8.5/10

By Glenn Milligan

8/10

By Glenn Milligan

Dirty Beloved - Letters From A Broken Home
(Spudbot – 2009)

Well it's not often you get a CD that clearly blows you away with its power, aggression and talent. This four piece Canadian band are showing the rest of the world what rock music is about.

Letters From A Broken Home is a masterpiece in its own right, Dirty Beloved have been compared to Soundgarden and Dream Theatre with their musical intensity but I would put them in the class of Creed, Alter Bridge and Boy Hits Car with their power and aggression. This ten track CD rips into the soul like no other modern band, as they pound their way through 'Blind Eye of God', 'You Let Me Down', 'Take Good Care' and the pounding intro to 'Why Would I' that reminded me of Mortal Sin-The Curse and Scorpions-Animal Magnetism.

This is a CD that that will be played for a long time to come with the notion that every time I listen, I know I will hear something different that makes Dirty Beloved a band to listen out for in the years to come.

10/10

By Tony Watson

Dynazty – Bring The Thunder
(Perris Records – 2009)

80’s hard rock & hair metal from Stockholm & the USA of the highest standard with all the cliches on here at their best – think Warrant, Mr. Big, Tesla, Hardline and bands of that ilk.

This album is a pure dreamstate of material and has so much to get excited about all the way through the album and it’s easy to say that the entire album is a highlight from ‘Bring The Thunder’ to Sail Away’ via songs like ‘Far Away’; ‘Adrenaline’

A band in a million for sure – great to see music live this is still alive and kicking and coming from new artists!!

10/10

By Glenn Milligan

7.5/10

By Dave Attrill

DEATH BY AUDIO - Kill Your TV
(Stone Deaf Records - 2009)

Death by dodgy indie rock wannabes is what I thought I was going to be staring down the barrel when I first caught the name of this Manc foursome. How I am to be spared though Death By Stereo do little at all to offend all the way through, apart from only having five tracks on offer.

Putting basic alt rock elements as the foundations, they build up from ‘Kill Your TV’ onwards with a sturdy infusion of Offspring, Nirvana and the major blues rock elements im told by the promo sheet to prop my ears for also show up in short time. The frighteningly classy sixties solo bends are in an unexpected home here though. You will know all about this on a single play of ‘Vinyl Eyes’ and later tracks, especially ‘Fame Game’ - which would have gone like a treat on the ’Life On Mars’ TV show soundtrack - and though ‘Diary Of War’ annoys with its stuttery rhythm the retro-fuelled momentum stays mercifully unbroken.

A surprisingly brilliant offering hiding in wait - when DBA jumped on me I nearly ran but didn’t and I think many may be running for them once they check this jumpy little taster out. Full album likely soon, boys?

9/10

By Dave Attrill

5/10

By Dave Attrill

10/10

By Glenn Milligan

8/10

By Glenn Milligan

7/10

By Tony Watson

10/10

By Tony Watson

10/10

By Tony Watson

7/10

By Tony Watson

Diamond Drive - The Infidels (EP)
(S/R - 2008)

Diamond Drive is five crazy guys from Denmark who have molten metal running through their veins. These guys have released a four track EP to get across what they are about.

This CD is full of enthusiasm, power, passion and love for metal music. From the beginning of ‘Be Gone’ the five lads show how talented they are, by expressing their style of music along side bands like ‘Drowning Pool’, ‘Black Stone Cherry’, ‘Alter Bridge’ and ‘Breed 77’. This develops and progresses into a collection of musical perfection as the CD goes on through ‘Infidels’, ‘Traitor’ to finish with ‘Drowning While Laughing’.

Not sure if this is the first EP or even CD from these guys, but I can’t wait to hear more.

10/10

By Tony Watson

8/10

By Tony Watson

7/10

By Tony Watson

10/10

By Tony Watson

9/10

By Dave Attrill

9.5/10

By Dave Attrill

9/10

By Dave Attrill

DEAD END KIDS - Unfinished Business
(S/R - 2008)

Oh, I wouldn’t be surprised in the slightest to put this one on and expect a lashing of LA sleaze rock to come my way.

Stragely enough, I open the sleeve and find five sharply -cropped chaps aged about 35-40 with not a hint of hairspray or poodle perm between them, and so predictions to the musical content look to be confused here.

Confused but not disappointed, D.E.K rock right from the pressing of the paly button to the very end of the ninth track and not one of these tunes lacks a hook of some considerable proportion.

Their influences list every great eighties hard rock name but Gunners, Tesla and Faster Pussycat bring it closest and their vocalist’s quite universal straight-ahead style with a bit of punk-tinged snarl bring it to the top of the ladder, and groovy guitar licks from all over the catalogue strengthen those rungs below.

‘It’s Now Or Never’, ‘The One’ ‘Take A Shot’, ‘I Know What I Want’, ‘TIme To Go’ and ‘Let Me In’ are pieces of rock n’ roll class of the type seen to be making a valued comeback over this recent couple of years and this album is a cert motivator for such a re-revolution to carry on happening.

As long as they do it this way, there is no dead end in sight .

