Cove—A Conscious Motion EP (2018)

Cove—A Conscious Motion EP (2018)

Cove—A Conscious Motion EP (2018)


Self-released sophomore EP.  Recorded at Hidden Track Studios. Produced by Oz Craggs. Released on 23 March 2018.

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  • Ben Shorten—Vocals
  • Pete Woolven—Guitar
  • Charlie Smith—Bass
  • Jack Bowdery—Drums


  1. Coincide: Collide
  2. Solis
  3. All I Believe
  4. Host
  5. Reflect: Resolve


I have this strange relationship with metalcore. At its heart it’s a fusion of extreme metal and hardcore punk: two genres that I love. But I still struggle to wholeheartedly embrace metalcore. I know it’s because of the brash, uncontrolled and shout-y vocals—like a small dog yapping over a kick-ass punk metal band. Give me a Michael Åkerfeldt (Opeth) death metal growl any day, or a Randy Blythe (Lamb of God) bark. But there is just something about the rah-rah-rah-rah nature of the typical metalcore singer that just grates with me.  That said, if you look back at the metalcore albums I’ve reviewed on 195 Metal CDs you’ll see that they have averaged 74%, so there must be something there that I like.

Cove—as you will have no doubt guessed by now—are a British metalcore band who hale from Kent, the garden of England: home of the iconic white cliffs of Dover; the seat of the Archbishop of Canterbury (the leader of the Church of England); and the country through which the rail track to the channel tunnel ploughs itself.

According to guitarist Pete Woolven, Cove set out to write a personal and cathartic EP that was uniquely Cove that didn’t sound like any other heavy band at present. “We wrote A Conscious Motion with a view to writing an EP of songs for ourselves that  were cathartic and personal. It deals with the struggles of members within the band, dealing with losing everything that you once lived for, to watching a part of someone else you love fade away.”

Coincide: Collide (track 1)

The EP begins relatively gently with the opening rim-shots of “Coincide: Collide” (track 1) building with a single-note bass, joined shortly after with a full-on, full-sweep, punk-style guitar riff. New singer Ben Shorten’s vocals are initially melodic until the band hits full stride in the chorus and Shorten reveals his obligatory metalcore holler. As songs go it has pace and dynamics, but predictably I find the uncontrolled shouting to be its weakest point—the harmonious accompanying vocal melodies redeem the song a little providing new layers and interest.

Solis (track 2)

Solis” (track 2) hits the ground spitting out the lyrics, “This is the beginning of this story / It started from an end / After broken choices / It’s time to amend”. It’s shouted. Most of the song is shouted. And I know that’s the metalcore way—I’ve already said that—but… anyway, the music is great: start-stop riffs that pulse like a sinister heartbeat. The production is clear and well balanced.

All I Believe (track 3)

All I Believe” (track 3) has a very gentle and delicate feel to begin with until it suddenly bursts with energy. This is probably my favourite song on the EP. It has a really nice dynamic, it builds and falls, and has a nice contrast of dark and light moments. There is a passion behind the lyrics, and some lovely instrumental moments: chugging bass guitar, flurries of distorted guitar breaking up otherwise regular-paced riffs. And Shorten’s shouting vocals are pitched, like shouted singing, which makes such a difference and takes the song to new levels.

The shortest track on the EP by far is the 1′ 29″ instrumental “Host” (track 4). It opens with a recording of what sounds like a NASA conversation between Houston and a space craft; it’s reminiscent a little of Celtic Frost’s “One in their pride” from Into the Pandemonium (1987). The music is gentle, pulsing and atmospheric. It’s a pity the track isn’t longer, I could listen to music like this all day.

EP closer “Reflect: Resolve” (track 5) ups the pace again. It leans heavily on a catchy, bouncing riff that morphs a little towards the end of the track as it slows down and simplifies. This is a well composed song that beautifully showcases many aspects of Cove’s musicianship and song-writing skills: it has a little bit of everything for everyone without diluting who they are.


