FESTIVAL REVIEW: Noizzefest 2024

It was ten years ago that Jac Holloway, at the time working in the legendary Fuel rock club in Cardiff, came up with the idea to launch his own publication to cover alternative music; today, Noizze came home. What started as a wild idea to celebrate a decade of existence has turned into a sold out, one day festival split between the venue where it all began and The Moon next door. The undertaking has been mammoth, but it’s all come together wonderfully, and now it’s time to let the impressive lineup of Noizzefest throw the best party possible.






The bands are staggered between the stages to allow for an uninterrupted day of music and it all kicks off with Barrow-in-Furness punk outfit THE LIARS CLUB. Coming onto the grandiose strains of Nessun Dorma, made famous by Luciano Pavarotti, they deliver half an hour of huge songs – the highlight of which is Redefine Me – with riffs that swing like pendulums with the heft of BLACK LABEL SOCIETY; there’s a good amount of stoner/desert vibes in there too a la THE SWORD and the gravel in Griff Wise‘s vocals have a lot of depth. It’s a strong performance full of confidence and there’s still plenty to go.

Rating: 7/10Blank Atlas live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

BLANK ATLAS open proceedings in The Moon and deliver a wonderful display of post-rock and post-hardcore with more than a little nod to the early days of BIFFY CLYRO. The trio have their three part vocal harmonies down to a tee, especially during the choruses which are nothing short of gorgeous. There’s plenty of layering in the tracks, some of which contain a lot of time signature changes but it’s no matter – as the title of the second song says, there’s a big Connection building between them and the punters watching. “This song is about how I feel when I play a lineup this good!” gushes bassist Chris Simpson when introducing I Feel Great; everyone watching fully agrees with the sentiment.



Rating: 8/10Slash Fiction live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

The first truly standout set of the day comes in the form of SLASH FICTION, moved up the bill following the unfortunate cancellation of DELOUR. Playing the ‘adult’ pop-punk and mid west emo blend that bands like THE MENZINGERS and SPANISH LOVE SONGS have made so popular, the quintet have come all the way from South Yorkshire and take Noizzefest to the next level in no time at all. The vocals are lush, they benefit from a great sound that means you can hear every note and they have some songs with plenty of weight behind them like Pick My Stitches and How’s This For Heartbreak?. This is a band with big things ahead of them.



Rating: 9/10

If you ever wanted ENTER SHIKARI, but goth, then look no further than NIGHTLIVES. There’s a healthy audience for the band, playing a hometown show, and they’re appropriately spooky and spooky with the time they have to perform. With infectious choruses, some huge electronic breakdowns and an on brand aesthetic (think the likes of DEATHSTARS and THE 69 EYES), they bring the evening in with aplomb and energy, the likes of The Sleepless Club going down a storm. Plus, their songs are proper earworms – whether you wanted to or not, you weren’t about to go home without them lodged in your head.

Rating 8/10

Back in Fuel, the Essex boys in BEYOND EXTINCTION have run into technical difficulties that begin to eat into their set time. They eventually sack off their backing bass tracks and use their frustrations to stoke the fires of a set that, whilst truncated, is utterly brutal. Much has been lauded on this young band in recent times – us at Distorted Sound among the outlets championing their potential – and if they’re feeling the eyes of the UK music scene on them, they aren’t showing it. New track Posthuman goes off like an atom bomb and, for all of their initial obstacles, they’ve overcome them in the most brilliant of ways.

Rating: 8/10



“We play music to bury your enemies to!” proclaim DELAIR THE LIAR as they play a room that is more intimate than many they’ve done this year. Fresh off supporting the likes of BLANKET and AS EVERYTHING UNFOLDS – and with dates opening for DREAM STATE coming up – the Londoners take their emotional, metal and hardcore infused punk that invokes the likes of VUKOVI and HOLDING ABSENCE and use it to put The Moon to the sword. They’ve got big riffs, bigger melodies and even bigger choruses, and their rising star status is evident throughout. They’ve got a raw spot following BEYOND EXTINCTION, but outside this they’re very good indeed.

