Monday 30 July 2012

William English - Demo

William English are a heavy band from our fair isle. They weave different genres into their music, including Stoner, Hardcore and Sludge. This is their latest demo, a two tracker, which was released in 2011.


1. Cure For The Common Cold
2. At Loggers Head

Cure For The Common Cold sounds like a crazy hardcore/grind hybrid, with high-pitched vocals and thrashing drums. The riffs are meaty and mid-paced too, sounding earth shattering. They employ a breakdown of sorts towards the end of the track, which stops and starts and jolts forwards. When you add in those ferocious vocals over the top, you get a lethal mixture.

At Loggers Head is slower to get going. The rumble of the solitary bass is a perfect start to a song, which promises to shake your speakers to their foundations. The song initially sounds a lot sludgier, but their hardcore kicks in again, with some nice angular riffs. There are more melodic elements to this song and it's very much in keeping with the UK's current crop of hardcore bands.

This Demo is pretty crushing and the fact that they've managed to weave this much quality into two tracks, speaks volumes.  Watch out for William English, as they won't stay in the undergrowth forever.

You can stream and download this demo at WE's Soundcloud page -

You can also pick up a free CD copy if you buy a T-shirt from their store at

They can also be found on Facebook at

Gator King - Gator King I

US hardcore band Gator King, were a band I discovered ages ago, during one of my regular trawls through the darkest depths of Facebook. I was Immediately taken aback by their brand of thrash infused hardcore. Their album Gator King I was released by Mass Grave records in April 2012.


1. Nightmares
2. Always Reminded of My Wasted Days
3. No Justice
4. Strength of Friendship
5. Slutstomp
6. Damaged Sense of Trust
7. Die In a Fire
8. Rise
9. Sakura Smash
10. Mill Street
11. Outro

Nightmares is an intro of sorts, slowly building initially with some screamo inspired guitar, which flows into a more hardcore chug. Their brand of hardcore properly kicks in with 30 seconds to go in a short blast of fury.

Gator king follow in the footsteps of some of the more true hardcore bands, sounding fast and angry and playing music that be furious in a live setting. They sound very British in their delivery as well, which is a welcome change, as they don't try to emulate what’s popular.

No Justice is a much longer song, with mid-paced moments mixed with more thrashy passages. The production is good, lending a very live sound to Gator king's music.
The melodic guitar and the solo at about three minutes in, sound awesome and the well placed pace changes make GK sound even more brutal.

The band's crossover influences become more apparent as Strength of Friendship unfolds. There are also crust/grind elements to their sound, but these are not as prevalent. Slutstomp is an utter bro-down, with head stomping riffs and gang vocals aplenty.

The main lyrical themes seem to be anger based, especially with song titles like Damaged Sense Of Trust and Die In A Fire. Rise is the fastest song on Gator King I weighing in at just under a minute and it's a great blast of angry hardcore.

The lowly bass heralds in Sakura Smash, which smashes you in the face and brings forth images of a heaving mass of bodies and flailing limbs, kicking out the jams live.
The stop, start aesthetic of the song also makes it sound heavier.

The Outro includes some great piano from guest Adam Gale, as well as some great instrumentation from the band, especially Tim Lomme on guitar. It's a great ending to the record and hints at loads more to come from Gator King.

I love Gator King and you should definitely check them out. I'm also going to make sure I check out some of the other bands from the Worcester, MA hardcore scene shortly. If you know of any or are in any, give me a shout!

You can listen to the whole album on GK's bandcamp page below:-

You can also pick up the record in either CD or Cassette form via the bandcamp page, however I think copies are running pretty low, so check via their Facebook page at

Erevos - Interview

A few weeks ago now, I featured a review of the album "Descensus Ad Inferos" by Greek Black/Death metal band Erevos. After posting the review, the band were cool enough to offer me an interview, so here it is:-

For those who are not familiar with Erevos, please can you give some background on the band?

Erevos was formed at the end of 2004 by Growler, Tisiphoni and Kerveros. Until today we have 6 releases and the new release is our full-length ‘Descensus Ad Inferos’, which was mix and mastered by Dan Swano (Bloodbath, Katatonia, Edge Of Sanity). We have played in Greece and abroad with many great names. Unfortunately, we've changed many members, due to the fact that it’s difficult to be in a metal band in Greece and the current line up is: Growler-Vocals-Bass, Tisiphoni-Keyboards, Tek-Guitar, Simeth-Drums.

What are your main influences, musical or otherwise?

Certainly thrash metal, majestic black metal, death metal, movie soundtracks and classical music. A little bit of everything! I suppose some of our influences are Dissection, Exodus, Emperor, Anorexia Nervosa, Bathory and Hypocrisy.

You've played with some big extreme metal bands from around the world. How have they influenced you?

There have been good and bad influences, but mostly well! We are still in touch with some of them, but there are few that we couldn’t even approach. One of the positives when performing with a famous band is that you learn many things by their experience additionally you can see many things that you couldn’t see or understand if you were just a fun.

What are the main themes within Descensus Ad Inferos?

Descensus Ad Inferos is a concept album. It’s about a person who travels into the depths of Underworld. He experiences death, as it believed it was in the past. He finds and describes mythological creatures that he sees on journey.  

With the current economic problems in Greece, has it been difficult for you to play live or release music?

It was always difficult to release music or play live. Now with the economical crises the things got even worse. Many clubs have closed and it is difficult to find money for recordings too. That was the main reason that we reduced our live shows. Though, Descensus Ad Inferos has brought us some money in order to prepare some new material that hopefully it would be ready in September.

What is your impression of the current metal genre at the moment?

Metal isn’t as limited as it was in the past. Now we have new sub-genres and combination of the old ones. That makes it really wide and everyone can find something that they can like in it.

What are your plans for the future of Erevos?

As I mention it before we are preparing a new release, which contains some new songs. It would be a split realise with a black metal band from Sweden called Arakiel. Our producer and guest musician is Marios Iliopoulos from Nightrage.

Are you close to your local metal scene? If so, which bands would you recommend to us?

Naturally yes! Except from well-known bands like Rotting Christ, Septic Flesh and Nightrage, Greece has a rather good underground metal scene. You can listen to bands like Rotting Flesh, Order of the Ebon Hand, Nethescerial, Head Cleaner, Incest in Heaven, Morpheus and many more.

