zombie were at Download this year - especially after his disappointing set last year.

After all that we’re missing this weekend’s first headliner, Def Leppard. The Sheffield rock legends have played Download and Monsters Of Rock more than a lot of other bands can say they have. A rather popular choice, yet it’s at the point we’ve seen this all before. A great band for sure, I have all the respect in the world for them. But, I have to ask this: Are Def Leppard really that much of a draw in 2019? I’m not sure about that one.

Sadly not that much of a turnout in comparison to some headliners, but clashing with someone like Rob Zombie, and to an extent At The Gates on the Dogtooth stage. Or even Me First and The Gimme Gimmes. Can’t say there isn’t variety at this festival.

Def Lep’s set begins with Hysteria in full, as advertised. Joe Elliot and co. are on their ‘Best Of’ tour so why not just play that? Although they have been playing material from Hysteria on their last tour so… fair enough.

I’m sure plenty of people would be pleased with that. I guess the band wanted to do something special for Download. The best thing about this is we hear tracks you don’t usually see live these days, as well as popular singles like ‘Animal’ and ‘Pour Some Sugar On Me’ early on. For hardcore fans, this is a good treat. Are there many of those these days? For their encore, we get some more hits like ‘Let’s Get Rocked’ and ending with ‘Photograph’. Can’t say this was a bad performance, at all. Yet this seemed a bit underwhelming as a headline set.

Joe Elliot’s mic effect seemed like it was masking his voice a bit, and this is

a show a lot have people have seen before. Similarly to Whitesnake, might be time to take a step back. Elliot finishes saying “Until next time… and there will be a next time!” Download 2022 headliners confirmed? Let’s be honest, Def Leppard has done enough in their career. Like Whitesnake, they need to let the younger bands take their place. Download seems to have revolving headline bands (SlipKnot, Rammstein, Iron Maiden, Def Leppard, sometimes Metallica) and I think it’s time to freshen it up. What’s wrong with Bring Me The Horizon? Has Nickelback ever played DL? What about Green Day, Foo Fighters, Red Hot Chilli Peppers... the list goes on.

A decent first day filled with some new bands and returning heroes. We came to see Def Leppard and we got Mud (yeah there’s more jokes like that to come) but our spirits aren’t damped and looking forward to the next day filled with rock n roll.

Saturday Saturday is the ‘middle’ day of DL19.

For some the best day, the show-stealer. Yet, for some, this is a stepping stone to the grand finale. Tonight’s headliner is the most anticipated and carries the most weight in the shape of SlipKnot. With a mix of all kinds of styles from Nirvana tribute bands, to alternative rap, to ragga metal - there’s something for everyone today.

Nice and early, Alien Weaponry jump start the main stage with their unique brand of Maori-metal. I can see a young Sepultura in these guys, the road is clear for them to bigger things.

To think these New Zealand teens were virtually unknown at their Bloodstock performance and they are opening the main stage at Download.

After a moment to catch our breaths, Royal Republic really makes their presence known with Ron Burgundy from Anchorman-style red lounge suits. In fact, frontman Adam Grahn’s Tasche makes him a dead ringer for the Will Farrell character.

Alien Weaponry by Sarah Koury

There’s something really different about these guys. Yes, they are a hard rock band, but there are glimpses of pop, and even blues at times. There’s something a bit refreshing about RR, very upbeat but very ‘hard’ at the same time. Safe to say they have made a name for themselves this year.

Wading the charts to the Zippo stage for a band who really wouldn’t usually play a festival like Download. A tribute band, with a difference. A Nirvana tribute, fronted by Elvis Presley. How does that work? Elvana shows us how.

Starting with ‘Breed’ and ‘In Bloom’ this feels like a straight-up Nirvana covers band with a few glimpses of ‘Viva Las Vegas’ and ‘In The Ghetto’ for the fun of it. Not a bad act at all and the playing is spot on. Very entertaining and highlight so far. Complete with cheerleader backing singers and throwing yellow ‘Nirvana face’ balloons to the crowd, this is a great show overall. ‘Elvis’ splits his pants during the set announcing he would have rather fell off the stage like Dave Grohl. Finishing with a mash-up of ‘Rape Me’ and ‘Love Me Tender’, followed by ‘Little Less Conversation’ into ‘Smells Like Teen Spirit’ the crowd leave happy. Elvis Presley was a covers act anyway.