9/10

By Dave Attrill

10/10

By Tony Watson

7.5/10

By Dave Attrill

9/10

By Dave Attrill

1/10

By Dave Attrill

7/10

By Dave Attrill

By Dave Attrill

8/10

By Glenn Milligan

DOKKEN - Lightning Strikes Again
(Frontiers Records - 2008)

Naming an album after a tune from an earlier disc is not a first time trek for Dokken but it doesn’t spoil the fun that is waiting to be had with this unexpectedly weighty renaissance for the 80’s legends.

Still consisting of messrs Sparks and Leven alongside surviving mainstay Wild Mick Brown, Don’s indestructible troupe forge on without strain and though some might say there is plenty to be heard in the geezers voice by this stage, the other three lads work very well around it. ‘Standing On The Outside’ sets the pace with a very catchy swaying chorus line that has me singing along from the off.  ‘Give Me A Reason’ and ‘Heart Of Stone’ maintain this, both having a feel of Whitesnake to them.  Then, oops, a sudden downhill turn already.  ‘Disease’ is one of my least favourites easily with a staggery industrial metal rhythm hardly helping even though saying that I didn’t resent the material from ‘Shadowlife’ that much it must be said.

‘How I Miss Your Smile’ is however one of Don’s best ever ballads despite a noteable Britpop trace around the rim. Funnily enough the next song turns out to be called ‘Oasis’ and also symbolic of their sound during the mid nineties as when Liam, Noel et al themselves initially struck it big.  ‘Point Of No Return’, an awesome House Of Lords-esque speeder hits the top again and we are truly rolling as Dokken once remember.  ‘I Remember’ (oops, what have I said) is another classy Doks acoustic before it’s time yet again with ‘Judgement Day’ for the trademark hard rock punch of the album’s earlier tracks.

‘It Means’ is another of the few so-so intervals there are today. This slow number warranted some getting into though the chorus melody did eventually succeed in remedying my attention.  ‘Release Me’ more or less repeats the situation but the chorus seemed more detectable this time and Leven’s widdling kept me listening with both ears pinned - this bloke sounds more like George with every number, honest. ‘This Fire’ burns along as these lads should, pace and hooks both carved to perfection and ends the official leg of the disc on as high an octave as begun an hour earlier.

For those in possession of the limited version, European bonus number ‘Sunset Superstar’ is another fast, old-school effort that is criminally from worldwide release, it is again primetime Dokken at best but that’s sod’s law conspiring once again, isn’t it.  Something that doesn’t against these guys as 30 years on, countless changes in trends, taste and ticket sales fail to put the writing on their wall. They are not likely to be round in the year 3108, you will still hear ‘In My Dreams’, ‘It’s not Love ' or ‘Kiss Of Death’ blaring out in an old second-hand CD store somewhere on the planet.  Or perhaps one or two from this album.

9/10

By Dave Attrill

7/10

By Glenn Milligan

THE DANIELS – Lights
(Guilt Free Records - 2007)

Wolverhampton alternative trio The Daniels bring with them an unusually arena rock-like production, given their genre.

Be that not enough, the rhythm line of the single’s title cut also brings a fellow Wolves outfit to the conscience (they were fronted by a chap called Noddy) but bounces me along with it, whoever it sounds akin to.

B-side ‘Took Me For a Ride’, while a decent enough pop number itself, frankly seems a dropper by comparison - just hope these lads haven’t taken that title too literally here.

7.5/10

By Dave Attrill

10/10

By Glenn Milligan

DESTINY PROGRAM - Subversive Blueprint
(Nuclear Blast - 2007)

While Power Metal, Thrash and AOR are Sweden’s three proudest specialities, it as we know doesn’t mean they aren’t capable of delivering the goods in further genres.

Desiny Program bring us hardcore very much as you’d expect to hear it today. Some very convincing Sick Of It All/Madball fused vocal efforts alternate with the expected nu-breed oriented melodic lines and there are a variety of different styles this geezer’s voice could actually handle when he does so.

Chugging behind him meanwhile, Metallica-like string assaults in their fist-load also prevent it falling down the loo pan of predictability... not to mention that they’ve got HOOKS as well.

It helps boys.

7.5/10

By Dave Attrill

DIRTY SOUTH REVOLUTIONARIES - Queen City Underground
(Tent City Records - 2007)

Bleedin’ H, was I tempted to turn this one off before the first track had reached its end but for some reason, decided to afford it the benefit of the doubt as the next cut began to sound ‘different’.

As you might guess, this Carolina sextet sadly do not play what their name may suggest - think screaming metalcore racket instead, yes, that of the vomit-your-guts-all-over-the-pavement variety and you’ve got it pinned.

D.S.R. do squeeze out three or four songs from the eighteen that house a hook, namely, Ghetto Street Rock’, ‘My dirty South’ and ‘Honour When There Is None’ amongst them, ergo a case of all scream and some discernible substance but little else to let rip about otherwise than so.

For fans of a punkier sounding Earth Crisis and the completists in their small hordes, but otherwise your money may be better spent.