Once again, you can read my previous review at this link -

Also you can visit Erevos at and on Facebook at

Thursday 26 July 2012

Mallory Knox - Pilot Acoustic EP

This is the new EP from British rising stars, Mallory Knox. It features 3 re-worked acoustic versions of songs from their debut EP, Pilot that was released last year. The EP has been released by A Wolf At Your Door Records as a digital release,


1. Resuscitate
2. Keeping Secrets
3. Oceans.

With these three tracks, you get a great insight into how good Mallory Know are. When the vocals kick in at the start of Resuscitate, they make the hairs stand on the back you neck. The pace of the song is slower compared to it's full counterpart and sound more breathtaking because of it. The harmonies that exist towards the end are perfectly placed and whole song flows brilliantly.

Keeping Secrets has even more poignancy in a acoustic setting. The heart wrenching melodies mixed with those vocals make it hard to resist. The instrumental parts that sit underneath complete the sound and help to create an atmosphere that you can easily get lost in.

Oceans was the first song I ever heard by Mallory Knox and I was really pleased to it was included here. This version is very faithful to the original version, but the overall effect is spine tingling. It just adds another reason for you to pick up this EP.

Whether you've got the original EP or not, be sure to pick this up from Itunes, as Mallory Knox are going to grow to future stars.

As I said, this EP is available digitally via iTunes at

You can also keep up to date with Mallory Knox at

Archagathus - Canadian Horse LP

This is the first of five reviews that will make up my To Live A Lie Records Series. The Canadian Horse LP was released in August 2011. For those you who don't know, Archagathus are a fast as hell grindcore band from Winnipeg, Canada. They've put out countless split 7"s and cassettes, including a previous split with the might Agathocles. This is their latest full length LP.


1. Intro/Mincecore Fabio
2. Perennial Loser
3. Brain; Dead?
4. System; What?
5. Soap A Dope
6. Society's Dinner
7. Das Monkey
8. A Stupid Question
9. Insanity Dog
10. Intoxicating Aroma
11. Sexy Grinder
12. Hey Metallica
13. Fuck The System
14. Canadian Hoser
15. Hernie Dans Un Voyageur Chagrinant
16. Endoparasitic Girlfriend
17. The Night Wolf

No song on Canadian Horse is over two minutes long, with the exception of final track The Night Wolf. Archagathus have a sense of humour clearly, as the Intro track contains some pretty funny horse noise samples. The music itself is pretty gnarly, with pig squeals and low grunts, alongside fast drums and buzzing riffs. Like most grindcore records, this is rough and ready. The production is very organic and rough, but that's what it's all about. It wouldn't be a grind record if it had clean, precise production. Just listen to Perennial Loser and you'll see what I mean. Also, good luck making out the lyrics, because your head will just explode if you try. It's best to sit back, chug a beer and rock out!

The songs follow in quick succession and just completely blast. I'll admit that it's the first time I've properly check out Archagathus, but as I'm partial to a bit of grindcore,
It’s a good experience. Even with the short, sharp songs on Canadian Horse, they seem to make them sound longer than they are. Society's Dinner is one of the record's fastest songs and is a thrashing delight! A Stupid Question sounds a bit more like a hardcore song, with the lower pitched screams taking precedent over the high-pitched vocals. It's still fast and could whip up a huge circle pit though.

Insanity Dog sees them back at their grinding best. Furious music mixed with insane vocals make it one of my standout tracks. I like the chunkier guitar riffs they use on the record. Unlike some other grind bands, they're audible and easy to pick out amongst the racket. In Intoxicating Aroma, there's some subtle sludge influences going on, as the pace of the song is slower and the low end is nuts. The live sound that Archagathus use brings you a lot closer to the band and you can easily picture what one of their live sets would be like.

More thrash metal riffs are present at the start of Canadian Hoser and I like it's ability to get you headbanging like a loon. Before you know, you’re at the albums last two songs. Endoparasitic Girlfriend is one of my favourite songs, thanks to sludgier, slow riffs that break up the breakneck pace of the song. The Night Wolf starts with ringing feedback and a slow dirge or awesome riffs, which show that Archagathus are strong musicians, inspite of the chaos they portray.

The punky influences show where their brand of grind came from, but Archagathus seem to be able to weave is other genre snippets, making Canadian Horse an invigorating listen from start to finish.

You can listen to a sample song, Intoxicating Aroma via To Live A Lie's website at

At the moment though, To Live A Lie's webstore is down, but may be able to pick this up from distros like Give Praise and Ebullition. The full list can be here .

Archagathus don't have a Facebook page that I know of (correct me if I'm wrong), but you can find them on Myspace at

Wednesday 25 July 2012

Moloch - Isolation Der Essenz

Isolation Der Essenz was originally released by Ukrainian black metal entity Moloch in late 2010. It was released in a number of different formats as well as digitally. This particular version was reissued by Polish label Black Dominion Productions, earlier this year on100 pro CDr's and includes two bonus tracks that were not on the original pressings.


1. Depressive Visionen eines sterbenden Horizonts
2. Wenn der Herbsthimmel ergraut ist
3. Die letzten Strahlen der Sonne verblassen in der Kälte der Apathie
4. Ferne Wälder gehen im tiefen Herbstnebel verloren
5. Das Leben ist wie ein verwundeter Vogel der langsam vom Himmel fällt
6. Isolation der Essenz
7. E.khu
8. Meine ganze Hoffnung stirbt

The opening track, entitled Depressive Visionen Eines Sterbenden Horizonts, immediately shows off the ambience that Moloch puts into their music, with that semi-melodic intro. The majority of the song is instrumental, with occasional spoken word and screams in the verses. All the lyrics are also in German, as are the song titles on the record, which add an industrial coldness to the music.

All instruments are played by Moloch's sole member, yet thanks to the good production sound clear and precise. The percussion that sits underneath the droning guitars pounds out a mid-paced rhythm, only interrupted by subtle cymbal crashes and other percussion.
It all ends with some lonely plucked bass guitar, before silence. The piano of Wenn Der Herbsthimmel Ergraut Ist is very placed and provides a moment for quiet contemplation. It's not what I was expecting to hear amongst an ambient black metal album, but is welcome variation. It shows that Moloch is also a very accomplished composer and multi-instrumentalist.

The black metal rears it's head again during Die letzten Strahlen der Sonne verblassen in der Kälte der Apathie. This time with a low-end rumble and ice cold screams. Once again, Moloch's trademark maddening screams unsettle you with every breath. Ferne Wälder.... is another piano song, which is used more as a instrumental interlude but still sounds great in it's own right. Das Leben Ist.... is a shorter song, but still employs plenty of droning low-end riffs to carry it. The guitar is the mainstay of the record in fact, with the percussion and vocals seemingly playing around it.