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Still, time to catch the rest of Power Trip on the main stage. Although a very young band they understand the thrash metal style and culture. A huge draw and hopefully a big future for the Dallas band. A lot of people were introduced to bands like Power Trip via the use of their music in WWE/ NXT (full report of the NXT UK goings-on later in this review). According to frontman Riley Gale “This isn’t the biggest gig we’ve played... but it’s one of the best!” Cheers. Tracks like ‘Executioner’s Tax (Swing Of The Axe)’ and ‘Crucifixion’ get the circle pits revving up on a Saturday afternoon.

While the weather decides what it wants to do Japanese power-metallers Lovebites take the Dogtooth stage. I mentioned this last year but I feel this ‘stage’ is a waste of talent. So many great acts on this stage, yet too small to contain enough fans. Plus the sound is not great either. There are bigger tents in the campsite. What’s the point in this ‘stage’ anyway? But I digress... Lovebites, in short, are an amped up version of Dragonforce or Iron Maiden, except they’re all Japanese women. The musicianship is flawless and their presence is as impressive as anyone on the main stage. “We are Lovebites and we play heavy metal!” exclaims vocalist Asami.

This set is only 25 minutes long and feels like it should be longer. Still managing to squeeze in belters like ‘Under The Red Sky’ and ‘Addicted’. Lovebites were upgraded to the main stage at Bloodstock last year through being in the right place at the right time. Lovebites should be on the Download main stage for their talent alone. Wonder if they hang around for the song they were named after...

If you were “lucky” enough to be standing outside this so-called “stage”, you would have been able to catch the epic set from Behemoth. This band’s live performances are legendary, wherever they play, there’s a buzz about them. That heat you are feeling probably isn’t the sun, it’s most likely to be the vast amount of pyro Behemoth have at all times. (Note: backstage reports say they had their own 16

18-wheel lorry with all their production gear in it). Frontman Nergal remains metal as ****. Thumping tracks like ‘Ov Fire And The Void’ and ‘God=Dog’ (nothing to do with The Inbetweeners Movie) hit Donington Castle like an earthquake. Behemoth has this black metal thing down to a tee. There’s a very good reason they are the most respected extreme metal act on the planet.

Following shortly after are one of the brightest and most entertaining bands on the bill are about to adorn the stage. Fair enough, Skindred has played every other Download in memory but they deserve it. They always put on a great show; bringing together a lot of styles and genres.

From the start we have ‘Pressure’ with a breakdown of ‘Back In Black’ (AC/ DC), followed closely by ‘Machine’ with help from Reef front-man Gary Stringer. This, plus all the banter from vocalist Benji Webbe with samples and all from 2Pac to The Prodigy, a great tribute to the late Keith Flint. This sandwiched recent single ‘That’s My Jam’, pitting sides of the crowd against each other. Favourites ‘Kill The Power’ and ‘Nobody’ fully empowers the audience and keeps the adrenaline pumping before my personal favourite part of the show. Finishing with the all-important ‘Warning’. Why is it important? Two things: this is a song that features one Jacoby Shaddix of Papa Roach, also this is the song everyone does the good ol’ Newport

Lovebites by Matthew Higgs

Helicopter to. First off, no guest vocalist, sadly, Skye from Sumo Cyco is still on site. Seeing as Benji didn’t join them on stage I thought we might get that here. Never mind. Least we get to do a massive Newport Helicopter then. Yet it’s raining. A good way to shake out your rain poncho! Overall a mega-exciting performance and they are welcome back any time. No wonder they leave to ‘Nobody Does It Better’ (By Carly Simon, from The Spy Who Loved Me). Says it all really.

Trivium is the next on the bill and announce they are “back f***ing home” Too right, this is certainly a band who have built their career at Download.