5/10

By Dave Attrill

7.5/10

By Dave Attrill

WEBSITE www.dartzisgood.co.uk

8/10

By Dave Attrill

7.5

By Dave Attrill

RECOMMENDED IF YOU LIKE Girlschool, McQueen
SITE www.dirtrucks.com

2.5/10

By Dave Attrill

9.5/10

By Death8699 (MethylinInfo@aol.com)

6.5/10

By Glenn Milligan

9/10

By Death8699 (MethylinInfo@aol.com)

9.5/10

By Death8699 (MethylinInfo@aol.com)

I'd have to conclude that this is Deicide's last good album because not only does it carry with it the similar characterists of their previous releases but it still contains the originality in the guitar riffs definitely. Of course lyrically Glen writes his usual hatred towards the higher power or God if you will plus the album cover depicts Jesus Christ simply looking like a Demonic figure as Glen utters that we be "free of Jesus Christ".

Honestly, I have never really been into the Satanic lyrics just the music is what got me hooked to Deicide. Now that the Hoffman brothers are not longer in the band Glen says in a Terrorizer magazine that they are the "ding-dong brothers". Not much respect for the amazing riffs and solos they've been able to display their talent but we won't touch on that further in this review.

There is less high-pitched vocals here though there are still backup screams though not as Demonic as their earlier releases like "Legion" or their ultra Demonic debut "Deicide - Deicide". In terms of the music it's still brutal and catchy as hell. The solos are also amazing especially the numerous and flawless ones throughout the entire release check out especially the intro to "Slave To The Cross". The guitar riffs aren't as technical as their older material but still very noteworthy and heavy as all hell.

I'd have to say that they were NOT as a whole lazy on this release it seems to still portray their talent in songwriting. Though they exhibited less blast beating drums by Steve Asheim he still does a great job staying in sync with the guitars. There isn't a track on here that I dislike at all because they still proved to the Metal community that after the years of being one of the leading Floridian Death Metal acts showing us they can still kick major ass!

If you are eager to know which tracks to download first I would suggest getting "Believe The Lie", "I Am No One", "Bastards Of Christ" and "Serpents Of The Light". This will give you an idea of what the album has to offer some great tracks and I would consider them to be the best ones on the album.

The production is by Deicide and Scott Burns-Scott now retired still does a great job production wise. The album is loud and evenly mixed to near perfection. All of the tracks in great synchrony, heavy and hate filled Deicide is notorious for. The artwork by Nizen R. Lopez quite sick and portraying the son of God as Demonic as possible.

Glen's vocals are deep and anything but boring because of the backup voice to go with the insane music. The Hoffman brothers still amaze me with their talent in riffing and soloing. It's too bad they are no longer a part of the band because they seemed to me to captivate the listener in every release up until this album. I wouldn't really recommend purchasing "Insineratehymn", "Scars Of The Crucifix" or "In Torment In Hell" because these releases are way way below their talent. They seemed on these releases to just put in half assed work that's why I consider "Serpents. ." to be their last good album.

Even though "The Stench Of Redemption" is their effort to redeem themselves I still think it's lacking because the Hoffman brothers to me were the core of the band. "Serpents. ." is an album that depicts Deicide's true talent in songwriting plus its originality in every respect even though the lyrics are anti-Christian the music draws the listener in to every single song. Anyone who thinks that "Serpents. ." was half-assed well they don't truly admire the amazing songwriting Deicide was notorious for from their self-titled release to "Legion" to "Once Upon The Cross" to "Serpents Of The Light".

If you are a true Death Metal fan then you need "Serpents Of The Light" to add to your collection because it is truly remarkable in pretty much every single respect!

8.5/10

By Death8699 (MethylinInfo@aol.com)

7.5/10

By Dave Attrill

9.5/10

By Death8699 (MethylinInfo@aol.com)

7.5/10

By Death8699 (MethylinInfo@aol.com)

8/10

By Death8699 (MethylinInfo@aol.com)

Dave defends a criminally overlooked classic from Britain’s no.1 hard rock institution.

DEF LEPPARD - On Through The Night
(Mercury/Phonogram - 1980)

Tired of all the slatings I’ve had to swallow about the debut album by Steel City’s finest, from fellow Leppard-ites themselves mostly, I decided I had to find out the real truth myself, and duly invested in a copy. My first though on having listened to all forty-minutes was ‘what the f*** are these people on about?’. ‘O.T.T.N.’ is a superb little slice of classic late seventies flavoured British hard rock even though there are the odd inevitable Americanism or two along the way.

Pay a well known CD store a visit and pick it up (it’s going for only £5-10 after all) and revel in a undeservedly forgotten era for this legendary act.

8.5/10

By Dave Attrill

8/10

By Glenn Milligan

8/10

By Dave Attrill

10/10

By Glenn Milligan

9/10

By Glenn Milligan

8/10

By Dave Attrill

WEBSITE www.thedivideissue.com

8/10

By Dave Attrill

10/10

By Glenn Milligan

8/10

By Glenn Milligan

10/10

By Glenn Milligan

7/10

By Glenn Milligan

8.5/10

By Glenn Milligan

8/10

By Dave Attrill

8.5/10

By Dave Attrill

7.5/10

By Al Hoath

Essesential.