Whether Cove achieved their goal of writing something that doesn’t sound like anything else out there at the moment, I’m not sure. But they have certainly penned an EP that has integrity and personality. I like the dynamics present in most of the songs, and appreciate that vocalist Ben Shorten does go a little off-piste with the usual metalcore shout-fest which positively takes the songs to new levels.

Personally, I preferred the final three tracks but if that’s any indication of the quality of music we should expect to hear from Cove in the future then British metal fans definitely have something good to look forward to.

Review score: 80%


I kindly received this EP to review from Inception Press, an artist-friendly, UK-based, independent, alternative music publicity and management agency. I didn’t get paid for this review but I do get to the keep the EP. I am not linked to either Cove or Inception Press.

Goya—Kathmandu EP (2017)

Goya—Kathmandu (2017)

Goya—Kathmandu (2017)


Written and performed by Goya. Recorded at Tremolo Recording Studio, Staffordshire, England, UK. Mixed by Dan Rowley and Goya. Mastered by Sam Taylor. Artwork by Sam Taylor. Released 8 December 2017.

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  • Jason Kester—Guitar
  • Sam Taylor—Bass
  • Mark Connolly—Drums


  1. Collider (4:02)
  2. Venenatus (13:05)
  3. Ashoka (7:39)
  4. Kathmandu (7:35)


I’ve been sitting on a number of releases for the last few months while the craziness of my personal life gently explodes around me. In a moment of relative calm I decided to take a listen to this EP, released by Goya a couple of months ago.

Flippin’ ‘eck it’s good! So good, in fact, that I’ve listened to it at least eight times in the last few weeks.

Goya are a three-piece instrumental group from Stoke-on-Trent in the Midlands (England, UK) and Kathmandu is their first EP. It’s what guitarist Jase Kester describes as the band’s “initial musical statement”. And what a statement! Not least that the whole EP was recorded live, with all three musicians interacting with one another in the same room. There is no substitute for such chemistry.


Photograph: Marie Korner Photography

“We’ve tried to take all the things that we love about rock—the riffs, rhythms and sounds, the building blocks and devices—strip away some things that we feel have become clichés of the genre, in an attempt to create ‘absolute music’,” he said in an interview.

The idea of absolute music—or abstract music—developed at the end of the the 18th century. It’s the idea that music is not explicitly about anything, and that “instrumental music transcends other arts and languages to become the discourse of a ‘higher realm'”. It was the belief that music could be more emotionally powerful and stimulating without words.

Collider” (track 1) is built around two riffs that seem to call and answer one another. It’s a bouncy, upbeat song that you can’t but nod along to. It’s a simple post-rock track that kicks things off nicely but it doesn’t give too much away of what is to come.

Venenatus” (track 2) which is Latin for venomous is a 13-minute epic. It may not be poisonous but it’s definitely infectious. The track opens with a delicate guitar piece that playfully rises and falls like a children’s piano piece. Then about a minute in (see the video below) it changes direction completely into a crushingly heavy, doom-laden riff that slices its way through the next few minutes before returning to its delicate roots.

The track seemingly has a life of its own. From its fragile, pseudo-classical intro, through the Sabbath-like darkness, the stark bass and drums-only section, to a decidedly up-tempo movement, a section of feedback, and an acoustic outro that was entirely improvised during the recording session. It’s a prog-lover’s dream.

Ashoka” (track 3) is built around a simple three-note riff that evolves and revolves around a bass heartbeat. The track has both a sense of urgency and mournfulness. Around six and a half minutes in, the music gradually slows and dissolves into distortion and white noise.

The final and title track “Kathmandu” (track 4) brings the EP to a beautiful conclusion. It begins in a quiet, contemplative way; it sounds how I imagine it would be to hear the sun rising in the morning. A few minutes in a bass line drives the song through a few twists and turns until the rather distinctive outro in 6/4 time.


This is a really beautifully crafted EP. It has something for everyone: fragile and delicate guitar, thundering bass lines, crushing doom-filled riffs. This is absolute music—bring your own meaning—and it is absolutely gorgeous. The music speaks to me regardless of my mood: at times invigorating, at times mournful.