This is certainly a band no one can argue have worked hard for the past decade and a half. They don’t disappoint either. New material is a bit odd but classics like ‘Pull Harder On The Strings Of Your Martyr’ still holds up.

Frontman Matt Heafy declares this their best show, not sure of that but definitely a solid set.

A little bit later on the Zippo Encore stage, we get returning heroes Halestorm. Their 2018 album Vicious was extremely well received by fans and critics alike. This is a band with a rich back catalogue and has possibly played every size stage at Download.

They could easily be on the main stage right now but instead, it’s ‘wacky’ hip-hop duo Die Antwoord. Yes, that’s the reality we live in apparently. The main attraction here is Lzzy Hale’s

voice. She can really belt out the tunes, this set is absolutely stacked and closes the Zippo stage nicely. The set ends with Halestorm being joined by Asami from Lovebites, to do the track ‘Love Bites (So Do I)’ – I mean what else? The band is named after this track (see that came full circle didn’t it?) Quite an interesting collaboration. Closely followed by ‘I Miss The Misery’, the number of people here and the importance of this band, they should have really been on the main stage.

Finally, last but not least, is tonight’s headliner. A band who personify Download, a band who have evolved in the 24 years they have been around. Of course, I’m talking about SlipKnot. Before all this though, we have a video of a young lad warning us that we need to take the right exit.

Interesting they have chosen this band to broadcast this message. Only one complaint about Corey Taylor and co. is that they seem to play the same set at every festival they do. Being the 20th anniversary, one would think they might revisit the deep cuts from that album. Instead, they come out to the intro of Iowa, ‘(515)’. Followed by ‘People = Shit’. This is already a winner. The band have a new look and new stage set up. The new masks are mainly amazing, especially Sid Wilson’s moving mask and hood.

Corey Taylor’s still looks a bit odd, even if it is similar to Heath Ledger as the Joker. We still have no idea who ‘Omelette face’ is though.

The unholy nine waste no time in getting into their latest track ‘Unsainted’ following with favourites like ‘Psychosocial’, ‘Before I Forget’, and slowing it down for ‘Vermillion’. Not long before we are chanting “We are not your kind” along to ‘All Out Of Life’.

There’s a reason SlipKnot has headlined Download more times than most bands, they are awesome. They know how to put on a good show and appeal to a large fraction of the Download crowd. Ok, we are missing ‘Wait and Bleed’, ‘Left Behind’ and a few other tracks but this is a fantastic set as it is.

The highlight of the whole year already.

A band who personify Download, a band who have evolved in the 24 years they have been around. Of course, I’m talking about SlipKnot.”

Sadly there are not enough hours in the day to catch acts like Simple Creatures, The Wonder Years, Epica, et al but that’s Download for you. Each day gets better, SlipKnot is the top band of the weekends so far so let’s see what the next day holds.

Sunday This has been an interesting Download - Friday was full of classic rock, Saturday had a big nu-metal streak through it, so Sunday is the erm... alternative day? We’ve got a bit of everything from Amon Amarth to Smashing Pumpkins today. Something for everyone it seems. This could be a good closer to the weekend or just an excuse to pack up early. The headliner is Tool. Confusing to many as they haven’t released any new material since 2006, and never hit the heady heights Slipknot and Def Leppard have reached. Yet, to their fans its a huge deal as this is their first UK gig for 13 years... but I digress.

Sunday morning is a bit of a blur, although Red Hook, I Prevail, Underoath and many more put on great shows - things start making more sense with concept alt-rockers Starset on the Zippo stage. They feel like a band who has been around forever but in truth, they only formed in 2013.

As expected this is really something special, possibly one of the bands

to have a live cellist and violinist on stage, swapping their space-suits with post-apocalyptic dessert rags; Dustin Bates and co are welcome back anytime (especially since their 3rd album is due out this year). Sounding almost pitch perfect and getting the crowd to sing along this is the perfect band for Sunday lunchtime at DL. Quick jog over to the main stage to find nu-metal (no?), or nu-grunge (maybe), or hard rock (that will do) survivors Godsmack. And right on cue, the sun pops up to say hello. No doubt this is a band that a lot of Downloaders have wanted to see for many years, and maybe they have, but a great turn out nevertheless. Only a 9 track set, sadly not including ‘The Enemy’, but we got some nods to ‘Back In Black’, ‘Walk This Way’ and ‘Enter Sandman’ all with two drum kits set up leading to ‘I Stand Alone’. Fans are sure to go home smiling.