Rating: 7/10Wallowing live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

The sight of people dressed as beekeepers in mourning come on stage doesn’t get any less bizarre, but WALLOWING are – to tap in the obvious pun – beginning to cause quite a buzz. If you’re not aware of the Brighton quintet, they sound like SUNN O))) with added black metal and blast beats, thereby creating music to make your teeth rattle. Their set is, as expected, a visceral experience of noise, feedback and samples that’s also quite harrowing in places – when one of the two vocalists goes on a long, drawn out monologue that grows increasingly anguished, it’s really effective. They’re bleak, bludgeoning and utterly brilliant.



Rating: 8/10El Moono live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

The Noizze team are expectant – through certain, prior events, Brighton outfit EL MOONO have a cape in their possession that everyone is hoping makes an appearance during the show. They aren’t about to be let down – it’s around the shoulders of vocalist Zac Jackson from the moment the quartet start and isn’t going anywhere. The band, however, are certainly going places – a blend of metal, grunge and sludge that’s complimented with quieter, more post-metal moments, The Moon fills up nicely the longer their set progresses and are suitably captivated by what’s on show. Like many others who are playing, there’s a lot of potential here.



Rating: 7/10Burner live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

Is there anything that BURNER can’t do right now? Whether playing the upstairs room of a pub to a handful of people or the sold out rooms of their recent support slot with SYLOSIS, they’re one of the most exciting heavy bands in the UK right now. Tonight, once again, they’re lethal – their hardcore-laden death metal is so potent it’s a miracle the speakers don’t blow with the sheer deliverance of their songs, and the room responds in kind with ferocity. If you’re heading somewhere this year that has BURNER on the bill, do everything you can to catch them – they will shatter your mind into the tiniest of shards.



Rating: 8/10The St Pierre Snake Invasion live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

THE ST PIERRE SNAKE INVASION have a special bond with Wales, given its the motherland of vocalist Damien Sayell, and their show is as incendiary as the dragon that adorns the flag. Just how this group aren’t any bigger is both a mystery and a travesty, because they should be and deserve to be – this performance is testament to that. From the moment they open with Kracked Velvet to the dying strains of Rock ‘n’ Roll Workshops, they are tight, loud, lairy and superb. The response they receive after each number shows just how much love there is for them – it can’t be long until the world wakes up to them, surely?



Rating: 9/10Death Goals live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

If HECK and CODE ORANGE had a baby, it would be something like DEATH GOALS. A two piece, metallic hardcore outfit with a hefty dose of chaos thrown in for good measure, the band completely mishear the news that they have ten minutes to go until their allocated set time and start there and then, with barely more than a few individuals in front of them. Not that they care, of course, because they’re going to have a blast whether in front of 12 people or the sold out 120, yet there is something perfect about how, because of their early start, they kick into If I’m The Enemy Then Who’s the Protagonist after Fuel has begun filling up nicely and to a rapturous reception. Hugely entertaining to watch and bringing Zac from EL MOONO on for a song, they might have started slowly, but they exit triumphant.



Rating: 8/10CLT DRP live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

CLT DRP have been given the task of closing The Moon stage and they do it with panache and overflowing confidence. The vibe within the venue isn’t dissimilar to that warm, fuzzy satisfaction of hearing a song and thinking ‘this is a proper bop’, extended for an hour and a dozen numbers. Their brand of electronic noise rock/punk is going down a treat with an audience that aren’t showing any signs of tiredness and even a hiccup with the microphone can’t stop them from producing an excellent performance. Front and centre is Annie Dorrett who oozes charisma, delivering songs like I Don’t Want to Go to the Gym and Until You Showed Me with what can only be described as a graceful confrontation – it’s provocative, but done without getting in anyone’s face. On really good form and with an adoring crowd, CLT DRP are assured and slick.