The title track was the last song of the original 2010. release. This is one of the noisiest songs on the record. Not due to the volume but the way the fuzz of the guitar makes it sound like a whole orchestra of guitars. It closes out however, for the last two minutes or so with some ambient strings, which is another mainstay of Moloch's more ambient sounding records.

The first of the bonus tracks on Isolation Der Essenz is entitles E.khu and is another mainly instrumental piece, featuring lowly choral singing in the background, underneath the piano melody. Meine Ganze Hoffnung Stirbt is the last salvo on this record. It's another ambient instrumental song, featuring a brass instrument that I can't quite make out, as the main instrument. This is a long, winding song, weighs in at just over 25 minutes in length. It brings to a close, what has been a varied and interesting album.

Moloch always surprises me with the way he can switch between more traditional, cold black metal and calming ambient music and retain a high level of integrity. The music always seems to flow very well.

You can stream this record, minus the last song via Moloch's Bandcamp page below -

Also, he has it up for free download on that page too. If you'd rather a physical copy, you can purchase it via Bandcamp or via Moloch's own website at

Moloch can also be found on Facebook at


I've not put any random posts up on here for a long time, but somethings been bothering me a little. I'm talking about "Inclusion".

To me, the metal scene (in general) was all about inclusion, as it was made up by those people who didn't fit the mould of society and as such, wanted to include other people like them. It's a scene where kids can feel accepted for who and what they are and can appreciate the music and the musicians that make it, without dealing with idiots.

I've never found it an issue and I've found people really approachable, especially when you've got a common bond. That's not the case though with certain Internet dwellings.

I know this might sound daft, because my blog in a Internet based blog, but certain sites and forums seem to be shunning inclusion for elitism. Admittedly, I do visit some of these sites, as they're a good source of new bands and releases, but I notice that they tend to pour scorn on new entrants to their world, by either dictating the format of their contributions or just by the type of sub-genres they follow.

I'd be interested to hear/read other peoples thought on this. Have you ever come across this type of thing? Do you agree with it?

Tuesday 24 July 2012

Dirty Streets/Iron Tounges - Split 7"

About a week ago now, I posted up a review of the new Rwake 7" from Handshake Inc. I also mentioned that I had another Rwake related review on it's way. Well, here it is. This is the new split 7" that features Memphis based rockers Dirty Streets and Arkansas based band Iron Tongue, who feature CT from Rwake on vocals. Once again, the 7" has been released by Handshake Inc.


1. You (Dirty Streets)
2. Two Timer (Iron Tongues)

Dirty Streets' contribution to this split, sounds like the old-school rock n roll that was being produced in the 50's and 60's. It's got subtle Elvis influences in the guitar melodies and the vocals are exactly what you'd expect from a band from Memphis. I'll admit, this wasn't what I was expecting, but the music is top draw and really listenable.

Iron Tongue's side sounds more laid back and CT can really sing. The vocals still have that sludgy drawl, but it's tuneful as hell and the music is straight from dirty south! This is an absolute revelation and a pleasure to listen to.

My little paragraphs above don't do it justice at all. It's toe tapping rock n roll at it's best. It's bluesy as hell, but has a sort of groove and good time vibe to it, that's perfect for this sunny evening.

As I mentioned, this split record has been released by Handshake Inc and you can pick up a copy via their website at

Also you can find Dirty Streets at and Iron Tongue at

You can also stream both tracks at at

Friday 20 July 2012

A note to SPAMMERS!

I'm don't care about viagra and fake handbags!

I know you won't listen, but please stop leaving pointless spam messages on my blog.

I only welcome genuine comments from genuine people. Thanks.

Thursday 19 July 2012

Rwake - Forge 7"

Forge is the latest 7" from Arkansas Doom-metal institution, Rwake. It's the first 7" to come from label Handshake inc and features two tracks from their 2004 album "If You Walk Before You Crawl You Crawl Before You Die". The 7" was also mastered by Billy Anderson, who's mixed records for the likes of Neurosis and Sleep, amongst others.

Tracklist :-

1. Forge
2. Imbedded

Forge is an incredible piece of sludgy metal, not that I need to describe it to those who’ve already been initiated into Rwake's murky world. The production gives the song an organic, warm sound and it sound's like it's been recorded with the whole band playing live. The vocals are really extreme and the instrumentation just grooves away in the background, laying waste to all in its path.

The extended instrumental passage about 3 minutes in changes the mood, with it's semi acoustic sound and those drums, striding along keeping a steady pace.
The lead melodies sound folky at times, but when Rwake are in sync, they just ferocious. Towards the end, the pace slows to a sludgy finish, which just sounds awesome.

Imbedded starts with a sinister yet cool sounding guitar melody, before the drums and vocals kick in. It has a different feel to than Forge, but it's still an absolutely metal.
I really like the melodic sections that are intertwined with Rwake's sludgier sound.
I'll be honest and say that Rwake are a band that I’ve not heard much of, so this is something of an initiation for me, but a damn good one!

I like a steady diet of metal from across the spectrum and this really hits the spot, allowing me to get lost in music performed by a band with incredible integrity and an uncompromising sound. Imbedded seems to be a more progressive, experimental song. The riffs and rhythms towards the end make you nod your head, but seems to have a classic metal vibe to them and finish off a really cool record.

I know the hardened fans amongst you will already know what to expect from Rwake, and while this is a re-recording of two early tracks, it's a great record in it's own right and the fact that the songs are a decent length, helps too. I'm definitely gonna get more acquainted with Rwake now!

At the moment, there's nowhere to stream this record, but then again you shouldn't need to. Head over to to pick up a physical copy.

Also, Rwake are on Facebook at

Wednesday 18 July 2012

Voice of Ruin - S/T

Voice of Ruin are a five-piece metal band from Nyon, Switzerland with a keen sense of humour and a strange obsession with all things erotic. Their self-titled record was released way back in March 2011 via Swiss label Heimathome Records.


1. Dependances
2. Show Your Respect
4. Win or Die
5. Give The Reason
6. Free Hate
7. My Obsession
8. Beautiful Fight
9. Blowjob For A Call Girl

Voice of Ruin open with Dependances, which is full of death metal vocals and industrial inspired riffs. The riffs are frenetic as are the drums and there are some awesome thrash metal elements buried in the music.

