Tag Archives: Arch Enemy

Heart Avail – Heart Avail EP

Milagro Records

Review by Rick Ossian

Aside from what may appear an unfortunate moniker for themselves, Spokane‘s Heart Avail have a lot going for them.  Though there are only five songs here on their eponymous debut, they are all strong tunes and each one has the potential for concert appeal and/or FM Heavy Rock airplay.  Aleisha Simpson (vocalist) can be eerily reminiscent of Evanescences Amy Lee, or any one of a number of Nightwish/Within Temptation wannabes, but she has her own set of sexy, sultry pipes and proves beyond a shadow of a doubt that she can hang with the boys.  By the by, the boys are Greg Hanson (guitar), Mick Barnes (bass) and Seamus Gleason (drums).


Broken Fairytale, the second single (Femme Metal), starts things off in fine form.  There is a creepy cool intro filled with acoustic guitar and angelic choirs that soon blossoms into a riffy, uptempo commercial heavy rock number.  The vocals are somewhat akin to what sirens must have sounded like, and though the structure is almost cliche, something keeps it lively.  A beautiful synth close signals us that it is time to move on the next number.

Up next is Vacillation, and features heavy riffing on top of a pounding, grinding AOR-esque uptempo rock number.  The vocals fit the rhythm of the music, which is always helpful.  This would be perfect pop fodder for FM radio.  I’m totally digging the main riff, which is excellent!

Always begins life with some random synth bleeps and bloops.  Good strong vocals accompany a chugging riff about a minute in to the proceedings, but shortly afterwards (1:27) a decided progginess rears its ugly head.  Again, I’m digging the main riff, even when it is interrupted by a noodly guitar solo and some violin-style FX (probably generated by the guitar or the keys).  The production is in-your-face heavy for the most part, but I couldn’t help but wonder if it would have been more effective in more practiced hands.  This is a 7-minute monster that could possibly have been pared down, but what’s the point?

No Remorse includes one of those spooky intros that you always find me yapping on and on about, but when the guitars and the drums kick in you will find yourself nodding and smiling right along with me!  Aleisha is sexy and all sorts of sultry again on this track, which is a mid-to-uptempo rocker, chock full of shifts (2:45) and riffs.  There is the obligatory guitar solo at about four minutes in, but there are lots of keys and vocals to rave about as well.  The vocal passage at five minutes in was a particular wow for me.

The last number, Pink Lace, is oddly enough the first single.  Normally I would think the first single would be the lead off track, but then, again, more practiced hands may have prevailed.  Dig that opening guitar lick – I really love the energy on this one.  Cool, chugging riffage accompanies a “prissy little princess in ribbons and bows”.  The vocals are a strong, plaintive howl, and can be, again, in your face – but this, dear reader, is a good thing. Trust me on this.  Rock blues must ask its questions, and the main one here seems to be “if you could see what you do to me/ Every time that stupid smile…” well, you get the picture!

If you like your rock along the lines of Evanescence, Within Temptation or Nightwish, and you don’t mind a bit of commercial AOR for your background, then you should do just fine with Heart Avail! Enjoy!

Verdict: 7/10

Bloodstock 2016 Bill Expands Again

For those who perennially complain that there’s no Power Metal bands on at Bloodstock anymore, riding to the rescue on to the main stage bill for an early Friday slot are ‘Intergalactic, space metal’ outfit, Gloryhammer!   Check out their video for the title track from last year’s Space 1992: Rise of the Chaos Wizards:

Also joining the bill as main stage openers on Friday (so at least they don’t have to try and follow Evil Scarecrow) are Welsh heavy rock power trio, HARK.  The band’s critically acclaimed debut album Crystalline featured a guest slot from Clutch’s Neil Fallon and their second release is due later this year.   To whet your appetite, here’s one of the videos released from their aforementioned debut release:

Onto the SOPHIE Stage, and on Saturday, two more bands have been added.  They are British doom/sludge beasts Mage and horror rockers, The Heretic Order, featuring members of Breed 77.

This should give you an idea about Mage:

Here’s a little something from The Heretic Order:

Stepping into Sunday slots are Brit Metal four-piece, Sanguine and hotly tipped, Japanese-inspired, Finnish melodic death metal outfit, Whispered.