Rating: 8/10Vexed live @ Noizzefest 2024. Photo Credit: Serena Hill Photography

A dozen bands might have come before them and all put on strong performances, but VEXED are not about to let anyone else steal the show. This is a band on the top of their game right now and they can get even better, which is both exhilarating and terrifying in equal measure. Much of the set is dedicated to brilliant new album Negative Energy, with choice cuts from debut Culling Culture and standalone single Dominate sprinkled in as they go along, yet the momentum and tempo is cranked to 11 from the off and never dissipates. X my <3 (hope to die) hits with the force of a petrol bomb and Fake – dedicated to the men in the room who have suffered abusive relationships – is already a cornerstone of the live set and threatens to bring the roof in. Without a doubt, though, the highlight is It’s Not The End – tonight marks its debut airing and, despite Megan Targett choking up in the emotion, it’s a world-class performance. As the band come back to perform Nepotism as one final hurrah, NOIZZEFEST closes with a very pertinent statement – this is VEXED‘s world, and we’re just living in it.



Rating: 10/10

Check out our photo gallery of the day’s action at Noizzefest from Serena Hill Photography here:









































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Ghøstkid: No Limits, No Boundaries

This year has seen a plethora of high quality music released and blasted into our ears. One of those records is; Hollywood Suicide by the German outfit; GHØSTKID. It’s a dark and brooding album that is all out assault on your senses. We were very lucky to have a chat with frontman; Sebastien ‘Sushi’ Biesler before their show in Manchester, talking about the making of Hollywood Suicide, how its been received by audiences and what lies ahead in what is sure to be a very exciting future for the band.





When it comes to writing a concept album, the majority of bands have the story of that album set in stone before they’ve even thought about the recording process. For GHØSTKID however, it was a completely different approach. Being the main creative force of the band, Biesler tells us that songwriting for him comes to him in a more subconscious manner. Explaining that he himself is like a “sponge” where he is able to absorb “everything I’m surrounded by, I absorb it. At times I don’t even understand what I’m writing about until two weeks later”. By employing this method, this allowed time to mull over the songs before essentially realising that they all interconnect in a narrative. “It wasn’t planned as a concept album but there was a magical moment where I realised the songs create a timeline where all the tracks fit in perfectly.”

Explaining the key concepts and thematic tones of Hollywood Suicide, we are told that it follows the story of a Hollywood diva, who follows her dream to the bright lights of LA that unfortunately ends in a downward spiral. Biesler further goes on to tell us that the story of the album can mirror the lifestyle of what it’s like to be in the limelight whilst in a band. “Hollywood symbolises all the glamour,” before explaining that the “suicide” part of the title is what you have to do “to become an artist”. With all the fame that comes with it, also comes along many sacrifices.

Biesler informs us that there are no boundaries in this line of work by saying “even if you’re sick, you have to give it your all anyway, there are no limits or boundaries. You have to love that shit, because it would be the worst job in the world if you would just do it for money”. It’s an interesting spin on the rock & roll lifestyle that’s been glamorised in the media for so long but with the way Biesler openly tells us everything, he seems like the real deal and is fully aware of what comes with this particular lifestyle.


Throughout Hollywood Suicide, there’s many different styles of music that are on display. From industrial metal, to metalcore and electronic music. Many bands have often tried to make a blend to change their sound and have sometimes not succeeded. GHØSTKID however manages to pull off the feat seamlessly. When asked about how they achieved this, we get an honest answer from Biesler in which he tells us that “most of the time, I don’t know what I’m doing. I think there are no boundaries, I just experiment and if it fits right for me it’s okay”. Getting further into the conversation, Biesler tells us that with so many musical genres, it’s great to be inspired by them. “As long as it helps to tell your story and people can resonate with it, then you’ve done your job!”




A surprising revelation from Biesler is that the genre he’s listening to the least currently, is metal music itself. “Other genres are so much more interesting, it’s easier to combine rather than straight up use it”. There are comparisons that can be made between GHØSTKID and an act like BRING ME THE HORIZON, there are genres that can lay the foundation for them, but neither can be penned in by just one in particular. With Biesler agreeing, “by using so many genres in both of our music, it keeps it fresh and interesting. It helps us do what we want to do.”