These guys have played with some pretty awesome bands in their time, including Entombed, Caliban and Sybreed. One cool thing about them is that they don't sound too Americanised. Vocalist Randy Schaller keeps his accent, which makes his deathly growls sound more original.

Show Your Respect features some more melodic death riffs, but still sounds utterly ferocious. Voice of Ruin use different elements in their death metal, including some modern breakdowns and gang vocals, to add colour to what is a pretty brutal record.

The production on the record allows their music to sound as though it's being played live, which adds to the warmth of their sound. The instrumentation does sound pretty downtuned and at times the guitars sound syncopated. Olivier Sutter is a pretty incredible drummer too, being able to stick to those tempos and rhythms throughout the record. It underlines the skilled musicianship on show here, especially during third track BDSM.

At the start of Win or Die, Voice of Ruin use some electronic effects which further shows their lineage to a more European sound. If you like bands like Fear Factory, or the heavier parts of Soilwork's sound, you'll lap this up.

Give The Reason is one of the standout tracks on the record in my opinion. It just sounds as if Voice of Ruin are really hitting their stride and while it's got a tough to pin down the rhythm; it's all action! The music gets gnarlier as the album progresses, with more semi-melodic riffs being cranked out alongside the intense death battery, like in Free Hate.

My Obsession has a more metalcore inspired element to it, with semi-clean spoken vocals being used at certain points. There's also more hardcore influences slung into the music. It's just one big raging headbang!

Beautiful Fight is off-kilter heaven. Much like the rest of the album, Voice of Ruin focus on downtuned, off-kilter riffage and insane blasting drums to underpin those crazed vocals, making them sound heavy as hell, without being unlistenable. The song seems to be split into two parts too, as after two minutes they switch a gear and settle into a bit of a groove, with some more traditional song structures creeping through.

All too quickly, you’re onto the last song, the amusingly titled Blowjob For A Call Girl. This is the final knockout blow. It's almost four minutes of utterly mental death metal and proves that this record is worthy of your attention. So there you have it, another amazingly solid death metal album, from a band destined to be much bigger. Miss them at your peril!

Voice if Ruin are streaming the entire record via their Bandcamp page below:-

Voice of Ruin are offering as a free download via their Facebook page at, however if you want to help the band or want to pick up a physical copy, you can purchase it digitally from the Bandcamp page above or you can pick a CD copy up from their BigCartel page at

Tuesday 17 July 2012

Lostprophets - Weapons

I approach this new record in the same way I've approached every other new Lostprophets record, by hoping they've gone back to their roots, back to the sound and fury of Fake Sound of Progress. I have got all of their other albums though and I like them all, but for me nothing comes close to that first album.

I remember seeing them live in Leeds a few years back and hoping they'd play the title track of said album, but it never came, although they did play Shinobi vs Dragon Ninja.

Anyway enough about that, onto Weapons.


1. Bring 'em down
2. We Bring An Arsenal
3. Another Shot
4. Jesus Walks
5. A Song For Where I'm From
6. A Little Reminder That I'll Never Forget
7. Better Off Dead
8. Heart On Loan
9. Somedays
10. Can't Get Enough

Bring 'Em Down begins and immediately sounds like a bona fide set opener. Punchy beats, gang vocals and crunchy guitars, add to Ian Watkins recognisable voice.
It's instantly danceable and recognisable as a 'Prophets song. The closing minute of the song is pretty epic, with a breakdown featuring more electronics that will surely induce a pit or two.

The start of We Bring An Arsenal sounds like a footy chant. The music is cleaner and the production is exactly as you'd expect. It's poppy and tuneful and will only further increase their reputation as purveyors of radio friendly rock anthems.

Another Shot starts with anthemic instrumental electronics and pounding drums, but makes way for a gentile verse. It's a very heartfelt song, which is something that Lostprophets have been very good at creating recently. So far, I think this song is one of the standouts on Weapons. It may not be the most vibrant or upbeat song on the record, but it's got some great melody and feel to it.

Jesus Walks sounds like a cross between Liberation Transmission mixed with the melody of Katy Perry. It definitely shows off Ian Watkins knack for a good melody and the ability of 'Prophets to write a damn good tune. The same can be said for A Song For Where I'm From. It's got more punch and that semi-rock ballad vibe too it that which has hit of the summer, written all over it.

A Little Reminder That I'll Never Forget kicks off the second half of Weapons and the poppy elements are still obvious, with no sign of their heavier, more acerbic past. Still, it's a great song that you can help but sing along too. It's catchy as hell!

Better Off Dead has elements of Start Something's sound too it at the start. There's even rapping that makes up the first verse and just reminds me of Sum 41. It's a welcome change to their sound, from the more commercial songs that came before it.
It's sounds heavier towards the end too, with some great guitar/bass lines and rousing gang vocals.

Heart On Loan sees Lostprophets sliding back into their trademark sound. Somedays is an acoustic song that slows the pace down slightly. The song actually does a good job of accentuating Ian Watkins tuneful vocals. There's still that big drum sound though, which gives it some bite and energy.

So it's left to last song Can't Get Enough to close out Weapons. Looking at the song length on my laptop, it says fifteen minutes! That's long for a Lostprophets song and initially it sound pretty epic. The rhythm kicked out by the drums is cool and the orchestral music in the background shows that they aren't averse to writing their version of a rock opera! This song would sound massive live.

That bit about it being fifteen minutes long is a bit misleading as the actual song ends after five minutes, which must mean there's a secret track. And there is! About two minutes and forty seconds from the end, Lostprophets break into the heaviest song they've written since their first album. It's a hardcore inspired racket, with an angelically melodic chorus. It's well worth waiting for as well!

So in summary then, Weapons is another really solid album, full of great hooks and slick production. It's brief enough across its ten songs to show that Lostprophets have found that winning formula, but full of enough variation and ideas to show they're still not afraid to experiment. That secret track is awesome as well and is my highlight.

You can pick up Weapons from all the usual outlets, but make sure you head over too, where you can watch videos and here samples of Weapons. They even do it on sumptuous vinyl!

Saturday 14 July 2012

Graveyard - The Altar of Sculpted Skulls EP

Pulverised Records has been a I've admired for a long time. This EP, by Barcelona's Graveyard was released earlier this year and is the first time I've come across this particular band. Like many of the bands signed to Pulverised Records, Graveyard play death metal. Also, judging by the awesome black and white artwork, these guys mean business!