10/10

By Glenn Milligan

10/10

By Glenn Milligan

8/10

By Glenn Milligan

8/10

By Glenn Milligan

8/10

By Dave Attrill

5/10

By Dave Attrill

7.5/10

By Al Hoath

10/10

By Glenn Milligan

8/10

By Glenn Milligan

Dark Mass - Dark Mass Medium
(PZDTS Records - 2004)

An instrumental Metal/Thrash band from Russia who come all the way from Russia. Thus is triumphant playing throughout with plenty of finger tappin' and and other excellent guitar tricks you'd expect to hear from guys like Kirk Hammett, Yngwie J. Malmsteen,

It's rather like having a Megadeth album, where a guitar takes the place of Dave Mustaine's vocal lines. Seven pieces in all with plenty of highlights and lets not forget that macine gun drumming too especially on 'Neon Revelations' coupled in with that Speedin' axe assaulting. Many a highlight includes the piano led 'Fires of Euphoria' that duels up with thrash rhythm a plenty or the pumping Satriani/Vai like closer 'Comets of Black Cosmothrash'.

Good to hear the instruments do the talking for a change.

9/10

By Glenn Milligan

9/10

By Dave Attrill

Four years and about fourteen gigs, I've seen 'em and finally the collection of songs that has earned Deadline my continued support amongst that of everyone else now makes it to disc. 'Out Of Reach', often a favourite for a set opener has always held a feel of Canadian rockers Emerald Rain through its rapid rhythm hook-line and is as immediate on CD as on the boards. They used to have a song called 'Stop', which was available on a free 4-track promo handed out at the 2002 Gods - this tune now re-exists as 'Too Many Things' and while no early downer in the running, I have to confess that I did prefer the tune in its older form slightly more.

'Only You' is one of the Rotherham quartet's more recent compositions and despite its likeness to Darkness's 'Love Is Only A Feeling', - though that is one of Justin and co's better numbers - it is a strong and uplifting ballad in which Steve's voice utilises the full feel of the lyrical content. Another live staple, 'One Touch' fails to disappoint and many will be happy to own this highly hook-driven song at last. Up next are the top three and while 'Love's A Battle', 'Just One Night' and long-established band anthem 'Losing Myself' appeared on their EP a year ago - still available, by the way - these freshly re-recorded versions are more than purpose alone to buy this album, 'L.A.B.' in particular benefiting from some meaty and interesting guitar layerings by Andy.

Remaining brace of 'Love Won't Fade Away', 'Stay' and 'As Of Now' are simply more of Deadline's unflinchingly upper quality AOR suss that has seen them round up a larger surge of approval throughout the last year in particular and their support slots with Firehouse, Mike Tramp, Tyketto and most recently Sebastian Bach have no less than helped. A long and well-awaited treat for not only those who have supported the band over the last half decade but all of you who like your melodic rock served with drive, attitude and overall smoothness that lacks in too many of this genre's acts nowadays.

Well done lads.

9.5/10

By Dave Attrill

RECOMMENDED IF YOU LIKE
Tyketto, Emerald Rain, Van Halen, The Police

AVAILABLE BY ORDERING. Go to www.deadlineuk.com for info

DID YOU KNOW...
There was another British hard rock act called Deadline a few years ago. They were a four-piece from Liverpool who played a well-received brand of Bad Company -influenced material, that in 1997 landed them slots with Thunder and Whitesnake. Sadly little was heard of them since and they split up in 1998 before they released an album, due to a lack of media enthusiasm amongst things. Nothing has been since heard of the whereabouts of the four former members of the group.

Not to mention a punk band around at the moment with the same name!!

Oh dear. Is death metal losing its favour in the scene at the moment? Seemingly so as Sweden's Deciever become the next in the queue to place those trademark growls over more old-school axe-grinding. 'Puppets'-meets-'Black' album Metallica with hints of Priest, Maiden, Slayer and Megadeth peppered in is what we have this time before I forget to mention it.

It's quite a pity then that this only spans five tracks as one gets quite rapidly roped in with what these lads have get up to, instrument in hand. Many of the riffs are not un-akin to what has passed a few hundred times bygone but the chugging is meaty enough to feed most metal hungry headbangin' folk for a good few months, or until we get a full length disc out of 'em. In the meantime, a very tasty starter.

Try.

8/10

By Dave Attrill

A decade they have been at large for, now, but poor Downset have always been forced to ride shotgun to fellow LA rap-metal kingpins Rage Against The Machine, Bodycount and Limp Bizkit. Wimps these lads weren't, however and they have soldiered on through the years regardless, carried onwards by their loyal legions of followers.

Ray Oropeza's voice has deepened into a more gravely roar since their debut but he knows how to scream those choruses like a man who knows what he means, and what he feels, and even sings on one or two bits here and there. 'Empower' was a dance-floor fave of mine in my teen years and though they've progressed since, their streetwise implications stay with them in the usual HC fashion of things. Typically hard-hitting cuts like 'All Crews', 'Black Glock','Jumping Off', 'Hectic', 'Make This Happen', 'What They Want' and 'Universal' continue to generate the vibes that brought these sorts of bands together to begin with.

More than plenty to please those who prefer the Downset of old though, this band move along and stay put without being pulled apart, like anyone would dare try and do that to 'em.

7.5/10

By Dave Attrill

RECOMMENDED IF YOU LIKE
Biohazard, Stuck Mojo, My Own Victim, Rage Against The Machine

A poppy up-to-date like Shunk Anansie meets Grace Jones who have a black frontwoman called 'Vee'. They've most definitely got the X-factor with their strong catchy hooksand make you instantly interested in them.