Looking ahead at today’s schedule, and it is Sunday, the best plan is to now set up camp at the main stage (not literally, leave your tent in the village you numpty). Despite the big, chunky gaps there’s a lot of beef in the metal stakes (or steaks) coming up. I mean what would a rock/metal festival in the late 2010s be without Amon Amarth. Memories of seeing this band back in 2013 when they only had time for 3 tracks to main stage dominance this year. The drums are on top on a Viking helmet, fire blazing in the air, changing backdrops - this is Viking metal as Odin intended. We even get a warrior battle mid-set. This really gets the headbangers out in force. A very substantial set.

The next course in our Sunday dinner is lamb. Lamb Of God to be specific.

Randy Blythe and co. have been a staple of Download since its early days.

After joining Slayer and all on tour over the past year or so, it’s surprising Slayer aren’t headlining. Back to LOG, this is a HEAVY set. Exploring their back catalogue, they get the crowd to do a Ric Flair style ‘Wooooo!’ as well as encouraging the biggest circle pit in DL history. For some, this might be 17

the wildest set they’ve seen, but if you have seen LOG before - you know this is the usual. Highlights come from ‘512’ which documents Blythe’s time in prison, and of course their most popular track ‘Redneck’. Although this seems like another day at the office for LOG, it’s still very much enjoyable. Sad to say they clashed with Anthrax, but you have to take a risk sometimes.

have wanted to see this band for over 25 years and I don’t think this is what they wanted. Not like they didn’t have time as they clocked in at 13 tracks. OK they have a new album out but still not what was really expected from Corgan and co. Maybe he was distracted by NXT UK on the other side of the field.

(He’s involved with wrestling if you didn’t know).

The next act on the main stage is a bit of a gear shift. Grunge-era alt-rockers The Smashing Pumpkins step on a stage already filled with giant multi-coloured dolls/ornaments/whatever they are. Dressed like a bald wizard, Billy Corgan and co start out strong with ‘Zero’ and make their way to ‘Bullet With Butterfly Wings’. Although this is kind of what we were expecting, it’s a somewhat subdued set following Amarth, LOG, Godsmack, etc. Corgan announces: “I’ve always wanted to play Donnington Park since I listened to the Monsters Of Rock cassette” that’s a really nice way to acknowledge the legacy of the festival. The only issue is, you kind of headlined the first Download with your other band Zwan, remember them? Anyway, Billy introduces dark-folk musician Mykur on stage to join them for an alternative version of Black Sabbath’s ‘Snowblind’.

It’s weird but great. Moving on, the Pumpkins play ‘Cherub Rock’ and finish up the set with some lesser known tracks. What? No ‘1979’ or ‘Today’?

There are people in the audience who

Another HUGE gap while they set up for the headliners, Tool, so it’s time to check out the other stage-closing acts.

At the Avalanche stage are a band that really should be on the main stage. That statement is starting to lose meaning now (I’ve most likely said it that much) is Enter Shikari. They have been at it for around a decade and getting more popular each album they release so why are they here?

Also, I’m sure they fit in with Tool’s demographic. Anywho... having toured their latest album ‘The Spark’ for more or less forever, this is a band who has worked for the double-overspilling Avalanche tent. Filled with awesome tracks like ‘Juggernauts’, ‘Anaesthetist’, and then their famous ‘Quickfire Round’. A novel way to cram all their older tracks in this set but I can’t help but feel ripped. I mean SlipKnot and Def Leppard never did this. To be fair, Shikari keep the party going on a Sunday evening. That headline slot is still bubbling for the EDM-core collective.

Oh yeah: Rou Reynolds got everyone to shout “F**** Boris!”