Looking ahead to the future of GHØSTKID, Biesler has zero plans to take a break or slow down. Biesler tells us that GHØSTKID has grown and improved as a band since recording the album and before the interview ends, he informs us that new music is definitely on the way. “I’m not taking a step back, I’ve got up to eight tracks for the new album. I was so hooked, there were lots of situations where I needed music again to overcome bullshit. I don’t know how it’ll sound in the end, but it’s gonna be different!” It’s an exciting time to be a GHØSTKID fan and it’ll be an even more exciting future as GHØSTKID takes everything in their stride, we for one can’t wait for what comes next!

Hollywood Suicide is out now via Century Media Records.

Like GHØSTKID on Facebook.

KROKUS CONFIRMED FOR MONSTERS OF ROCK CRUISE 2025

Sailing from Miami, Florida, March 5 - 10, the 2025 Monsters of Rock Cruise will visit two unforgettable ports of call, Great Stirrup Cay and Nassau, Bahamas aboard the luxurious Norwegian Joy.

Veteran Swiss rockers Krokus have now been confirmed for the cruise. Vocalist Marc Storace has shared the following message:

"Three times is the charm! In 2015 we rocked ‘the boat’ for the first time, in 2020 a second time just weeks before the Covid outbreak and now for a third time in 2025 to commemorate our 50th anniversary. Let’s celebrate together!"












The line-up now includes Cold Sweat, Eclipse, Faster Pussycat, Hardcore Superstar, Hurricane, Jared James Nichols, Krokus, L.A. Guns, Liliac, Lynch Mob, Massive Wagons, Michael Monroe, MSG, Midnite City, Pretty Maids, Queensrÿche, Rose Tattoo, Shiraz Lane, Sisters Doll, Slaughter, Stephen Pearcy's Ratt, Tesla, The Answer, The Bites, The Cruel Intentions, The Iron Maidens, Tyketto, Vandenberg, Wig Wam, Wildstreet, and Winger.

Go to this location for complete Monsters Of Rock Cruise 2025 information.

INTRODUCING: Slope

Hardcore is arguably in the most accessible state that it has ever been, from the likes of TURNSTILE being featured on the likes of Jimmy Fallon’s late night show and amassing over a million monthly Spotify listeners, KNOCKED LOOSE featuring POPPY on their upcoming You Won’t Go Until You’re Supposed To album, and plenty of smaller record labels nurturing burgeoning talent; see Convulse Records and Flatspot Records for further excellence. There’s never been a better time to soak in the multitudes of frustrated and nuanced hardcore than right now. We’re in a glistening golden age of the genre, its resurgence has been in full swing for some years now but we currently sit atop its zenith. Making it all the more fertile for smaller bands to be appreciated, mimicking digging through random boxes at local record fairs, unknowingly stumbling upon an undiscovered gem. One of those gem’s is SLOPE.





Found in Duisburg, Germany, although they have two full-length albums and four EPs under their belts, there’s something to be discovered within their funk and hardcore fusion. Being touted as a sort of mini TURNSTILE, the German outfit’s new album Freak Dreams is full of groove oozing basslines and head nodding vocal rhythms. “We started to go to hardcore shows when we were fifteen, and we thought it would be cool to do something similar,” says Simon. “We actually started in Fabio’s parents basement,” he chuckles.

Fabio cements the date noting it was 2011 that they officially started out. It sounds like they had good taste too, when getting into the scene and discovering hardcore as Fabio recounts the first band they got into. “TERROR and TRAPPED UNDER ICE really got us hooked.”

There was something wanting to be added into SLOPE’s mix, more than just hardcore. During their days recording EPs, it was much more rooted in hardcore, “on Street Heat and Freak Dreams are much more diverse in the sound because we started listening to genres other than hardcore,” Simon tells us, before Fabio interjects.