A band who are ones to watch - I can see them being the 1st new big thing in 2005 if not before.

10/10

By Glenn Milligan

One of the better numbers off their blinding 'love And War' album, this is an instant catcher with a hook that brings to mind, Machine Head's 'From This Day', funnily enough and at this stage I can't resist a temptation to match a similarity of this bloke's voice with Anthrax's John Bush.

While rather unimpressed at being sent only one track on this disc and no B-side, this is a number with top-40 potential over our side of the pond and Drowning pool had better get a move on coming over here as this and most of their material kicks back end of human body pretty seriously.

If you haven't got that album yet, you're missing a treat.

9/10

By Dave Attrill

That bands have a dislike to doing just the one thing is no kept secret and at most times when they try to, even if the constraints of commercial acceptability on today's market try their hardest but fail in their way to stop them heading down that one way street, a band still finds all its wheels not quite steering in the same one direction.

New York's Dry Kill Logic, now on their third album began their career in 1993, during the breakout of the alternative metal scene. At that time, Pantera and Sepultura wee still making waves with more old fashioned noise, and Machine Head just coming round the corner but this four piece outfit then known as Hinge had seemingly developed their own direction from which evolved the sound they proudly create today on 'T.D.A.D'.

The arrival of nu-metal seemed not to go unnoticed as one will hear from a sound quite owing to Boysetsfire and Strata atop the fairly Metallica-directed chords and their preference to include solos unites old and new quite effectively.

A band we should hear more about. Good one.

8/10

By Dave Attrill

Jumping labels - from one 'S' to another, Ronnie returns with arguably one of his best albums in years with more of his trademark dark sounds and visionary on new release 'Master of the Moon' - it's pure gothica, the old blazen metal way.

Opener is a soon to be live classic - well it's got to be with the title 'One more for the road' that's Rainbow like and pounds away - so can witches ever die? OK, so he's close to pension age but shows no sign of slowing down and donning pipe and slippers. Tons of highlights frequent this album tracks such as 'The End of the World'; 'The Man who would be King' and 'Living the Lie' that prove there's years of life in the little dungeon master.

Lovers of Ronnie have never had it better.

8/10

By Glenn Milligan

Dip - Gizzagoo (By the envy of your friends E.P.)
(Rydoff Recordings - 2002)

A nutty, never taking themselves serious rock band that feature Rob Lane (of Teenage Casket Crew) on bass. Dip bellow out humorous ditties about such topics as doing a cow!! (Shed the beef); Granny and her Peek Freen custard creams (Wombat) not to mention a killer take of Blondie's 'Hangin' On The Telephone'.

It's fun-time, whacky and as tight as a nuns crotch.

See 'em live somewhere near you whenever you get chance.

7/10

By Glenn Milligan

They've been making a name for themselves on the metal scene since their appearance, about three years ago and although Metalliville missed the Drowning Pool rollercoaster first time round, we've grabbed the front seats this time.

From the opening chords of 'Think' - onwards, D.P. are a band with a very nasty look on their faces to anyone who comes near but a very pleasant sound to the ears of anyone who appreciates or at least cautiously approaches anything under the nu-metal tag. To avoid taking too many liberties with the description laws, if you turn back the clocks ten years, you can hear the seeds of this record being sown through Pantera and Machine Head's more subtle sides though the latter would draw you nearer on their 'Burning Red' album, later in 1999.

Frontman Jason 'Gong' Jones's voice which is a direct tie between relentless angst and adrenaline-propelled melody drives this material all the way, giving it its slightly more old-school -oriented cred alongside the wants of all that is 'today' about metal and the teeth-grating grooves that CJ Pierce serves up behind, frighten as much as the frontman's deliveries as well as act as a warning shot of what's to be fired next, each time. 'Think' grinds and pounds with enough brute force to render the listener unable to reach the ten numbers that follow. Which would be a pity as they are all killer tunes with with hooks and riffs as the lethal weapons that they carry on every corner of their armour. 'Step Up' is fitted with probably one of the most addictive metal choruses of the year and 'Numb' is as close to Tool classic 'Prison Sex' as they dare (legally) approach.

In similar principles, 'This Life' echoes Machine Head's 'From This Day' pretty loudly with its melodic hardcore metal approach The following few numbers, 'Nothingness', 'Bring Me Down', 'Love And War' and 'Forget' fly all over the place fro inspiration and the names Corrosion Of Conformity, Monster Magnet, Trouble, Korn and Soundgarden show up on the mind's monitor. 'Cast Me Aside' and 'Killin' Me' are the Pool just being themselves though there is a vague Fear Factory-ness that can be picked up through the former. 'Hate' ends on a very 'St Anger' and perhaps slightly 'And Justice…' -era Metallica sort of note but I'm afraid Mr Hetfield has been shown up by another young upstart here in the menace department.

And abruptly, after 38 minutes, it's already time to say 'That's All Folks!' or more appropriately 'Hit That There Play Button Again, Partners' because 'Desensitized' is a blinding record and acts as a par excellence schooling in the crafting of the perfect modern-day metal album. Packed with no end of power, attitude and enthusiasm, it is the work of an important band in today's hard music scene, who obviously respect the roots as well as what grows from them.