Tracklist -

1. The Altar if Sculpted Skulls
2. An Epitaph Written in Blood
3. Deathcrowned
4. Cult of The Shadows
5. Ritual
6. Howl To The Black Death

The title track starts things off, with a wall of intense death metal riffs and low-pitched growls. The drums can be heard deep in the mix and occasionally Graveyard breaks out with semi-melodic guitar amongst it all.

The sound here is thick and drenched in low guitar feedback and semi-sludge riffs towards the middle of the track, which leads into an awesome, wailing guitar solo.
The second half of the song is a glorious gallop of twin guitar and thrashing drums. Bassist/Vocalist Julkarn barks out his lyrics over the top. It's all over really quickly!

An Epitaph Written in Blood begins with a prolonged intro of great guitar harmonies and a mid-paced attack from the rhythm section, before the song takes flight nearly two minutes in. It's very different to the opener though, with a more sinister feel to it. Another great solo is heard amongst the noise and the realisation hits that Graveyard are heavily influenced by the halcyon days of death metal!

You wouldn't think a country as sunny as Spain could produce something this dark, but then the world is a different place now.

Deathcrowned hits you from the off, with another old-school death salvo. The rhythms here are harder to pin down and it sees Graveyard flexing their musical muscles a little more. It's a headbangers paradise, with a dirty and ravaging sound.

Cult Of The Shadows enters the fray with semi-middle eastern intro riffs before the noise level rises to 11 and those deeps riffs trade blows with some amazing lead work.
This is an instrumental song, which helps to build on the atmosphere already created by Graveyard.

Penultimate song Ritual is just that! It's fast and heavy, with intense layers and melodies. This has more of a blackened thrash aesthetic to it though. The way Graveyard switch from headbanging speed to slow, sludgy death is brilliant and the overall instrumentation is a joy to behold.

Last song Howl Of The Black Death is a mid-paced attack on the senses. Much like the rest of this EP, the music is drenched in noise and the volume is huge. The guitars are in harmony on this track and the vocals of Julkarn seem even more brutal. The production used here makes sense for this record. It's old school and authentic and makes the music sound more organic.

Overall, this is great record and one that will be lapped by death metal fans. The music within is skilfully presented and Graveyard show they are true to their influences and to themselves.

The whole of this mini CD can be streamed via Pulverised Record's Bandcamp page below:-

You can download it for a small fee directly from the Bandcamp page or can get physical copies from Pulverised Records at

You can also visit Graveyard at their website and on Facebook at

Moloch - A Journey To The Vyrdin Tape

This is third Moloch release I've reviewed. The more I listen to this band, the more intrigued I become. Moloch as an entity has been very prolific since the first demo was released in 2004, with a 65-strong discography, according to the band's Metal-Archives page.

This particular releases has been pressed on a few different formats since it was released in 2008. Including the original CD version, featuring the above cover art, as well as various boxed sets and tapes. The tape I was sent is the Asian version from Slava Productions in Thailand. It was a limited pressing of 366 hand numbered copies. Mine is number 10!


1. Svartalfaheimr
2. Ljosalfaheimr
3. Asaheimr
4. Jotunheimr
5. Helheimr
6. Vanaheimr   
7. Jotunheimr (Pt. ll)
8. En As I Dype Skogen (Darkthrone cover)   
9. Microcosmos

Opener Svartalfaheimr begins with very anthemic guitar and faint drums. The vocals are high-pitched shrieks, buried amongst the music. They fade in and out of the music and sound very disturbing. It's a brief opening song.

Ljosalfaheimr sounds more downbeat in it's delivery. The same high-pitched vocals remain but the riffs are slower and more drone inspired. The vocals here sound very maddening. The way they are layered as well makes them sound even more hellish.
The production and sound on the cassette also helps to increase the atmosphere, with a subtle hissing underneath the guitars.

The songs end quite abruptly as well and as third song Asaheimr kicks in; all you can do is buckle up for the ride. There are touches of ambience within the guitars but this is solo black metal at it's finest.

Fourth song Jotunheimr is a guitar laden instrumental, with plenty of feedback drenched riffs. It breaks up the unnerving atmosphere created by Moloch's screams.

Fifth song Helheimr is another short blast of ambient black metal madness. Much like the rest of the tape, the guitars rule the roost, only diminishing slightly when the vocals kick. The bass and drums can be faintly heard in the background. This rounds off side 1 of the tape.

The second side features the other four songs. Vanaheimr carries on in the same format. Its running time is only just over a minute, so it feels a little like a second intro.

Jotunheimr (pt. II) is the second instrumental on the tape. Much like Jotunheimr on the first side, the guitars carry it along with a consistent beat in the background from the drums. There are nice swathes of ambience and other instruments in the background of the song too though, signalling it out as a subtly different song.

En As I Dype Skogen is a Darkthrone Cover with a difference. It starts with what sounds like a programmed beat and the main melody is played on keys. This piece of music carries the ambient influences of Moloch and does away with the harsh black metal sound heard throughout the rest of the record. There are even no guitars heard on the song.

The final salvo on this tape is the seventeen minute instrumental Microcosmos. A song inspired by the heavens above our heads. There are crashes of thunder amongst the orchestral ambience. This is a slow and relaxing piece of music though, which wouldn't be out of place on an exotic film score.

Even though this review is short compared to many of the ones I've done recently, it's worth noting that this release is another one that's difficult to categorise. Moloch has a habit of producing music differently with each release, and by doing so keeps things fresh and keeps listeners guessing.

I gather that this particular version of A Journey To The Vyrdin is difficult to get hold of, so the best thing to do is go to Moloch's store at Depressive Illusions Records -

They have copies available and you can also visit Moloch at and on Facebook at

Thursday 12 July 2012

This Gift Is A Curse - I, Gvilt Bearer

This Gift Is A Curse are a great heavy  four piece band, from the bowels of Stockholm. They play a  kind of hardcore/black metal/sludge hybrid. I, Gvilt Bearer was released in May of this year, by five labels including Enjoyment Records, Bloated Veins, Discouraged Records, Braincrushing Records and Monotonstudio Records. It was released on stunning black/red haze 12" vinyl.