“It was damn lucky for us that during that time our guitarist broke his leg,” which, frankly, doesn’t sound like much of a blessing at face value. He continues, “he was couch bound for six months and we did nothing but smoke weed and listen to music, so that was when we found all this new influence and regrew as a band.” Almost as if they healed alongside their guitarist’s leg. It’s sort of poetic if nothing else…


“Fabio already listened to a lot of hip-hop when he was young. I mean ‘younger’, you’re still young Fabio I swear,” Simon jokes. All Fabio has to laugh back is, “Bitch!” He takes the point from Simon, “I grew up with the old legends like BIGGIE, TUPAC, and NAS. I was really hooked on hip-hop as a kid, not much German stuff but like UK grime and American stuff. My parents gave me EMINEM’s Marshall Mathers LP, I think when I was either ten or eleven years old, and that was the first time I got in touch with hip-hop.” Alternative music and hip-hop’s relationship isn’t new by any means, but it’s not often that you hear a full blown synthesis of the two, there’s the stand out ones like LINKIN PARK and JAY-Z, RUN DMC and AEROSMITH – hell DIZZEE RASCAL even lent his flow to ARCTIC MONKEYS one time.




But how do they achieve that synthesis, not just mashing two genres together or butting heads where things don’t quite fit, they achieve it in a way that makes the genres hug each other. “We have no plans when writing a song or an album. We always have the roots of hardcore in our music. When we have a structure of a song, we might incorporate some harder stuff or some more funky stuff.”

Fabio follows Simon up, “we try to keep a record in balance, because there are some songs that lean on the heavier side of either style, so it’s not ten funk songs and one hardcore one.” Freak Dreams really puts SLOPE in the best position so far in their band career, they’ve released their best album yet and signed on to play multiple festivals this year. “We started writing this record just two months after we released Street Heat, which was difficult because we were still in the pandemic. It was fucked up because we had plans.” Fabio’s voice filled with disappointment as he expressed this, “we couldn’t even do a release show for the previous record, but it all worked out in the end, I guess.”

“After an album we are always scared that we cannot write another song which is as good as one of the songs from the latest album.” Simon seems to be accepting of that and at peace with the turbulence of making music. Fabio reassures saying, “we never have plans for writing music and just like when we sit together in a rehearsal room the most important thing is that we focus on music. We like it but I think if you like write music for yourself and not for anybody else, then the outcome will be like more honest and most of the time, better.”

There’s a confidence in that; that not everything is for all audiences, and that’s okay. You aren’t its creator and the only thing that belongs to you as a listener is the relationship that you have with it. SLOPE are at peace with the weirdly wonderful music they write and the response they get, but are just as content with it, just because they like it.



Freak Dreams is out now via Century Media Records.

Like SLOPE on Facebook.

ZOLTAN BATHORY DISCUSSES NEW 5FDP TRACK FEATURING THE LATE DMX – "'HE'S THE METALHEAD OF HIP-HOP"

Five Finger Death Punch's ninth studio album overall, AfterLife, was originally released in August 2022, and as with their previous albums, was a sizeable worldwide hit. But just one small thing – a song that the band had their hearts on including on the album was not fully prepared in time, which featured vocal contributions from the late rapper, DMX.

Now that the band has been granted full permission to release the track, entitled “This Is the Way,” it is now included on a newly expanded digital deluxe version of AfterLife, out now.

The group's rhythm guitarist, Zoltan Bathory, spoke with BraveWords correspondent Greg Prato about the newly expanded edition, the DMX track, and also the group's upcoming tour, which will see them touring the US this summer on a bill also featuring Marilyn Manson and Slaughter to Prevail.






HMR: How did the decision come to release a deluxe version of AfterLife, and what is on it?

Zoltan Bathory: "We finished this record now a couple of years ago. And when we finished the record, we had this track that now everybody's talking about – the DMX track, 'This Is the Way.' And the song was done and ready to go on the record. However, because it's a collaboration and because he sadly passed, there is a lot of red tape, a lot of approval processes we have to go through. And we were not sure that we would have all the ducks in a row by the time the record was coming out, so we elected to not to put it on the record. Which, when you make a record, there's a flow to every record, every song has a reason to be there. And the position the song is in on the record, to create that flow, it was like, ‘Man that song was supposed to be there.' So, while it's one of my favorite records of our catalogue, still it missed this element. And then it took us maybe a little bit over a year – we had to talk to every single producer, every single publisher, everybody involved. And then show them this song and get the green light on it. So, this is a serious approval process. And then financially, the big publishers had to sign off on it. And once we got that and we're like, 'OK, now we can release the record the way it was meant to be.' And then we wanted to throw on some goodies, so we had some acoustic versions of some of the songs. So, we put that on, so there are some extra really cool things. In some cases the acoustic version has a different vibe. I'm not going to say I prefer it, but some cases, between the original acoustic version there's such a shift in in vibe that it's hard to for me to decide which one I like better. So, these are songs that sound really cool in the new version, as well. That's basically the deluxe and that's why it's coming out."