9.5/10

By Dave Attrill

Kevin Dubrow - In For The Kill
(Shrapnel Records - 2004)

The singer from Quiot Riot gets solo on us and presents 12 of his favourite songs to us - this is rock 'n' roll covers at their best with a band made up of Kevin Curry (Guitar); Jeff Martin (Drums); Gunter Nezhoda (Bass) and Michael Lardie (Keyboards, Guitar, bv's and Harmonica) who Kevin co-produced the album with.

What makes this album stand out from others is that Kevin has got gone for obvious choices found on every rock compilation out there. OK, so you'll find versions of T-Rex's '20th Century Boy' The Faces 'Stay with me' and Deep Purple's 'Speed King' for those out there who do the pub rock by numbers top 20 but where else and who else would you find blinding more obscure stompers like Humble Pie's 'Red Light Mama, Red Hot'; The Easybeats 'Gonna have a good time' and 'Rolling with my baby'.

It appears that Kev's really done his homework here and it will make you wanna seek out those long forgotten brilliant numbers such as my personal fave 'Black Sheep of the Family' from Rainbow or the never heard Queen belter 'Modern times rock 'n' roll' (that Roger Taylor took lead vocals on - in fact if Kevin's voice was slightly drier he'd sound just like old Rog). Hey let's not forget the fun-loving 'Drivin' Sister' by Mott the Hoople.

Can't stop playing this album. It's the 'Bees Knees' or should that be 'D's Knees'.

10/10

By Glenn Milligan

How often has Harrow come up as the place to dispense forth a promising future metal act such as these lads? Deep might not be the most exciting band name you'll hear all century, but the act beyond this particular use of the moniker have got something packed with potential in these four tunes.

Think of a more thinned-out Monster Magnet guitar sound with vocal melodies you might have expected on the early Danzig albums, topped with pure 70's groove and attitude and you wouldn't exactly going too wide of the mark. A deal for this lot soon, any chance? I hope so, this is quite…. Harrow-ing stuff.

7.5/10

By Dave Attrill

Possessing probably the most ridicule-inducing name used by a rock band since Thatcher stepped down as PM, US rockers Devil To Pay's music must be either that to match or a totally different kettle of fish, period. The outcome is, let's say a more sophisticated and sensible version of the former, the Monster Magnet-esque noise on offer in with it's share of chance on the appeal-ometer, and the typical aggression factor is worked with as usual.

It's just a pity that with a load of other bands out there doing this, in an almost exactly akin form, DTP's own material is hard to distinguish and quite frankly I've heard a superior effort from Divine Propaganda with last year's 'Hidden Hand' album. Still by no means a terrible record, though - give it a listen if you've got the time.

6.5/10

By Dave Attrill

A New Jersey band who sound musically like a (Iron) Maidenistic Megadeth with a James Hetfield like vocalist. The have a fresh feel especially on 'The Questioning'. 'Final Day' has a Sabbath influence jammed in with the two bands beginning with I and M with 'Days of Regret' being a mix of everything.

An excellent outfit that'll do well if they get enough media attention. For more info on them go to www.thedelianleque.com

8/10

By Glenn Milligan

Looking at that sleeve, it's got to be someone rather out of touch with sanity to put bloodied corpses wrapped in white bedsheets and parcel tape on display at the local gallery. What sickening sounds do DENATA, whoever they are, support this imagery with then, one thinks. Initially expected to plod through another collection of one-dimensional death metal drivel, they are suddenly noticed to be taking an unexpected direction, opting fro straight ahead verse-chorus-verse criteria with the bonus of most of their songs all having - even if only barely - distinguishing characteristics.

Some of the stalest lyrics on the face of the planet ruin one or two of the numbers and quite a bit of the riffage has about as much originality as Status Quo but at the same time, you can't help but liking the quite laid-back attack of this act, which has helped in making this one of those rare albums of this genre that you can relate to.

Go on, honest, it's worth hearing.

7.5/10

By Dave Attrill

Heavy, hoardy, hoggy Long Islanders who have a passion for the wailing guitar work of 'Black Label Society' that's combined with the attitude of Pantera.

A six tracker CD with a bonus DVD of the dirty f*ckers having a good old jam. This is rock 'n' roll with huge slabs of balls from the opening 'Hitch-hiker' which urps at you with a ton of wah-wah and a kickin' cowbell right through to 'Alcohog' which sports the title of the CD.

Do it large and crank it up.

8/10

By Glenn Milligan

Scandi' quartet Dogpound first/last came to my notice on one of Z's 'Rock the Nations' samplers. Strangely enough, they don't seem to have impressed Mark Alger one way or another as they now show up on the burgeoning Lion label. Surprising, considering their brand of hard rock is much more suited to the Liverpool company's dealing than to Lion's progressive preferences.

For those still without the picture, it's modern day melodic rock of the kind Kick, Eclipse and most items on Artenzia's roster deal in, equipped with classy eighties melodies aplenty. Combining the styles as are done here has for long been considered an enter-at-own-risk affair, but again it's failed to stand in the way of decent songs, performed and written with though and attitude running in synchrony.

Whether Dogpound are going to send everyone barking mad is yet to be seen but at least they're doing so more or less up the right tree. And you'd be doing so too when you check this one out.