Headlining Thursday’s Party Night are PHIL CAMPBELL’s ALL STARR BAND.  Before their set, Phil will be christening the newly-renamed ‘Lemmy’s Bar’ with the first drink of the weekend.  This is what happened back in 2013 on the Jager Stage:

They are joined by Norse death/thrash outfit, Sublime Eyes,  tech/deathsters Karybdis, post-prog metal five-piece Sumer and the thrashtastic Psykosis, who caused mayhem on the Hobgoblin New Blood stage in 2014 when they threw out hundreds of samples of their home brew to the loyal New Blood supporters.

Since we mentioned the New Blood Stage, the stage slots are filling up via the ‘Metal 2 The Masses’ finals.  Joining the fray are Newcastle death/thrash beasts SOULS OF JACK KETCH, black metal from Wales in the shape of AGRONA, slamming death from Manchester’s VISIONS OF DISFIGUREMENT, Northampton metal outfit BLACK INK SUN, more death metal from Manchester’s AFTER THE ABDUCTION, Midlands’ groove metal outfit I SAW THE WORLD BURN, Swindon doom/hardcore merchants HERIOT, Leeds’s prog metallers PTEROGLYPH and Liverpool death metallers, EXHUMATION.

With over a month left until the gates open, there will be more to come.  Stay tuned!

Elfie Goes To Bloodstock – Day 2

After a disastrous night’s sleep in Midgard (note to self: next year, camp in Hel!), Friday kicked off with some gloriously depraved Death Metal from Bristol-based Mortishead.  Given that it was stupid o’clock in the morning, they managed to whip up a fairly respectable circle pit.  Although it only really kicked off properly when the bassist got fed up with the lacklustre crowd response and jumped off the stage to create a pit himself!

From that point on, the New Blood Stage tent was very messy indeed!

After that rousing wake-up, I headed off to the Sophie Lancaster Stage to watch Silas.

Silas are an excellent Metalcore band and once again I find myself wondering where the industry bigwigs have been looking for all these great new bands they claim don’t exist.  Clearly they haven’t tried looking at Bloodstock.  Anyway, Silas threw out an energetic and fast-paced set and are definitely remaining on my “bands to keep an eye on” list.

Following Silas, I took advantage of the rather nicely laid out market area and went and picked up three patches for my battle jacket, including a very nice vintage Motörhead  one and… joy of joys… a long sleeve Korpiklaani shirt actually in my size!!

Death Metal legends, Belphegor... a bit dull?
Death Metal legends, Belphegor… a bit dull?                                   Credit: Sabrina Ramdoyal

Anyway… I’d heard good things about Belphegor, but after five minutes of their set, I was just bored, so I headed back over to the New Blood Stage to watch the mighty Mutagenocide rip BOA a new one.  The band turned up in my Top 10 albums of 2014, so watching them play to a respectably-sized crowd at the same time as Belphegor was fantastic.

They did a damned fine job of it, too.

Over on the Ronnie James Dio Main Stage, Overkill were next up for me, and were a pleasant surprise.  On a bill where the day’s highlight was Sabaton, they had fantastic crowd interaction which, mixed with some good tracks, means that Overkill have been added to my (very long!) list of bands I need to listen to more.

Overkill – The Gaffer’s little boy, David, loved them!                     Credit: Sabrina Ramdoyal


Once Overkill were done, it was time for the main event as far as I was concerned: Sabaton.

The Swedes jumped straight onto my favourite bands list back in 2014 when I accidentally saw them while trying to see Týr.  As promised, Joakim and the lads had brought a tank(!!) with them, and from the opening bars of their intro tape, fellow Swedes, Europe‘s, The Final Countdown, to the confetti cannons firing blue and yellow confetti (to a chant of “I-ke-a!  I-ke-a!”, much to Joakim’s amusement) finale, Sabaton gave a headlining performance.  They were funny, they worked the crowd and every note was on point.