In places it reminds me of early Amplifier (a very good thing), and Shutter (a former prog/post rock style band from Inverness); but it always sounds vibrant and… well, without trying to be too pretentious, human. There is an honesty about this music that somehow makes it feel like it’s been the soundtrack to my life that I’ve not heard until now.

If this is Goya’s “initial musical statement”, I am all ears for whatever comes next.

Review score: 98%


Thuum—Through Smoke, Comes Fire EP (2018) PREVIEW

Thuum—Through Smoke, Comes Fire EP (2018)

Thuum—Through Smoke, Comes Fire EP (2018)


Self-released. Release date Monday 19 February 2018

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  • Bear—Guitars and vocals
  • Andy—Guitar
  • Luke—Bass
  • Joe—Drums


  1. Intro (instrumental)
  2. Worthless
  3. Hafgufa
  4. Through smoke, comes fire


Hailing from Bournemouth, at the south end of the island, crawls Thuum with their debut EP Through Smoke, Comes Fire and it is colossal. This is already promising to be the heaviest release of 2018.

Black and white photo of the band standing in front of a stage

Thuum—They’re heavier than they look

Thuum are firmly lodged in the doom, sludge, southern-groove genre and they own it. Within four tracks Thuum manage to say more and generate more excitement than many bands with two or three times as many tracks.

Intro (instrumental)” (track 1) opens gradually, a fade up from silence. A quiet drone and a primitive-sounding chant, overplayed by a bell-like, heavily-reverbed guitar punching out a melody. And then the granite-crushing power of the track truly unleashes. It is slow and grinding but damn is it heavy and beautiful.

Worthless” (track 2) is a powerhouse of southern-infused sludge metal. Slowly meandering, bass-heavy riffs and sorrowful guitar solos provide a perfect background to Bear’s growling vocals. If you’re a fan of Down and Corrosion of Conformity you will not be disappointed. They’re like a fusion of Down and Mastodon—Mastodown, if you will.

Hafgufa” (track 3) begins with a blast of drums. then the pace is quickened for a song that winds itself around a simple, bouncing riff, that starts and stops, but never stops its unrelenting pace and heaviness. The song is cut in two with another lamenting guitar solo. “Can you hear me shouting out his name?” Bear yells—it’s reminiscent of Mastodon’s Troy Sanders. It may be the shortest song on the EP but it sure as hell packs a punch.

Through smoke, comes fire” (track 4). The title track. Another drums opening, which feels like a gentle nod of the head to Bonham’s drum sound in Led Zeppelin’s “When The Levee Breaks”. A ponderous, bass-heavy riff builds and layers for a minute until it breaks down into an ascending, walking riff. This is truly majestic. A fusion of influences, progressive and doom, always heavy but never indulgent or aggressive. Then vocals, both growling and howling. It reminded me a lot of Mastodon’s album Leviathan. The tracks meanders through a melodic, harmonic progression to a gentle conclusion.


Wow! This is a near-perfect debut EP. I truly hope Thuum get the attention they deserve. This is precision crafted doom/sludge metal from the deep south (of England). I want to hear more. If through smoke, comes fire, I want to see what truly happens when the fire takes hold. Definitely a band to take notice of and follow over the next few years.

Now, if you’ll excuse me. I’m going to give this 24 minutes 39 seconds offering another spin.

Review score: 98%


Stampede Press UK contacted me a few weeks back, inviting me to preview this EP.

I have no connections to either Stampede Press UK or Thuum. I’m not being paid to review this. But I did get a free digital copy of the album to review—which is pretty cool.

Many thanks to Rob from Stampede Press UK, and Thuum.

Bonus: Not Above Evil—Always Darkest Before (2016)

Not Above Evil—Always Darkest Before (2016)

Not Above Evil—Always Darkest Before (2016)


Written by Not Above Evil with Damien Levette (tracks 4, 5 and 9). Mixed and mastered by Daniel Mucs. Drum recording at Big City Jacks Studio. Engineered by Martin Corral.