8/10

By Dave Attrill

An Intalian quartet who specialise in Cyber Gothic Industrial Dance Metal - if there is such a thing. Try mixing together Ministry with Hawkwind on a collision course with Marilyn Manson, The Mission who've just been on a scary encounter with Rob Zombie and The Sister of Mercy.

They comprise of Victor Love (Vocals, Guitars, Programming Synths, Drum Machine); Grace Khold (Synths, Samples Programming); Darin Yevonde (Bass) and Brian Wolfram (Guitar).

Not letting down or slowing up for second they crank out the beats and speed their way through the dark to the next morning and beyond. They'll mash your brain up with their 100mph+ sounds from their self-titled opener to Generation Plastic.

10/10

By Glenn Milligan

The latest album from present day Swedish deathsters Decapitated is a souvenir of a band leaning a little over that side of the fence that welcomes an ounce or two of subtlety and diversity into their product while at the same time staying true to their native genre.

With some quite interesting, pretty often melodic, but rarely less than brutal, and noticeably old-school directed riffing embodying the sound throughout led by not un-Gary Meskill-like vocals, this band seem to know how to spread their wings. It's just a pity it's the album that flies - past and gone in about 28-30 minutes just as it was becoming quite good fun. '3 Dimensional Effect', 'Lying And Weak', 'Calling' and 'Long Desired Dementia' plus the bonus Deicide cover are among the tracks I rate, fuelled in parts by some convincing Robb Flynn-oriented guitar movements as a further treat.

Fans are undoubtedly going to be racing for it goes without saying, and while I myself am not sure about losing my head over them yet, Decapitated look like succeeding in helping me do that, if they keep it going like this.

Nice.

7.5/10

By Dave Attrill

RECOMMENDED IF YOU LIKE: Deicide, Morbid Angel, Machine Head (circa 'Burn my Eyes'/'More Things Change' ), Pro-Pain, Testament

In their 15-year existence, he has caused more worldwide outrage than any, bar a couple or so other acts in the metal genre put together. And yet Glen Benton continues to lead legendary death metal quartet Deicide from strength to strength at the top of the scene's roster. 'S.O.T.C' also sets -well the promo copy does anyway - the record for the most tracks in the shortest amount of time, 99 flying by in just under 27 minutes - stuffing Napalm Death's achievements well and truly, in the process.

Deicide's line in lung-ripping, blood-curdling, hate-belching brutality has for long taken its time for me to get into, often being warned against by others as a bland one-speed noise vehicle but over recent times, I've taken to get to know their music, they turn out to be a little more multi-directional than initially suspected. 'Scars' and 'Mad At God' offer more of the mid-tempo grindin' that prompts synchronised headbanging from those down the front five rows. 'Conquered by Sodom' boosts up the motor a bit more but without omitting standard stomping rhythms of the kind that makes this form of metal more commercially approachable. 'F*** Your God' is full speed all the way through, ol' Glen trying to narrow the border between singing and spewing as much as possible.

'When Heaven Burns' maintains the style but calmer in parts with the three other lads venting their vocal fustrations to effect in the background. 'Enchanted Nightmare' is decorated by some pretty sounding little bursts of lead guitar and the odd deviation to chugging riffage but otherwise is the same ol' thing as the last two numbers. 'From Darkness Comes' is where my interest begins to take leave, just a bland conglomeration of the previous six numbers though the solos again cheered things up, a titch. 'Go Now Your Lord Is Dead' does nothing to excite - you can probably guess how that one goes then - so ninth and final number 'The Pentecostal' is relied upon to try and end the disc on an interesting note. Well, it tries with more collaborations between two main different rhythms and I felt my head beginning to move back and forth in time with the guitars here, in a familiar manner.

Another fine chapter to the Deicide legacy, 'S.O.T.C' should guarantee lashings of live chaos and although my preference for this sort of stuff in shorter quantities makes me in ways grateful for its rather diddly duration, it wins my respects amongst the masses. One to convert the in-Deici-sive, definitely.

7.5/10

By Dave Attrill

I like this, but it's not because it's worthy on either a serious or an alternative rock critic critical level. It's 'cos I've got a weakness for novelty rock, not a good thing for a band to be called, not a great reason to write a good review. But The Darkness is just that. Vocalist Justin Hawkins isn't the saviour of showman-boyish swan rock, he ain't the new Freddie Mercury, and this isn't a cross between AC/DC and Thin Lizzy, or any creamy cream Creem crème de '70s.

It's the second coming of Urge Overkill, and later up the corporate rock chain, early Collective Soul (the soundtrack era): fooled-ya fun rock for the masses, laden with enough geometric, debatable, illusory irony to cause all those column inches by those who normally hate riff rock, or at least the kind not accompanied by wink and nudge. If you really wanna talk metal comparisons, this Justin Hawkins guy is Diamond Head's Sean Harris (Notorious-era Sean, with Robin George), doing King Diamond, cheap falsetto, charming in his lack of shame (I hear Robert Smith too).