On to the Zippo stage where we get to say a fond farewell to a staple of metal festivals for the past 30 plus years, all together now: SLAYYYERRRRR!!!!!! Le sigh. Last time we can do that with relevance. Extremely tight and precise set. If you have seen Slayer on their farewell tour, this is nothing different, despite being their last UK performance. This whole quarter of the site are moshing, headbanging or circling.

Fair enough this band have been working hard since the mid-1980s and faced a lot of hardships in their time, but there could have been something special in this set. Finishing the gig with ‘Reign In Blood’ and ‘Angel Of Death’ is how it should be. Why aren’t they headlining for that matter? Are Tool that special? Let’s find out...

So the screens usually used to broadcast the band to the further regions of the festival are now used for Tool’s graphics. Fantastic, eh? Understandably, this is a significant set list for the Tool fan community. Not so much for the rest of us. This may be what is known as ‘challenging’ music. The visuals sure are stunning, and very distracting nonetheless. The musicianship is very respectable and this is all great but I have to point out the main stage is a bit of a ghost town. With all due respect, this should be Slayer’s slot. I personally would have enjoyed vocalist James Maynard-Keenan’s other band, A Perfect Circle, then Tool.

In conclusion, this was a grand year for Download. Every year is a good year at a festival so exciting. A few line-up changes would be welcome, as mentioned, but overall SlipKnot’s headline set heals all. Let’s hope 2020 is just as exciting. We are approaching the 20th anniversary so let’s hope Mr Copping has his thinking stetson on for that. What will we get next year?

Rammstein? Maiden? AC/DC? Maybe that Van Halen slot he has promised since 2013. Who knows. Until next year, stay safe and stay alive. Roll on Bloodstock!

The Smashing Pumpkins by Abbie Shipperley 18

Reviews SIXFORNINE - PARALLEL UNIVERSE SIXforNinE is a Greek metal band that insists the capitals are used in that way. Formed in 2011, founding members Georga Kapa, Pete Outfox, and Herc Booze teamed up with Fotis Benardo who was there to produce the album but ended up singing and staying. They now have their second album, Parallel Universe on release supplying nine tracks of riff heavy metallic rock ranging from alternative metal through to straight ahead classy, classic rock with a hint of prog thrown in. The nine-minute plus ‘Counting Stars (A Parallel Universe)’ is a good place to start as the bass intro builds into a true rock epic with the calmer yet still heavy structure showing a great sense of majesty. It also shows that fate provided a vocalist of rare talent and sense of melody. Other highlights are ‘Meditation Hyperjam’ for its catchiness behind the weight; ‘Bullet Of Its Course’ with its more modern metallic edge; ‘More Than Words Can Say’ for a familiar yet tasty phrasing and the best for me, ‘Life devouring Demons’ that threatens thrash but is way more subtle and organised.

An enjoyable slice of modern metal with more variation than many of today’s bands that has something for all rock and metal tastes and deserves a listen. Parallel Universe is out August 2nd 2019 via Eclipse Records. | Review by Tom Dixon.

VAK - LOUD WIND VAK are a Norwegian band that I hope have a sense of irony as their latest release is called Loud Wind. They’re heavy rock, approaching semi-melodic metal with a raw vocal sound that (mostly) works. This melange is no doubt due to their diverse inspirations: Radiohead, Tool, Mastodon, Genesis, Kate Bush, Rage Against The Machine, Breach, Neil Young and Soundgarden.

The title track sounds like The Edge has seen the light and gained some weight. ‘Melting Eyes’ has a Master of Reality quality riff. ‘Underwater Whisper’ is short and piano sweet (or suite) instrumental interlude. ‘Collector’ is the strongest track with its complex time signatures and Metallica like feel.

‘Fear The Morning’ takes a slightly proggy approach before hitting the heavy metal pedal in a way that will evoke Sabbath in a hellish liaison with Tank. ‘Freddie/Time Freezes’ is a tribute to the late Swedish singer Freddie Wadling and not the other one, this is an instrumental that builds slowly into a mournful piece that is a little long but still worth it, especially for the subtle keyboards and the acoustic guitar outro. All in all, a worthy effort that, as a second album, builds and improves on the debut and promises that the next will be even better. Loud Wind is out via Indie Recordings on 23rd August 2019. | Review by Tom Dixon.