1. The Swarm
2. Inferno Ad O.
3. Att Hata Allt Mänskligt Liv
4. The Crossing
5. Deceiver
6. 1901
7. Head And Arms
8. Sounds of Broken Bells
9. I Will Swallow All Light

The Swarm starts with a swathe of guitar feedback and a low, repetitive riff that morphs into angry hardcore. The drums are ferocious and those vocals are actually torturous in their delivery. Subtle angular riffs make an appearance towards the middle of the song, which adds another dimension to the wall of noise created by This Gift Is A Curse. There is also some atmospheric instrumental music in the background in places, which seems haunting when placed against this chaotic soundscape.

Inferno Ad O. is more of the same but includes some semi-melodic guitar and more ringing feedback underneath those battering screams. The bands black metal influences come to the fore within the music itself, with some symphonic elements proceeding to drag the atmosphere down further. It's an intense listening experience too, with the song lasting over six minutes and half-way through, settling into a trance inducing dirge of repetitive instrumentation and brutal screams, that gradually get slower and more unnerving.

Att Hata Allt Mänskligt Liv follows directly on from the previous song, with swathes of low guitar playing a haunting, mesmerising melody. The band then jolts into life, making you jump while pummelling you with mid-paced caustic hardcore. The music is creative and they go to great lengths to paint a certain image, one of desolation and lost hope, which threatens to bring you to your knees. The production of the record helps this too, by allowing the instruments to sound huge and slightly unrefined, which is what you want with music like this. Again, This Gift Is A Curse favour lengthy outbursts of drawn out noise to close the song, keeping up the momentum they've gathered from the opening tracks.

The Crossing is a faster song, which brings back the chaotic sound christened by opener The Swarm. It's slightly more structured initially, with a steadier tempo. The black metal riffs in the background add a sense of evil to the music and make the rabid screams seem even more harrowing. This song seems to be over in a flash though, leaving you wondering what the hell just happened.

Deceiver brings you to the halfway point of I, Gvilt Bearer and sees you wading through a thick low-end and head smashingly heavy drumming. The intro dies down and then replays with the vocals over the top. It features some scary effects and seems to be split into passages, which stop and start in bursts, which make the impact stronger, especially that of the drums. By the time 1901 comes around, you don't which way is up or down. Your mind is just completely blown out by the textures and soundscapes that they spew forth.

Head and Arms is one such hardcore/sludge hybrid. Heavy in the sense that it's slow and incredibly abrasive, but that just makes it better! The last two tracks Sound of Broken Bells and I Will Swallow All Light, way in at a collective fifteen minutes. The former starts with head spinning hardcore inspired rage and dark, black metal soundscapes. It's one hell of a penultimate track and breaths yet more fire at you from the turntable. The feedback at the end fills your ears and disorientates you to the extreme.

I Will Swallow All Light finishes you off with one last fatal blow. The vocals at the start of this song are the most brutal on the album and the instrumentation is the sludgiest too, adding some subtle groove to the album. This song is over nine minutes long, but justifies that length with plenty of strong musicianship and the sense of euphoria played out by the band. It's that sense you get when come out of difficult situation unscathed, stronger.

They nurture you with beating drums and the organs, which cleanse you of your demons and drag you down, clean into their world, the weight lifted of your shoulders. It's not fully over though as that passage dies down, there is one more maddening blast of caustic hardcore that brings back to earth with a band, and leaves you quaking as your ears canals collapse and you lose all sense of being.

Overall, I, Gvilt Bearer is a journey. It takes perseverance too listen to it, but it reaps rewards if you are willing to sit down, shut yourself off and let it carry you away. I very much doubt that you’ll hear a heavier record this year or one played with so much thought. 

To experience this album for yourself, you can stream in via This Gift Is A Curse's bandcamp page below:-

You can purchase it from a fair few places too. Firstly, there's the band's own BigCartel page at Also, you can get from the following labels, depending on where in the world you are:-

Enjoyment Records (UK) -
Bloated Veins (Denmark) -
Discouraged Records (Sweden) -
Braincrushing Records (France) -
Monotonstudio Records (Germany) -

Also, This Gift Is A Curse can be found on Facebook at

Monday 9 July 2012

Erevos - Descensus Ad Inferos

Erevos are a ten legged melodic death/black metal band from Thessaloniki, Greece. They released Descensus An Inferos via Orkestral Promenade Productions in September last year. It even mixed by death metal master extraordinaire, Dan Swano.


1. Adou Katavasis
2. The Omnipotence of The Judges
3. Kires
4. Those Who Decide About Fate
5. Under The Wings of Thanatos
6. Possessed by The Moon (of the underworld)
7. Erinyes
8. Kerveros
9. Grotesque Blasphemy (Slaughter pt.1)
10. Adou Anavasis (Outro)

Adou Katavasis starts with some very symphonic instrumental music, melodic guitars and piano. The vocals of Growler though are cold and menacing. The drums are also furious, and when the pace changes they deal with it well. The music has a very natural sound to it and Erevos are obviously very musically talented and don't bludgeon you with pure, stark brutality, instead allowing melody to seep into the music and give a warm feel. The music reminds me of output by bands like Emperor and Dark Tranquillity.

The Omnipotence of The Judges speeds along at a fairly quick pace, not letting up and the riffs sound subtly melodic, with Middle Eastern influences. The vocals are a mix of the usual black metal growls, but they also throw some deeper, more hellish growls in for good measure. There's even a wicked black metal solo towards the end of the song, which brings a bit of rock n roll to their sound.

Kires underlines the quality of the production. All elements sound clear and pronounced, while still sounding authentic in their delivery. The symphonic melody at times does sound very majestic, but it doesn't overpower the rest of the music. Erevos show that it can be done right!

The riff at the start of Those Who Decide About Fate is low and almost muted and alongside the initial deep growls, makes for a grim atmosphere (in the best possible way of course). The rhythms and musical structures evident do show Erevos's intelligence, as they are interesting and don't come across as formulaic. Throughout the whole song, the double bass just bludgeons on, leaving nothing standing in its path!

Under The Wings Of Thanatos spells the mid way point in Descensus Ad Inferos, with some choral style melodies and epic riffs. It's worth noting that considering Erevos's chosen genre, they don't overplay things. A lot of their peers do try to paint a picture with overly long songs, but Erevos don't over complicate their music and cram enough ideas into their song writing to make it interesting and different.

Possessed By The Moon (of the underworld) is one of the most evil sounding songs on this full length. Again the mixture of haunting choral melodies in the background and deathly low vocals conspire to set you on edge. Again the instruments also play their part with the sinister symphony played out by the guitar and the battering of the rhythm section.