HMR: What is the story behind the song that features DMX, “This Is The Way”?

Zoltan Bathory: "The conversation started years and years ago – like maybe 5-6 years ago – and we were trying to work with DMX. We always thought, 'He's the metalhead of hip-hop.' Like, his delivery, he has kind of the gruff voice, the dog bark. Everything about him was kind of like, This guy's metal.' So, when this became a reality and the conversation kind of became a possibility that this is actually going to happen, then he passed. So, we got masters from his team that we were allowed to use. There were songs and then bits and pieces of music that some of them came out on a mix tape before. And then we had tapes that nobody ever heard of, because it wasn't a master. So we got the master with the multitracks that nobody heard before. So we kind of had to put it together and write the song around it. The original verses that you might have heard in a mix tape, they don't even sound the same because some of them are different takes. And again, the music is completely different because we had to rewrite that. So, it was a very interesting collaboration from a sense of like we had to reverse engineer a lot of this. Obviously, unfortunately he wasn't here to hear this song, either. So the best feedback basically is that we ran it by all the greats from Run-DMC to Jurassic 5 – iconic rappers and hip-hop artists and producers were listening to the song, and everybody reacted like, 'Man, this is special.' And this is from their words. Daryl from Run-DMC was like, 'Man, this is a game changer.' I'm hearing it from the guys that are doing it their whole lives. We have a high expectation – I really can't wait for the fans to hear it, because that's the point really."

HMR: Now that it's been two years since the album was released, what are your thoughts on the album now?

Zoltan Bathory: "It's still one of my favorite records. There are definitely signs of the evolution. Every band starts at somewhere and that's the hardest part. You have to keep your sound. You can't just say, 'We're going to be a jazz band now.' So, you have fans and people who love you for a specific reason. Like, AC/DC will always sound like AC/DC, and Iron Maiden will always sound like Iron Maiden. But then you also have to progress. And that's the test: how do I keep the sound but also progress and bring in different elements. Our musical taste is very eclectic, so there are other influences we want to bring in, but we have to be careful of how much of that comes in. And that last record to me was a perfect concoction of these various influences. It does sound like Death Punch to me – it doesn't stick out from the rest of the albums, so it's a continuation of what we have done before. But there are different influences and vibes on that record. That was always the goal with every record – one more step, one more push, a little evolution, a little something new. And it's in there."

HMR: What were some of your favorite rap-metal collaborations from other artists?

Zoltan Bathory: "Everyone is aware of the Run-DMC collabs. And that stuff was cool – when hip-hop and heavy metal collaborated. But if you think about what happened in the nu metal era, to me that whole nu metal era was a collaboration in some way. Because even if you didn’t collaborate with a specific artist, that sound and the groove was in nu metal. So, the Limp Bizkits and the Linkin Parks of the world, they had a massive influence derived from that hip-hop scene. To me, that was a cultural collaboration to begin with. And then later on we did one – we did LL Cool J's 'Mama Said Knock You Out' and we had Tech N9ne come in as a guest on that. And then we got to perform that live with Tech N9ne."

HMR: What can fans expect from the upcoming tour?

Zoltan Bathory: "We were always a band who understood that you can listen to an album, and when you listen to the album, you get your best stereo system or headphones and you listen to an album. But when you go to a show, it's a different environment. It's supposed to be an experience – you're not there to listen, you're there to rock out, connect and feel the togetherness of the crowd. It's a tribal experience. We always understood that different. So, we modified things – some songs are played differently for that reason. And when it comes to the stage show, we always push that envelope. And for the next tour…we always wanted to do big shows. Because look, whether you like or don't like KISS or whether you like or don't like Rammstein, you're going to go and see those bands – because of the show. We always wanted to be one of those bands. And for this next tour, we have Brian Hartley who is a production designer, and we finally got to work with him - who is responsible for Trans-Siberian Orchestra and for some of the KISS shows. So, he does giant shows. And designing this new show with him…man, it's out of control. It's insane. It was a pretty big show to begin with, but this is really out there. So, you're going to have to come see this show, because it's not just the music – it's the experience."