KRYSTHLA - WORLDWIDE NEGATIVE To say Worldwide Negative is highly anticipated wouldn’t really be doing it justice. Despite the title of the album, there is nothing negative we can think of about it! Dark, twisted lyrics delve deep into the mind courtesy of the viscous growl Adi Mayes has perfected of his many years as a frontman, the opening two tracks work as a pairing, with ‘Negative’ focussing on just as the title suggests, but ‘Reawaken’ providing a message of hope, that there is always somewhere to turn. Lyrically, the rest of the album follows that heightened awareness of mortality and life subjects. Musically, the band have gone above and beyond anything you could expect. Neil Hudson being the main force here, not only writing, but producing and engineering the album, not to mention some vocal duties, check out ‘Zero Sum Game’ for a perfect example of what we are on about.

Everything they have has gone into this album, and despite the exhaustive process, they haven’t left anything blemished. It’s the first studio input from drummer Liam Turland and he’s fallen into the slot lovely. It’s hard to sum the album up entirely, but as if Neil hadn’t done enough already, he can sum this up as well. “Time is short, and it’s later than you think”. With that in mind, get this damn album while you are still here to enjoy it! | Review by Ash Crowson.

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Reviews HEMINA - NIGHT ECHOES

THE BOTTOM LINE - NO VACATION

BOKASSA - CRIMSON RIDERS

Hemina are a four piece prog metal band from Sydney. They continue with the concept which has ran through their previous three albums, nameless characters who’ve experienced all manner of dysfunctionality inside their families. Night Echoes is the story of a young guy attempting to navigate adolescence following the loss of his father to suicide. The album explores emotions such as grief and nostalgia and is performed with all the prog metal power and aggression Hemina have become renowned for. | Review by Laurence Todd.

If Southampton pop punks The Bottom Line released their sophomore record No Vacation in 2002 it would sit among the likes of New Found Glory and Something Corporate on Drive Thru Records. While debut Role Models was rough fast paced punk albeit showing promise, No Vacation shows a more polished sound filled with the catchy chorus’ that would make the Drive Thru alumni proud. Time to dust off my wallet chain, spike up my hair and see if my Atticus tee still fits - I’m off to pogo round the lounge. | Review by Benji Walker.

“...songs which revolve around everything from cults, religion, and border patrols to beer-drinking anti-heroes and immortal space pirates!” Is it any wonder that Slash (GnR) and Metallica’s Lars Ulrich love and cherish the Norwegian sensation that is Bokassa? A raging tide of catchy riffs, tearthe-roof-off vocal lines, and massive-sounding songs that fall somewhere between punk rock, crunchy heavy metal, and groovy stoner rock are what lie in store for you. Crimson Riders is a dynamic and entertaining slab of uplifting music that is as vigorous as it is muscular. | Review by Jen Nepper.

THROUGH FIRE - ALL ANIMAL “I was just describing what it felt like to snap, when someone keeps pushing you to the limit, that’s when you become all animal. The human side shuts off. Everyone has a breaking point” says Through Fire’s Justin of their new release All Animal. The quartet from Omaha saw amazing success from their debut Breathe and this new release is set to follow that same trend. The band has a great sound that will appeal to many rock fans! Stand out tracks on the album are the catchy ‘Medicine’ which is relatable on many levels and lead track ‘All Animal’ is an absolute banger. | Review by Naia Torkington.

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EVA BARTOK - EVA BARTOK Noise-punks Eva Bartok harken back to the old school with their self-titled EP. Few bands emerge now that remind me of the now closed venues I used to love but Eva Bartok is one of these bands. From the opening chords and shrieks of ‘Chess Club’ through to the closing track ‘Mexico’ are energetic and off-kilter. The songs are a perfectly melded blend of chaos and order. This brief but solid EP is the perfect bridge between the old and new school of noise rock. | Review by Mike Trash.