Erinyes begins with a folk metal inspired riff, which sounds really cool and could be a nod to Erevos's homeland. I like that kind of melody in a song, especially when it sounds like the band are marching marauding ancient troops of to war! The introspective mid-section of Erinyes is a real surprise too, adding more light to the overall dark atmosphere created by Descensus Ad Inferos. This is probably my favourite song on the album.

Kerveros starts with brutal chuggy riffs and pinch harmonics, which show that Erevos are not afraid to play with influences from other genres in the metal stratosphere. Again this is one of the most brutal songs on the album, but not due to out and out speed but due to the way it's put together. The textures, the sparing use of the kick drum and the ability to know when to slow down all contribute to an excellent song.

Penultimate song; Grotesque Blasphemy (Slaughter Pt.1) is initially full of razor riffage and blasting drums, before being interjected with some calming orchestral music. This is another example of the effect that Erevos are looking to achieve on this album.

Last song Adou Anavasis is an outro. It features traditional instruments and sporadic piano to start and then orchestral music segues in. It brings a quiet and subdued end to the record, even with one dramatic passage that wakes you up. It's very much in the vein of free form jazz for the most part, and actually sounds really cool.

It rounds out a very accomplished album by a band who are not afraid to push boundaries of their genre and embrace outside influenced. It really surprised me and if you get the chance, make sure you pick up a copy, as it could be one of the extreme metal albums of the year, in my opinion!

You can listen to second track, The Omnipotence of The Judges below:-

If you want a copy of this record, you'll need to to head over to the Myspace page of Orkestral Promenade Productions at

You can also visit Erevos either at their own website at or on Facebook at

Sunday 8 July 2012

TesseracT - Perspective EP

TesseracT are one of the new raft of bands that have appeared, inspired by a proggier and more experimental sound. They've struck a chord with many people thanks to their sound and touring ethics. They also happen to be from the UK, which makes things even sweeter.

TesseracT are currently signed to the almighty Century Media and have recently released this EP, Perspective. The EP represents something different from the band, as it's completely inspired by acoustic music.


1. Perfection
2. April
3. Origin
4. Dream Brother (Jeff Buckley Cover)
5. Eden 2.0

Perfection starts with a building instrumental intro. The vocals come in about a minute into the song and sound majestic. This is a re-recording of the song that appeared on their first album, One. It's put together really well, with swathes of piano, acoustic guitar and electronic samples and sounds a world away from the original version.

April is another re-recorded song from One. Again the vocals make the hairs stand up on the back of my neck, they are clean and clear and thanks to the slick production, the entire package sounds incredible. The music itself hasn't got any of the experimental, off-kilter trappings you'd usually get from a band of this ilk, which is good. It means you can't categorise it and can appreciate it for what it is.

Origin is the third re-recording from One. The thing that strikes me here is the drumming that sits underneath the music. The rhythms that are created are pretty amazing. This song is more experimental in its structure and textures than the two previous songs, but it just sound epic in its delivery. I don't care that it's not a raging slab of metal, because it's not meant to be. The bass guitar riffs towards the end of the track gives an insight into the creative mind at the heart of TesseracT and finish off a great song.

Dream Brother is a cover version of the song by Jeff Buckley and starts with acoustic guitar, which seems to have a Middle-Eastern twinge to it.  The percussion can be heard deep within the music during the first verse and it all sits underneath those amazing vocals.

So it's on to final song Eden 2.0. This is a re-recording too, but unlike the rest of the songs Perspective, this sounds a lot heavier in it's delivery. The music on show is very listenable and gives a new direction to a genre, which was becoming rather overcrowded.

The songs on display here feature the vocals of TesseracT recently departed vocalist Elliot Coleman. It's a huge pity that he's left the band, as his vocals really added to the EP and fitted in perfectly with the music. TesseracT are currently searching for a new vocalist.

If you put all of that out of your head though and listen to Perspective for what it is, you'll find lots to appreciate and enjoy. It's an escape from the negativity and brutality of most metal music and it's played by a band who are forward thinking, original and who play music for themselves. I'd strongly recommend this EP to anyone who likes mature, clever music!

You can pick up Perspective from Century Media via digital download at and you can buy physical copies from the Store links on TesseracT's own website

Saturday 7 July 2012

Deathhammer - Onward To The Pits

Hells Headbangers are the purveyors of some of the best underground extreme metal around at the moment, ranging from angry, true thrash metal to raging death metal. This review features Norwegian duo Deathhammer and their newest release.


1. Deathrashing Sacrifice
2. Voodoo Rites
3. Fullmoon Sorcery
4. Emperor of Sin
5. To The Evil
6. Final Black Mass
7. Army of Death
8. Seduced by The Flames
9. Lead Us Into Hell
10. Onward To The Pits

Deathrashing Sacrifice is pure, unadulterated old-school death-thrash. It's full of crashing cymbals, raging guitars and crazed growls. Deathhammer are a duo, but you'd never know. The music is chaotic and headbangingly good. There's even a killer solo and some high-pitched, classic thrash screams, in case you were in any doubt.

Voodoo Rites is faster and has more of an immediate impact. The riffs are very solid, although as they sit quite deep in the mix, they sound a bit quiet. The drums are furious and pin everything together well.

The riffs at the start of Full moon Sorcery, remind of the classic heavy metal sounds of bands like Venom and Mercyful Fate. The vocals have the same effect too, with those wailing screams that sporadically cry out, amongst the raspy screams. They sound like a chainsaw in full flow. It all ends in a whirlwind of crazed guitar solos and manic drumming.

Emperor of Sin is a more mid-paced effort to start with, before the intro flails at you with more breakneck thrash. The solo towards the end has a folk element to its sound and melody. The first half of this record screams passed ultra quickly and before you know it, you’re at fifth track To The Evil. This is one of the most evil sounding songs on offer, especially thanks to those vocals!

Final Black Mass has a rock n roll sense to it, with some pretty awesome riffs to kick things off. With the organic production, it also sounds really authentic and insanely evil! Army of Death has a militant thrash influence to it, with the riffs marching along at a hefty speed. Quite apt really, when you consider the title of the song.

More battle style riffs are evident at the start of Seduced by The Flames, which is the longest song on here, lasting just over six minutes. It's also one of the most old school sounding songs on the record. The majority of this song is instrumental, featuring some great guitar melodies amongst the hostile riffing.