(Photo - Hristo Shindov)

WARLORD - FREE SPIRIT SOAR

OK, this is album is bound to be contentious. Upon release of the first single, Internet trolls were already abuzz with the "No Tsamis, no Warlord" mantra. Mark Zonder (Fates Warning) who set behind the drums, for the pseudonym outfit (as "Thunder Child"), back in the ‘80s, decided to keep Warlord running, after founder/guitarist Bill Tsamis passed away. While fans were happy with the prospect of more Warlord material (Tsamis was guarded with WHAT he released), the founder's absence was a bone of contention that faces an uphill battle. Hey, Riot were able to pull off a similar, founder-less incarnation, while a "comeback" from Savage Grace soiled their reputation, even with the original guitarist onboard. It's not a perfect science.

There's no doubt that much of the record sounds similar to classic Warlord. There are plenty of bands in the today's scene who wear their influences prominently (directly copy?) the sound of bigger/more popular, and sometimes no longer viable acts. Is that a crime? Depends, often upon a fan's longevity. The younger generation, who never saw the original, and only received the music as a "hand me down", decades after the fact, typically embrace the idea more fervently than the old-timers/gatekeepers, who were there, back in the day. Is it truly Warlord, or more of a Warlord tribute? Same can be said of Pantera, Quiet Riot, take your pick. Some people just want a bucket list checkmark, next to "I got to see (band name) live!"

Just eight selections and a couple were embryonic constructions while Tsamis was still alive. The old classics have a stylized, military cadence drumming and pomp keyboards backing, in the lengthy instrumental passages. These new offerings never seem to completely cut loose. What is disappointing is that the current Warlord seemingly only opted for the pedestrian, mid-tempo, Lordian Guard song structures. There's no speedy "Mrs. Victoria" or "Child Of The Damned" equivalent, or the upbeat pop of "Lost And Lonely Days". Hell, there's not even an "Aliens" around. That said, I find this more enjoyable, start to finish, than The Holy Empire album (2013), which also had but a couple standout cuts (opener and titular closer). Let's take a closer look...

WARLORD - FREE SPIRIT SOAR

May 13, 2024, a week ago
(HIGH ROLLER)

Mark Gromen

Rating: 7.5

review heavy metal warlord

Anciients announce new album ‘Beyond The Reach Of The Sun’

Photo Credit: Shimon


ANCIIENTS have announced a new album!



Titled Beyond The Reach Of The Sun, the upcoming album from the Canadian heavy metal band is the long-awaited follow-up to 2016’s Voice Of The Void, and is scheduled to be released in August this year, via Season Of Mist.

“The hiatus is over,” says frontman Kenny Cook. “We missed out on a huge block after the last record. But with the new album and new members, we’re ready to hit it hard.”

Alongside the announcement of the new album, the band have released a new song lifted from the upcoming album; Melt The Crown. Speaking about the new song, the band shares, “Melt The Crown was the first song completed during the pre-production sessions for Beyond The Reach Of The Sun. It was the only song we kept from a batch of ideas that we had accumulated over the years, and it served as a formative building block that we used to base the direction of the new material moving forward. It covers almost all of the basis of the sounds we enjoy creating. We hope everyone who listens can find something in there to connect with.”

Listen to Melt The Crown here:


Also, you can view both the track list and artwork for the upcoming new album below:

Track List:

1. Forbidden Sanctuary
2. Despoiled
3. Is It Your God
4. Melt The Crown
5. Cloak Of The Vast And Black
6. Celestial Tyrant
7.Beyond Our Minds
8. The Torch
9. Candescence
10. In The Absence Of Wisom



Beyond The Reach Of The Sun is set for release on August 30th via Season Of Mist. Pre-orders are available now and can be purchased here.

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