SABATON - THE GREAT WAR Swedish Power Metal veterans, Sabaton are back on the front lines with a brand new album, The Great War, based on WW1. I have heard it argued that if you have heard one Sabaton song you’ve heard them all and whether you agree with that or not, one thing can’t be argued and that is that Sabaton are consistent and always deliver the power on every single record.

There are three versions of the album, standard, history edition, and a boxed collector’s edition. For the purpose of this review, we are focusing on the history edition, which includes added narrated introductions to each track.

These narratives serve not only to provide the historical background to the subjects but help add weight and atmosphere when compared to the standard edition, creating an entirely different listening experience.

The album opens with ‘The Future of Warfare’, a track based around the introduction of the tank onto the battlefield, a track that both packs one hell of a punch yet manages to lumber through in places, much like the subject matter.

‘Seven Pillars of Wisdom’ roars into life next and tells the story of Lawrence of Arabia. Here the album hits its stride and the familiar, catchy hooks and chorus chants ring out as the pace quickens.

This continues through, the battle driven, shell shocked, power metal formula the Swedes have perfected over the years shines through, especially

evident on ‘The Attack of the Dead Men’, a chilling account of gas weaponry deployed during the great war.

Chugging riffs, operatic vocals, and thundering drums mix well with some synth work and those chanting chorus parts we all know and love.

Other than title track ‘Great War’, the remaining two singles taken from the record, The Red Baron (which I personally feel suffers from its organ work) and ‘Fields of Verdun’ jostle for space against tracks frankly bigger and louder than them, such as ‘Devil Dogs’, (which is possibly the most “Sabaton” song on the record) and ‘A Ghost in the Trenches’.

To sum up, The Great War is a typical Sabaton record and at the same time is not, it’s a record long-serving fans will enjoy and also serves as a good entry point for those unfamiliar with the band, especially the History Edition. Certainly a great gateway to understanding exactly what the band is all about. The Great War is a pure power metal record, detailed and respectful to its source material and one that should be considered picking up if this is your flavuor. The Great War is out July 19th on Nuclear Blast. | Review by Jay Brown.

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Reviews CHILDREN OF THE SUN BOOMERANG RAPIDO - FLOWERS - RISES AGAIN Children of the Sun are a seven piece collective, consisting of five female and two males, and were you to look at the picture on the front of this album, you’d know exactly what era they draw their musical inspiration from... if someone were to tell you this picture was taken around the time of the Human Be-in, you’d believe them. The album attempts to evoke the spirit of the West Coast, circa late 60’s, and in some instances, they do.

Their music is a kind of trippy, good time folkish melange, with some sweet harmonies, jangling guitars and keyboards. For those with long memories, though, they could almost be a modern day version of Delaney & Bonnie, though not quite as rocky.

Opening track ‘Flowers (intro)’ offers a gentle instrumental lead-in, and tracks like ‘Emmy’ demonstrates just how well they can really harmonise together. But they can also get their rocks off and, on several tunes, they do just this, notably on the tracks ‘Like a Sound’, ‘Sunchild’ and especially on ‘Her Game’. However, it’s on the title track, ‘Flowers’, a song almost prog-like in its scope, where they really show what they can do with what is a quite delightful piece of music. Children of the Sun release Flowers via The Sign on July 26th, 2019. | Review by Laurence Todd.

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Norway is the home of many a rock band… some good and some not. Well it is also the residence of a young rock band called Boomerang Rapido who consist of Knut (guitar, vocals), Jørn (guitar, vocals), Gaute (bass, vocals), and Ole Frederik (drums).

Although they have toured and released a couple of singles, it would appear that their popularity has stayed at home… all of their web presence is in Norwegian and as I don’t trust translation software, I can only guess what they have been up to. I do know they have a new, self-released, nine-track album called Rises Again coming out that is an interesting amalgam of rock with hints of southern, R’n’B and straightforward rock with a punkish attitude. Highlights include ‘Bonafide Romeo’ with its languid approach that is just so appealing. The 91 seconds of the Stooge-esque ‘Baby I Was Wrong’ is just pure fun. Even the 89-second ‘Jumping The Shark’ has a hell of a lot musically and lyrically. Best of the bunch is the superb bluesiness of ‘Paula Schultz’ bringing a lilt and an Alice Cooper feel.