Ikea! Erm... Sabaton!
Ikea! Erm… Sabaton!                                                                                   Credit: Sabrina Ramdoyal

Sadly, they were followed by Trivium, who put on a show completely unworthy of a mainstage headline slot.  Now, before you class me as a “hater”, I LIKE Trivium a lot.  The last time I saw them at the Manchester Academy with Killswitch Engage, I loved them (here’s the evidence!), but after three songs, I was so bored, I wandered off and went to bed in a vain attempt to get a decent night’s sleep in before Saturday…

Trivium... oh dear. But then again, apparently Suzi did leave before they got their technical problems sorted out - Ed.
Trivium… oh dear. But then again, apparently Suzi did leave before they got their technical problems sorted out – The Gaffer.                                        Credit: Sabrina Ramdoyal

Chaos Frame – Paths to Exile


Nightmare Records

Review by Rick Ossian





Chaos Frame comes to us via the windswept prairie of the midwestern United States; St. Paul, Minnesota, to be more precise.  They have dubbed themselves ‘regressive‘ metal, which may seem contradictory to most, but to me it makes perfect sense.  After all, everyone else in their ‘genre’ seems to be satisfied with being referred to as ‘progressive‘ metal.  Well, either would seem appropriate in today’s genre-happy mixed up musical world.  Perhaps by being regressive CF are just making light of the whole situation. Who’s to say?  Let us move on to the important stuff, shall we?

Chaos Frame are about as regressive as it gets, and they have one powerful message to give to us.  Vocally, they have a sonic powerhouse in the shape of one Dave Brown.  Dave not only lets rip vocally somewhere in the sky next to the kings of the falsetto – he also brings it home and back down to the ground when the music calls for it.  Most of the time he is in the stratosphere, but then isn’t where a regressive metal vocalist should be?


Instrumentally, we have two duelling guitars that scream and wail, oftentimes in unison, though perhaps slightly disjointed.  Many times they both go off in search of the ultimate shred together, one taking a lead while the other rests/riffs, then swapping spots at the drop of a hat.  The guitarists in question are Matt Hodson and Andy Xiong.  Ably backing this dynamic duo are Aaron Lott on the bass guitar and Steve Bergquist on the drums.

Our first track up is Painful Lessons.  It opens with a lead jam, then some vocal effects.  This is very proggy, but let’s not forget that we’re trying to be regressive.  Just whose leg do these chaps think they’re pulling, anyway?  I smell PROG.  Energy – check.  Urgency – check.  Wicked vocal hooks – check.  Then, at about a minute in, the main riff/jam kicks in.  When the vocals return, Dave exhibits his range in the way that only he can – sky one moment, then grounded the next.  The lead guitar work seems to be part of the ultimate refrain, which is refreshing.  We do get brief bursts here and there, but nobody seems to be leaning on the shredding – also refreshing!  This is a powerful tune, and a good choice for an opener.  There is even a little lead at the end!

The title track, Paths to Exile, is up next.  This one is a real barn-burner, but a long epic to boot.  The intro is a thrashy double-thumping slam to your senses, and I’m digging the main riff with the sky vocals mixed in.  This is great stuff, with the energy just barely in check again.  I think one of the reasons I’m liking these guys so much is that, at the risk of sounding like so many others, they pour some extra passion into the mix and come up roses!  They could be Dream Theater, they could be Pagan’s Mind – they could even pose as my beloved Symphony X – but they are, instead, a big pile of heaping Chaos Frame – and that should be enough for all of us.  Vocally, Dave exhibits controlled righteous anger – but only just – he sounds like he could be threatening to let rip (literally) at any moment!  There are several guitar solos here, but as before they can be brutally brief.  Short but sweet, as we Americans are so fond of uttering.  The first is mixed with a sort of instrumental breakdown with HEAVY double-bass drum usage (4:15).  Then their is another (4:53).  Then, at about 5:50, there is a longer, shreddier, if you will, one that’s laid down very nicely.  At six-and-a-half minutes in we get an all-out jam, then another solo at 6:50.  The shift to the refrain at the close seems a bit disconnected, as the lyrics let on.  This track is nothing short of brilliant.  Small wonder it is the title tune!