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  • Sideeq Mohammed—Vocals and bass
  • David Gwynn—Guitar and vocals
  • Daniel Mucs—Percussion


  1. When the day comes
  2. Adrenaline
  3. Unleashed
  4. Fibre and sinew
  5. Elevation of the form
  6. The close
  7. Doors and desolation
  8. Compression
  9. Turning over
  10. And the skies return


About a year ago I reviewed Not Above Evil’s second album  The Transcendental Signified (2011). I was impressed

“This is definitely a keeper for me. […] This is an album that I would seek out to listen to, not just not-skip-over if it came on random play. Good work Manchester metallers! ” (85%)

I kind of got that right. Three-piece melodic death metal outfit Not Above Evil hail from both Manchester, UK and Stockholm, Sweden.

In October, drummer Daniel Mucs messaged me on Twitter asking if I’d like to hear the new album. A few weeks later a CD metaphorically dropped through my letterbox. (It actually arrived at reception and I picked it up from my in-tray.)

Thanks to the madness that is wardennial work in a university hall of residence, the CD has been sitting on my desk teasing me for the last six weeks or so. What was I thinking?! I should have stuck it on straight away, because it’s brilliant!

“When the day comes” (track 1) begins quietly . I forget this every time and end up turning up the volume and getting a fright when the drums kick in about 20 seconds in. After that it’s a stately plod to the end. There is a slightly ‘doom’ feel to the song as it trundles along at around 76 bpm, but that gives it weight and it’s by far the heaviest thing that I’ve listened to all day.

“Adrenaline” (track 2) speeds things up a bit, with a straight forward, barked vocal and thundering tempo. The song breaks down about half way before building from a terrific riff that you can’t help but bang your head to.

“Unleashed” (track 3) has a horror feel from the start. Like the souls of a thousand death metal vocalists are trying to communicate something. This track lasts until about three-quarters of the way through before shaking things up a little. Then it’s back to the original riffs until it’s over the finishing line.

“Fibre and sinew” (track 4) begins with a delicate and harmonised guitar lick that sounds very old school Testament – someone has been listening to their copy of The New Order (1988) – before punishing the listener with another slice of modern, hi-gain over-driven death metal.

“Elevation of the form” (track 5) sees Mucs pounding about every drum on his kit as the song builds up to a no-holds-barred rich-sounding riff. It’s by far one of my favourite tracks on the album and they kept it for half-way through.

After such a huge song, it seems quite natural that the next track, “The close”, should be short, instrumental and contemplative. There is no indication on the sleeve notes, however, who the keyboardists/pianist is.

“Doors and desolation” (track 7) resets the proceedings to the to the original programme and we’re back into a fairly standard death metal offering.

Then just as you suspect the album may just see itself out with a few album fillers, the stop-start magnificence of “Compression” (track 8) begins. It has a slower, looser feel, but like the opening track it’s really heavy. It’s definitely one of my favourite tracks on the album.

“Turning over” (track 9) opens with a tremendous bouncing riff and drums that could summon an army of the dead. Not Above Evil demonstrate  yet again that they are not a one-trick pony when it comes to song writing. They introduce new elements and riff after riff that twists the song in different directions. It does follow a bit of a pattern though with the song quietening in the middle, heading off on an interesting meander before returning to a pounding riff.

Finally, “And the skies return” (track 10) closes out the album in style. Like the opening track this has a feeling of grandeur, but it soon steps aside to let out the churning, maniac of a riff that it has clearly been trying to control. Towards the end of the song, the guitars slow down and wail, and the song walks over the finishing line at a steady pace. Like that scene of the soldiers entering the sports arena towards the end of Black Hawk Down (2001).


Not Above Evil certainly seem to be finding their voice but it is in the slower, more progressive numbers like “When the day comes”, “Elevation of the form”, “Compression” and “Turning over” that I feel they have most to say. The song writing is layered and complex and, essentially, very interesting. More like this please.

If you are into heavy music, definitely check out Not Above Evil. Definitely another keeper for me.

Review score: 90%

Stampin’ Ground—A New Darkness Upon Us (2003)

Stampin' Ground—A New Darkness upon Us (2003)

Stampin’ Ground—A New Darkness upon Us (2003)


Produced, engineering, mixed and mastered by Andy Sneap. Recorded in the summer of 2003 at Backstage Productions, Derbyshire.