This is an infectious listen as it gets better each time and you start to find references to various bands and rock of all ages. Well worth a listen. | Review by Tom Dixon.

LAGERSTEIN - 25/7 Pirate metal actually originated in Germany in the late ‘80s and has recently had a mini-revival with the likes of Alestorm and Red Rum, and now its time for our Australian cousins in Lagerstein to show what’s in their treasure chest. Firstly, the title is in reference to their drinking schedule - 25/7.

Looking at it artistically, some of these bands can be grating after a few listens because they generally would do Spongebob Squarepants-Esque pirate accents and include jokes that aren’t even funny once. Lagerstein doesn’t do that. Sonically their style is nearer to Celtic folk-punk a la Flogging Molly with a few pirate references thrown in. There’s accordions and the like, yet this album is worth a few spins.

Vocalist Cpt. Gregarrgh is actually a decent vocalist, what this subgenre is usually missing. Second track ‘Dig. Bury. Drink’ is this band in a nutshell.

As a pirate metal band, its only right to do covers. Lagerstein is no different by paying tribute to their national anthem ‘Land Down Under’ (what do you mean this isn’t the Australian national anthem?) This is more akin to Reel Big Fish than say Alestorm. Which is not a bad thing. Overall this is a fun record which does not cross the line of annoying. | Review by Neale McGeever.

KID KAPICHI - SUGAR Hastings based Kid Kapichi claim Britpop and punk defines their style, which has been developing across a few singles and EPs. The latest, Sugar Tax, shows a more riff-based weight with twin guitars and vocals. ‘2019’ is great, the Batman theme written and performed by a British Iggy!

‘Revolver’ is a true story with QOTSA tinges. Alt.rock as good as you’ll find with an infectious sense of fun. Well worth a listen. | Review by Tom Dixon.

A ROAD TO DAMASCUS - NO MAN IS AN ISLAND

THE DRIPPERS - ACTION ROCK

THE SURVIVAL CODE - CROSSES TO CARRY...

Danish foursome A Road to Damascus’ new EP is lacking in many of the fundamentals of a strong, or even good release. It’s soullessly overproduced and wholly unmemorable. Track three, ‘Pieces’, is listenable, but that may only be as the other three tracks had me wanting to imploding with a tense and awkward cringyness. The road to Damascus may be a long one, but one I’d be willing to walk if it meant if I could avoid listening to this again. | Review by Stephen Stanford.

Take good old Scandi rock with a bit of MC5 thrown in and you get the debut album Action Rocks from The Drippers. Only two of the tracks top three minutes but they all pack a lot in… try ‘White Light’, ‘Ready To Fall’ or ‘Bottled Blues’ to gauge their energy and enthusiasm. Don’t look for subtle, this is raw rock that takes the garage of old and puts a new sheen on short and hard. Out via The Sign Records on 2nd August 2019. | Review by Tom Dixon.

Something special about The Survival Code’s forthcoming EP, Crosses to Carry, Coffins to Fill, is that each track packs a punch in its own right. With guitar-infused grit and gusto aplenty, each track romps along with a skillful rigor that will appease the musical palate of any rock lover. It is lyrically insightful, and composed in a manner that engages the ear. The EP is undoubtedly a worthy successor within their discography.. | Review by Lindsay Teske.

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8/10

“A VULGAR DISPLAY OF SCOTTISH POWER” Musipedia Of Metal

(GRADE A) “CENTRILIA HAVE PULLED OUT AN ABUNDANCE OF ACES FOR THEIR DEBUT LONG-PLAYER!” Slow Dragon Music

DEBUT ALBUM RELEASED:

Mixed by Terry Date (Pantera, Deftones, Slayer) Mastered by Pelle Henricsson (Meshuggah, Refused) Recorded by Steven Jones (Bleed from Within, From Sorrow to Serenity)

28th June 2019 centrilia.com

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