Derceto must be some sort of prog-monster/demon, or something, as is evidenced by the mix of Cookie Monster vocal FX with the straight vocals – something, by the way, that I would NOT recommend.  Perhaps it is just me, but as I’ve mentioned before, I like to hear my vocalists actually SING, thank you very much.  I realize that I waffle considerably on this particular issue, and today I happen to be on the side of the fence wherein the straight singers reside…no offense to the growlies, of course!  The triumphant keys on here make me wonder if there is, indeed, a keyboard player – after all, there are only guitars, bass and drums listed as the main source of instrumentation.  Perhaps there is a bit of keyboard thrown in here and there…only the CF blokes know for sure!  This is thrashy prog, and the above-mentioned growls are indeed well done, but the straight vocals are better, in my opinion.   There is also the obligatory guitar solo at about three-and-a-half minutes in, but instead of remaining a mere shredding exercise it goes into vista-sky style (sorta bluesy).  The vocals at four minutes in remind us of Dave’s inimitable powers, and he throws in a scream at the outro, to remind us – as if we needed it!

Terra Firma also features a thrashy/proggy intro with heavy riffing and busy double-bass drumming.  Then things are airy, then power riffing with vocals.  There are several shifts here, and that is just within the first minute or so.  There is a shreddy lead solo at 3:40, and an instrumental breakdown of sorts at four-and-a-half minutes in.  Vocally, World Trade and TNT came to mind whilst I was listening.

Paper Sun features yet another heavy-as-fuck opener riff, with the killer vocal imprint all over the proceedings AGAIN – doesn’t Dave get tired of kicking ass?  It also includes a sort of keys solo at 4:20 that morphs into a saxophone, somehow – either that or these old ears are playing tricks on me.  There is a nice little shredding also at 4:40.  Lyrically, I was briefly captured aurally by this couplet: “Since you’ve been gone/ I wander the roads where you left me“.  Profound, right?  Romantic, no?  Perhaps.

Giantkiller is another lengthy, epic-y production with a classic prog-rock opening.  Everything is here again, by the way – the urgency, the energy, the brilliant, powerfully sky-rocketing vocals.  This bloke is obviously of hero status, as well.  Just check the lyrics if you don’t believe me: “For justice and the helpless/He’s the man who walks among the giants“.  At the 3:45 mark there is an instrumental breakdown that shifts slightly into a brief lead guitar bit, then there are more prophetic lyrics: “The only way to win the war/Straight down into the planet’s core“.  By the way, the drums are again very busy on this particular tune, and we get another couple of lead pieces as well.  Some shredding (4:15), plus riffage, and at 5 minutes in, more shredding that leads to traveling bluesy/rocky leads and riffs, then a lovely instrumental breakdown from around 6:45 to the close.  Absolutely brilliant.

Doomed starts out a bit doom and gloom (hence the name, right?), almost reminding one of Sabbath-esque riffing.  There is some seriously shredding riffage here again, and some wicked cool powerful vocals as well.  At 2:40 we hear yet another breakdown/shift of sorts (with vocals), an instrumental version at three-and-a-half minutes in, then a shred-fest with both guitars at the 4:20 mark.  How appropo!

At long last we arrive at the closer.  It has been a considerably long journey.  I would not deem our proceedings arduous, however.  I have thoroughly enjoyed this ride.  It seems only fitting that this, our last number, is the longest of the batch.  At almost 8 minutes, in length, one would be tempted to dub The World Has Two Faces as an epic.  It IS very tempting, because it is nothing if not an epic, musical journey.  We start out with keys/guitars PLUS drums and bass doing the heaviness-and-airiness at the same time thing…not sure how on earth they do that, but CF do it WELL!  The main riffing that comes in about 1:45-2:00 is heavy as fuck (again), and the doom factor creeps back in at about 3:20.  Busy drums – did I mention that?  At three-and-a-half minutes in there is a nice lead guitar bit.  At 3:50 they falter only slightly with some chanting/whoa oh oh’s (I like the 60’s/70’s as much as anyone, but I’m not sure this is the place for that).  It is repeated again at the 7-minute mark, oddly enough,.  At 4:20 there is something you don’t get to hear often in prog metal – we get spatial FX – guitar riffs moving from speaker to speaker – and if I can detect it on a little ol’ PC, just imagine how groovy it will sound on your stereos!  Both guitars positively shred at the 5 minute mark. Some proggy keys are happening at 5:20, and some nice vocals plus riffs at the 6-minute mark. There is an instrumental breakdown (broken record, Rick!) at 6:45.  Let’s see, does that about wrap it up?  Indeed it does!