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  • Adam Frakes-Sime—Vocals
  • Scott Atkins—Guitar
  • Antony “Mobs” Mowbray—Guitar
  • Ian Glasper—Bass
  • Neil Hutton—Drums


  1. A new darkness upon us (intro) (instrumental)
  2. Don’t need a reason to hate
  3. Behind the light
  4. Killer of society
  5. Dead from the neck up
  6. The cage
  7. Bear the scars
  8. Betrayal has a face
  9. Pain is weakness (leaving the body)
  10. Unmarked grave
  11. Ashes to scatter
  12. Mantra of a dying world (outro)


I’m running hugely behind on reviews this autumn and for some reason I really thought  I had already written this review. Probably because I’ve listened to this album more than probably any other album I’ve reviewed during this project. It sat in my car CD player for weeks. tells me that I’ve played 90 Stampin’ Ground tracks in the last 90 days; they are my fourth most-played band in the last six months.

This was one of those albums that hit a chord with me on my first play through. Stampin’ Ground from Cheltenham, Gloucestershire here in the UK play fusion of hardcore and thrash. Imagine Exodus, Slayer, Hatebreed and Biohazard forming a supergroup and you more or less have their sound down to a tee.

A New Darkness Upon Us (2003) is the band’s fourth, and to date, last full-length album. According to Encyclopaedia Metallum the band formed in 1995 then took a hiatus from 2006 until 2014 when they reformed. I’d definitely love to hear both their back catalogue and whatever they might release next.


Keeping with my tradition of writing really short reviews for the albums that I love most, I find myself writing the conclusion already.

This is an album I could listen to on repeat for days – and have done. While the album isn’t entirely perfect, I can’t but give it a full 10/10: the flaws just don’t seem important enough to quibble over. I can see me listening to this album for a long time yet.

It is discoveries like this one that makes me love this project and probably is why I am running behind on reviews (it’s currently early October): I just don’t want it to end.

Review score: 100%

Scythian—Suffering to the Conquered demo (2007)

Scythian—Suffering to the Conquered demo (2007)

Scythian—Suffering to the Conquered demo (2007)


Recorded and mixed by S. Vrath at Pulse and NLE Studios between7 December 2006 and 7 May 2007.

Encyclopaedia Metallum | Bandcamp


  • S. Vrath—Vocals and bass guitar
  • A. Satyruss—Guitars
  • J. C. Volgard—Drums and backing vocals


  1. Astral assassins
  2. Shattered idols
  3. Pray to war
  4. Spires to ashes
  5. Suffering the conquered
  6. Holocaust (Bathory cover)


England isn’t particularly renowned for its death metal bands. Scythian appear to have come to put a stop to all of that. And to be fair, given that this is only their demo (they have since been signed to a label) they did a pretty decent job of it.

On Encyclopaedia Metallum this release received two reviews, both gave it 100%. What did I think about it, well, a little history first, I think.

The Scythians were a nomadic tribe of Iranian Eurasians who dominated the central European steppes (from modern Czech Republic in the west to central China and south Siberia in the east) from around the 9th to the first centuries BC. They were amongst the earliest peoples to master mounted warfare.

As a demo this is an impressive release. The production is great, it doesn’t sound too tinny (which is my biggest criticism about many a metal album), there is a depth to the sound and enough bass to get a sense of how powerful they might sound live.

“Astral assassins” (track 1) opens with an eerie soundscape for 50 seconds before launching into a fabulous double-kick-drum-led riff. However, no sooner had I uttered the words “Oh… I like that” out loud, the band hit the Tasmanian Devil button and they upped the pace and went all-out thrash-style mental on the track. They bring the pace back to that opening riff about three and a half minutes in, and that’s where I think they are best and the heaviest. I like fast, thrashy music. But in those few moments they sound heavier and nastier than almost anything I’ve ever heard.

“Shattered idols” (track 2). Ah, good! They’ve been listening. It opens with a doom-like riff that chugs away at the bottom end, and then… no! They’ve done it again. Someone has flicked the switch from 33 to 45 rpm. For the majority of the song, however, they play around riff that grinds away like some kind of underground drill boring through granite.