Lead us Into Hell sounds as though it's about to when the intro kicks in. It's stays that way throughout the song. Those, semi-bark screams and cries, the thick wall of sound from the instruments and the song writing in general, make this one evil joy to behold.

So it's on to the title track Onward To The Pits, which is also your last chance to headbang furiously to Deathhammer barrage. This is an instrumental song, which closes the record in style. The music is heavy, fast yet includes good underlying melody that sets Deathhammer apart from other death-thrash bands. As it fades out, you are left wishing it went on all day!

Overall, Deathhammer play a very true form of trash, with originality and integrity. You know what to expect but it comes at you with immediacy and drags you down, to the dark depths of hell, where you remain long after it's over.

This whole record is available for streaming on Hell's Headbangers own Bandcamp page below:-

You can purchase the record from the Bandcamp page above too, either in digital form for the devilish price of $6.66 or on CD and luxury vinyl.

Visit for more news on Deathhammer and more. Hells Headbangers are also on Facebook at

Various Artists - Mars EP

This EP is something of a mystery to me. It's made up of four different artists, each re-imagining Holst's Planets Suite. Holst was a classical English composer, who lived between the 1870's and the 1930's. This EP focuses on Mars.

This EP has been released by London based label, Domestic Records and features four distinctly different artists:-

Gnaw Their Tongues - An experimental, black metal band from Holland.

Ancestry - A DJ from London, who spent time DJing Jungle/Drum and Bass/Garage music.

Don Yule - Is a classically trained pianist, who's influences include techno.

Alex Mein Smith - A Brighton based electronica artist.


Gnaw Their Tongues - Mars
Ancestry - Mars
Don Yule - Mars
Alex Mein Smith - Mars

Gnaw their Tongues version of Mars begins with haunting chanting and wailing noise, with subtle choral chanting in the background. There are also strings deep within the music. Almost two minutes into the track, Gnaw Their Tongues begin to make themselves heard, with distant drumming and the odd guitar. The majestic imagery conjured by the orchestral music that this song is built around, is pretty incredible. 

There's an awful lot going on within this piece and it's hard to pick out a single element to follow. It's very creative though, with swathes of classical music amongst the chaos. It's definitely music you should not be listening to alone.

Ancestry's piece begins in a very different way, with exotic bird-calls and subtle noise, making you believe your journeying through a deep jungle. The atmosphere builds, as more textures appear then the music dies. Faint footsteps can be heard as the music comes back in again. The classical element sitting underneath shrill sounds and lowly beats.

There are elements of strange electronic music in this piece. Lots of percussion sounds and sample, that while not being an expert, come from Ancestry's Jungle/Drum and Bass excursions in the past. It's a very contemporary song, with jilted beats and melodies and very reminiscent of metal in it's structure. The piano towards the middle of track, adds a nice element of melody and washes away some of the harshness caused by the electronics.

Don Yule's contribution builds with sporadic piano, interesting beats and all encompassing strings. Again it’s a unique take on this classical piece, but like the other songs here, it doesn't try to ape it. The music sits alongside the main classical piece and adds to it. There are hints of Don Yule's techno influences in here, but they are never allowed to take over. The piece ends with haunting jolts of piano and hissing noise that fades to nothing.

Alex Mein Smith is the final contributor here. His piece builds slowly, with a single sound of what seems like croaking frogs or crickets. This carries on for about one and a half minutes, before getting louder and then fading again. Other elements begin to appear and then disappear. This peace sounds very experimental; yet very minimalist as it reaches it's halfway point. You get the feeling that something is just around the corner, but it never quite hits. More and more textures and effects become present, which boosts the overall effect of the music.

Overall, these four compositions can’t be categorised. They all include different elements and influences and are the work of four very different artists.
I'll be honest and say that this kind of music is not my field of expertise, but sometimes that’s a good thing. Not being close to genre, allows me to look at it for what it is. This is unique and will appeal to fans of experimental music and will surely gain metal listeners, thanks to it’s different outlook and non-mainstream sound.

 If you're intrigued by this review, you can listen to both Ancestry and Don Yule tracks via Domestic records own Soundcloud page below:-

The entire EP can also be streamed via Spotify.

To find out more about Domestic Records, visit their Facebook page at

Wednesday 4 July 2012

PanzerBastard - Gods, Thugs and Madmen EP

This is my second review of the night and my second from the mighty Patac Records. This is a bruising five-track EP by Boston, MA metal band PanzerBastard. This record was also released in August last year, but time doesn't matter when it comes to metal.

1. Gods, Thugs and Madmen
2. Belfast City Meltdown
3. 10 Years
4. B.L.O.D
5. The Last Bullet Is Mine

Gods, Thugs and Madmen kicks this EP off, with blazing guitars and southern rock n roll inspired growls. PanzerBastard feature Pantera inspired vocals alongside awesome driving riffs and a fast as hell rhythm section. The solo mid-way through is a joy to behold and this is a great song to start things of. It sound evil but you could have a good old headbang to it too.

Belfast City Meltdown follows on with a great, screaming solo right from the off. This song is more hardcore inspired, vocal wise, but looses none of its impact and it drags you kicking and screaming into the circle pit!  The music takes a demonic, doomy turn towards the end of the song with the sole aim of crushing you into submission.

10 Years has more of a black metal tone to it, again thanks to the raspy growls. Like the songs that came before it, it seems PanzerBastard are happy to inject loads of variation into their songs, to keep you rocking. The music is powered along by those crazed guitars that just sound heavy as hell. They even manage to fit in some folk-ish singing at the end, which shows they have a sense of fun.

B.L.O.D starts with some awesome drumming and bass rhythms. Whirlwind guitar makes the music sound even more rollicking as well. This song seems a thrashier affair, proving that you can't pin these guys down to any specific genre.

Final salvo, The Last Bullet is Mine ends the EP the way started, with plenty of southern charm and semi-melodic guitar. PanzerBastard are hellbent on closing this record on a high, so you get plenty of semi-doomy riffs, screeching solos and raucous double bass. The repetitive riffs towards the end seems to get heavier and heavier as this heaving mass comes to an end.

Gods, Thugs and Madmen is a hell of record, with a big sound thanks to a great production. There’s plenty here for everyone to get into and as my first intro into PanzerBastard, it’s pretty damn good!

You can stream this record via Patac Record's Bandcamp page below:- 

You can purchase digital copies from the Bandcamp link above and you can buy physical copies direct from Patac Records at in lovely, 10" vinyl form.

PanzerBastard can be found on Facebook at