Upon consideration of adding this piece to your listening library, do not focus strictly on what I have written.  It may indeed influence you to go out and purchase it instantly!  I have already decided to purchase my own copy to support these deserving blokes.  However, I think you should hear some first!  So, go to YouTube, punters!  Go to Facebook!  Go to your record store!  Just go, I tell you! Hear Chaos Frame, they will make you want to stand up and rock!



Wyrd Ways Rock Show CCCIX

Wyrd Ways Rock Show 309

The Wyrd Ways Rock Show is back to give you a new blast of… erm…new stuff! That includes music from Vamps, Kataklysm and Helloween to name but three. Since I mentioned “three”, there’s also three more bands you’ve probably never heard before in Shock Of The New (Suzi will be back next week). This week’s Record Of The Week features a rather excellent band from Wales. Want to know which one it is? Listen to the show.

Here’s the DOWNLOAD LINK.  To use it, right-click and select “Save Link…”

Ghost – Ciricie
Pop Evil – Footsteps
Vamps – Evil
Covered: Mandowar – Holy Diver (Dio)
Ranger – Phantom Soldier
Suicide Watch – The Devil Rides Out
Kataklysm – Thy Serpent’s Tongue
Spotlight 1: 3 Inches Of Blood – Deadly Sinners
The Antichrist Imperium – Desecrated Remains
Skinless – Serpenticide
Graveworm – Liars To The Lions
Record Of The Week 1: Triaxis – Liberty
Record Of The Week 2: Triaxis – Terraform
Record Of The Week 3: Triaxis – Zero Hour
All Tomorrows – Sol Agnates (got a very good review from Mabh, which you can read HERE)
Abnormal Thought Patterns – Nocturnal Haven
Aversion’s Crown – Parasite
Spotlight 2: 3 Inches Of Blood – Battles And Brotherhood
Armored Saint – An Exercise In Debauchery
Helloween – Living On The Edge
Spotlight 3: 3 Inches Of Blood – My Sword Will Not Sleep
Perfect Crimes – Black Cloud
Mammoth Mammoth – Electric Sunshine
Beauvoir Free – Whiplash
Carl’s Shock Of The New 1: Anti-Clone – Take This Pill
Carl’s Shock Of The New 2: O.D.I.O – Coward’s Frontline
Carl’s Shock Of The New 3: Dzyen – As One
Kvelertak – Mjod
Anthrax – Fight ‘Em Until You Can’t
Slayer – Implode
Last Track: Sabaton – Primo Victoria

Enforcer – From Beyond


Nuclear Blast Records

Review by Rick Ossian

Buy the CD HERE and MP3 HERE

Stockholm‘s Enforcer are truly a blast from the past.  Sounding like something bleeding NWOBHM from their pores (think early Maiden meets Riot’s Fire Down Under and you will be close), these gents have roused my musical attention more than most in recent years.  Every track on this latest offering is filled with speedy hooks, rousing vocals and incredibly tight instrumentation.  If you are anything like me when it comes to Metal taste, then you should enjoy these boys’ work immensely!  Beginning in 2005, Enforcer have, counting splits and demos, come at us with 10 pieces of work up to this point, most recently being 2013’s Death By Fire.  Their personnel is as follows: Olof Wikstrand (vocals, guitars), Jonas Wikstrand (drums), Joseph Tholl (guitars) and Tobias Lindkvist (bass).


Opener Destroyer begins life with an absolutely wicked drum roll/guitar blast intro.  I remembered saying ‘holy crap!’ to myself a couple of times as I encountered the aural assault and the otherwise profound assault on my senses.  This is full-tilt boogie here, folks, and the vocal delivery is just as intense as the jams.  The rhythm is double or even triple-time!  This is very speedy stuff – I dare you to just try and keep up on your air instruments.  A slight shift in operations (1:45) leads us into a nice guitar solo (2:00), and a killer finish finds the boys firing on all cylinders.  This tune WILL make you want to stand up and jam out!