And so the rest of the demo goes with Scythian morphing from thrashing moments of breakneck speed to ponderously heavy moments of doom-laden riff upon bouncing doom-laden riff. The music sounds like a fusion of death, thrash, black and doom metal. And for the most part it really works.

The final track is a cover of black metal Bathory‘s “Holocaust” (from their Blood Fire Death album, 1988). It has an authentic early thrash/black metal production to it, which is nice, with the bass levels rolled back a bit.


Overall, I enjoyed this. It doesn’t quite the spot for me but there are some brilliant moments that genuinely made me smile when I heard them for the first time. I’d certainly be interested to check out their newer material on Bandcamp.

Review score: 80%

Open The Skies—Conspiracies (2007)

Open the Skies—Conspiracies (2007)

Open The Skies—Conspiracies (2007)


Produced by Mark Daghorn, Karl Groom, and Open The Skies. Engineered by Mark Daghorn and Karl Groom. Recorded at Red House Farm and Thin Ice Studios. Mixed by Karl Groom at Thin Ice Studios. Mastered by Dave Aston at The Digital Audio Co.


  • Josh McKeown—Vocals
  • Steve Lumley—Guitar and vocals
  • Kieran  Brannigan—Guitar and vocals
  • Jamie Willis—Bass
  • Chris Velissarides—Drums


  1. Intro
  2. A silent decade
  3. Fear has no voice
  4. Keiko’s last smile
  5. He spoke of success
  6. Interlude
  7. Silhouettes on street corners
  8. Change
  9. So season two
  10. Just for you
  11. Yours faithfully
  12. We could have had it all
  13. A second from insanity
  14. Reduced and charming


Open The Skies sounds to me to be very much in the post-nu-metal, post-emo “screamo” or metalcore genre. They seem to have a foot in both hardcore punk and metal. In the early 80s a similar fusion took bands in the direction of thrash, these days it seems to lead them into the realms of metalcore.

After an initial twenty seconds or so of sound effects this album blasts into life with a terrific pounding riff, a tremendous over-driven guitar tone, and a nice melody. After that sadly the album peaks a few songs in and, with a few exceptions, the album sees itself out with a collection of homogeneous, screamo-by-numbers tracks.

“A silent decade” (track 2) pretty much contains everything that could be really great about this album. It has power, it has delicacy, it has the riffs, it has dynamics, it has a fusion of clean and screamed vocals. “Fear has no voice” (track 3) follows a similar winning recipe. The highlight for me in this song is the stop/start bouncing passage where the band sings as a chorus.

The trouble with much of this album is so much of it sounds the same. For example, listen to “So season two” (track 9) and then jump to almost anywhere in “Keiko’s last smile” (track 4) and it sounds as though you are on exactly the same song. Which is, of course, a credit to the guitar tuning, the recording engineering and mixing, but it doesn’t really make for a particularly interesting album.

And it’s not just those two songs. You can quite easily jump between tracks and you begin to see the whole album as modular. It’s like a box of audio LEGO pieces that can be interchanged between sets.

“Interlude” (track 6) is a rather beautiful short song that breaks the homogeneity. But after that break it’s back to the recipe.

Another break to the advertised programme is “Yours faithfully” (track 11) which is an acoustic song that reminds me in equal parts of early Manic Street Preachers and Soul Asylum.

Curiously, the closing track “Reduced and charming” (track 14)  seems to be more in keeping with the first couple of tracks than the filler in the middle, including an all-band-singing-in-chorus section.


Despite its very promising opening this album suffers primarily from a lack of ideas. I think this album could have benefited greatly from being significantly shorter, compiling the best ideas into few songs and focussing on those.

As it is most of this album sounds like the same song sung with eight sets of lyrics. If I feel compelled to listen to this album again I may simply create my own EP from the six remaining songs that hold some interest for me.

I believe that this is Open The Skies’ debut album. As debuts go it is certainly promising. The musicianship and song-writing are certainly strong, in my opinion the music could just benefit from a few more ideas and variety.

Review score: 60%