Undying Evil is another speedy slammer, but back down just slightly a notch from our forerunner.  This ‘creature of night‘ is obviously a scary one!  This track features a cool core riff, plus a couple of leads (2:00 and 2:40).  There is some duelling going on here, almost a battle back and forth between guitars – very good stuff!  The two-and-a-half minute mark finds us stopping on another dime for another slight shift, then before we know it, it’s over!  Sad but true, so moving right along, then…

The title track features a neat curling brief lead intro with drums and bass, then gallops off into Maiden territory for the core.  There are melodic guitars and vocals during the refrain, and a couple more leads (1:35 and 2:00).  A freaky, creepy wind takes us to the outro.

One With Fire is one of those sweet but WAY too short (just shy of three minutes) tracks, with a positively wicked opening riff and more of the double-time full-tilt boogie mentioned above.  Again, there is a slight shift (1:45), then a couple of smatterings of lead (2:00 and 2:15).  I also loved the drum and bass work on this one.

Below the Slumber is the longest track on offer here, and at almost six-and-a-half minutes, the only tune even close to its length (the other is the closer).  A slow guitar intro with near-strained vocals (think Kix or Krokus, perhaps) starts things off, and the all-too-familiar Maiden-esque gallop kicks in at about 50 seconds into the proceedings.  There is a shift (1:15) into slow blues followed by a brief solo, then the vocals return shortly afterwards.  Two minutes in we find the boys shifting upward and speeding things up a bit.  Then there is an instrumental breakdown of sorts (2:25), followed by another solo (2:50).  The vocals return again (3:20), then there are a couple more guitar solos.  The stop-start timing of the drums provide some wicked rhythm work for us; complicated arrangements scarcely describes what is going on here.  At 5:30 things finally begin to wind down, and at 5:45 we get a mellower guitar/vocal outro that sounds deceptively like the intro.  A very complex piece of work but also very well executed!

Hungry They Will Come is an instrumental piece with a sweet guitar intro and that ubiquitous Maiden-like gallop.  However often we hear that style of rhythm, however, rest assured that it is well-deployed and does NOT fall on deaf ears.  If it were too much or too often I would grow bored with it quickly but I did not find myself doing that with these tracks.  Again twists and turns abound, and there is another guitar solo (a pattern is emerging!), and we upshift back to the gallop before a double-time ending.

The Banshee finds everyone on board just killing it again, particularly Tobias (bass).  Some great work on here as well.  This is very fast, and tough to follow, but all together tight also.  Some twin harmony lead guitar work included, and the ending kicks some serious arse!

Farewell starts off with those spooky wind FX again, but includes a nice lead to accompany the natural vibe.  More wind and more galloping brings the main riff in at about 1:10, then the vocals kick in at a minute-and-a-half.  I found myself again rather enjoying the drums (Jonas) and Tobias‘ bass work.  This is pretty choice stuff.

Hell Will Follow finds us back to the no-holds-barred, flat-out boogie.  I found myself wondering how they could possibly go that fast, but it IS actually happening.  I’ve listened to the whole of this disc five or six times now, and still have problems believing my ears!  The speed is is tightly controlled, but only just.  Again, some rather intense vocal delivery, and some very sweet bass and drum work.  More leads (1:25) and shifts (2:30), and another instrumental breakdown (2:45) into the fade-out, with another excellent ending.

The closing piece, Mask of Red Death, is another long(er) track, and at just over six minutes, very satisfying indeed.  A chugging opening riff soon gives way to a slow but powerful jam with a kick-ass main riff and some bluesly vocals.  The drums are pounding and the guitars are shifting and churning.  At some points this is a decided blues track, but the ending brings us back to a deceptively almost pedestrian heavy rock classic form.  Which, incidentally, brings us round to the end.  If you are like me and only just ‘discovered’ Enforcer, it is once again time to plunder the back catalog!  I would give these fellows more stars if I could…




Nightwish have announced a headline show at Wembley SSE Arena on the 19th December 2015, which will be their only UK date this year.
The band will be making history by being the first ever Finnish band to headline this famous venue.

‘Who would have thought about headlining at Wembley Arena one day when we were starting our UK touring history from the downstairs of the legendary Astoria Club in London over ten years ago. This truly is a dream come true for us !’ says Tuomas of Nightwish.

The date will feature the band’s full production giving UK fans a spectacular stage show, as well as their the first chance to hear tracks from the upcoming new album ‘Endless Forms Most Beautiful’ live.

Support comes from Swedish extreme metal band Arch Enemy and fellow Finnish melancholic metallers Amorphis. What a gig this will be!

Tickets go on sale this Friday 13th Feb at 10am and will be available here:


We Have A Winner!!


Yesterday, I set a competition to win a copy of Arch Enemy‘s current album, War Eternal, as well as a t-shirt to wear while listening to it.

The winner, who correctly answered the question: Who was Arch Enemy’s original lead vocalist? (Answer: Johan Liiva) is…

Celine Vezina

of San Pedro, California, USA!

Congratulations Celine!  Your CD and t-shirt will be on their way to you soon.  Well done!



Arch Enemy

Fancy an Arch Enemy t-shirt and a copy of War Eternal to listen to while you wear it?

Thanks to those lovely people at @TheNoiseCartel, you can!

To win the booty, all you need to do is CLICK HERE, add a Subject Line of Send Me Arch Enemy Stuff, For I Know Things! and answer the following question:

What was the name of the ORIGINAL Arch Enemy vocalist?

If you include your postal address with your correct answer, you could find yourself with an extra pressie this Christmas!

Wyrd Ways Rock Show CCXCVI

Wyrd Ways Rock Show 296

As a rule, I don’t tend to do themed shows, but this whole thing about treating “female-fronted Metal” as a genre on it’s own really annoys me.  That’s why every band you will hear on The Wyrd Ways Rock Show this week is fronted by a woman.  That means you’ll be hearing from Izegrim, Holy Moses, Triaxis and Huntress among many others.  You can listen to it by streaming or downloading by either going to the website’s front page HERE or by clicking on THIS LINK.

The show also features Covered and a Shock Of The New that fits in with this week’s theme. You say you need more?  The best way to get more is to subscribe, by heading for THIS PAGE and choosing the option that best suits you.

If you subscribe starting with this week’s show, you’ll be getting the show at a much higher quality level than the broadcast, as usual.  You’ll also be gaining access to an exclusive Members Area, which includes a massive archive of previous shows as well as various other bits and pieces.

The broadcast version of The Wyrd Ways Rock Show appears on The Wall every Monday at 11pm GMT and Planet Mosh every Thursday at 6pm GMT.

If you want me to mention your gigs or play your music on the show, get in touch.

Doro – Raise Your Fist In The Air
The Amorettes – Talk Nerdy To Me
Skarlett Riot – Adrenaline
Spotlight 1: Benedictum – Valkyrie Rising
Hanzel Und Gretyl – Black Forest Metal
Crucified Barbara – In The Red
Spotlight 2: Benedictum – Seasons Of Tragedy
Holy Moses – Whet The Knife
Arch Enemy – Shadow On The Wall
Izegrim – Unchallenged Dominance
Incassum – Blood Soaked Banner
Covered: Benedictum – Heaven And Hell
Epica – Storm The Sorrow
Boudika – Dark Waters
Avatarium – Moonhorse
Spotlight 3: Benedictum – Dominion
Amaranthe – Drop Dead Cynical
Krypteria – All Systems Go
Alice In Thunderland – Take It To The Limit
Record Of The Week 1: Sister Sin – Food For Worms
Record Of The Week 2: Sister Sin – Count Me Out
Record Of The Week 3: Sister Sin – Ruled By None
Deadend In Venice – Devolution Of The Crown
Butcher Babies – Magnolia Blvd
In This Moment – Dirty Pretty
Witch Mountain – Your Corrupt Ways (Sour The Hymn)
Witch Charmer – Stare Into The Sun
My Wooden Pillow – Grind
Elfie’s Shock Of The New 1: Malaise – City Lights
Elfie’s Shock Of The New 2: Mystica Girls – Gates Of Hell
Elfie’s Shock Of The New 3: Craniation – Gaping Wounds
A Sound Of Thunder – Blood From The Mummy’s Tomb
Kobra And The Lotus – High Priestess
ReVamp – Wild Card
Huntress – Alpha Tauri
Spotlight 4: Benedictum – Dream Of The Banshee/Fractured
Animal Alpha – Bundy
4Bitten – Let It All Burn
Triaxis – Black Trinity
Last Track: White Empress – Fall Of The Old Guard