Beneath him (literally, given the David Lee leaps), his band performs quite the engaging mish mash of quick-witted hard-ish hooks, the type those shiftless, savings-less bedheaded critics in their draft-swilling low 20s like to think they can locate within Black Oak Arkansas or Grand Funk, lacking the vinyl pudding proof that neither ever rocked. No, this package came wence before, congregating at the wildside end of Urge Overkill or Collective Soul, vaguely, in and about the face, chest and neck of Smashing Pumpkins, not all that inspiringly, at the snowy crosshairs of Sloan and the helmet-headed end of The Tragically Hip's early hockey schtick.

But like I say, I dig it, and play it a bunch, because it ain't hard on the (old) ears, and it is funny. Plus I too fell for Urge Overkill and Collective Soul.

7.5/10

By Martin Popoff

A 4-piece quartet from Birmingham, UK who kind of sound like Staind and Therapy and kind of early Manic Street Preachers mixed into one, the opener 'Downside Up' and second song 'Closer' being great example.

These three tracks are instantly likeable and have the staying power to entice radio listeners especially the last number, 'Take the low' that's a sure hit if released as a single in its own right with its catchy down-best throbbing guitar rhythm and singalong title-chorus.

8/10

By Glenn Milligan

Unfortunately, the awful cover art, band name and album name might hobble this one. But man oh man The Hellbum is an incredible surprise, a blinding hair metal-type album at the heavy, headbanging, down-tuned end of the genre sorta like Freak Of Nature or Lillian Axe or Jorn Lande and that sonorous man's axis.

The title refers to the crap the band went through dealing with Shark and an uncommunicative Z Records. But all the better for Lion, who have a band dripping with star quality here, one that posseses the magic of Wildhearts with the sublime melodics of (very hard) Styx (Hea's vocals have a bit of Tommy in 'em; harmonies go there too) and just generally a kick ass collection of songs that still manage to go down easy, despite vicious riffs everywhere.

Killer production tops the package. Congrats on a minor masterpiece. Suggestion: re-do this cover art quick, and relaunch. This could be the biggest seller of the Lion catalogue if approached properly - there are potential hits everywhere.

9/10

By Martin Popoff

A name from the (Metalliville) past, indeed, Dreamtide's first album 'Here Comes The Flood' was one of the first entries on the site's review page, two years back. Time now to get those sandbags out again because that flood's back and as bad as ever.

The German quintet impressed many with their first display of beefed up contemporary melodic rock and obviously it has been welcomed back with opened arms. Some of the members have popped up in various other acts so there's been little excuse for total musical inactivity in between releases. All back together for a second round and again the tide turn it on - hook-loaded ha\rd rock with modern-day technique added on alongside hints of the styles of certain other German or Scandinavian acts I might mention.

Robust guitar work by Helge Engelke again strengthening the supports and although vocalist Olaf Senkbeil's tones don't exactly differ an infinity from those of many fellow European acts, his part in the machine runs on fully oil. 'I'll be Moving On', 'I'm Not With You', 'Man on A Mission', 'Eden', 'Land Without Justice' and 'Dreams Are Free' replicate these reasons that their previous disc got its much-deserved credit and D.F.T.D. will do as the like, if not more so. Super.

8.5/10

By Dave Attrill

Well no doubt you've all heard this a thousand times - unless you've been living in the depths of a cave in outer Mongolia.

This has-been number one single that's been performed live around the UK in October '03 is one of the catchiest commercial tracks in years that I've took an immense liking to and crosses the ballsiness of Foreigner mashed in with the instrumentations of Queen and the OTT falsetto vocal styles of Uriah Heep.

Hope they release 'Get your hands off' as the next single or that opener on the 'Permission to Land' debut album that bands on about a black shirk - whatever the hell that may be - these should hit the top as well.

10/10

By Glenn Milligan, BA Hons CS

If you're looking for a clue as to what they sound like, think a mix of Tyketto and Norwegian hotshots On The Rise (whose debut CD has a 10/10 review on this site) combined with Van Halen, and also vague elements of The Police. 'Love's A Battle' and 'Losing Myself' have been staples of their live set from the start and I hope that 'Just One Night' becomes a regular inclusion too as it is a classic slab of melodic rock itself, and singer Steve and guitarist Andy throw in a strong combination of performances together. Not bad at all, lads.

9.5/10

By Dave Attrill

Er… yeah…. Lovely. And that's just the title but the front sleeve picture is as
to the point with it as one can get. So is the music any more cheerful? Very
much so, quality-wise, in substance and content, whilst the theme stays
typically dark and depressing. Dead Soul Tribe are an outfit who seem to sound
half nu-breed, half somewhat-slightly-older-breed but completely brilliant-at-
what-they-do-breed.

Fronted by a chap whose name sounds like a burial ground in south western England, the deep driving voice of Devon Graves, former frontman with the band Psychotic Waltz, is virtually worth the album's recommendation itself. His angst-laden harmonies dominate this strongly progressive-meets-nu-breed -edged material along with an admirable blend of riffs and each track has its own tale to tell somewhere in there.

A much talked-about - and almost always in high terms - album of summer '03, 'Murder Of Crows' is a recommended chunk of semi-experimental modern-day metal.

8/10

By Dave Attrill

Mention Italy and death metal in the same line and you're guaranteed a few funny looks. If you're one of those lucky - and sensible - enough to own a copy of this hot new European act's six-tracker you could do worse than wave it in the face of such cynical tossers.

That and their brand of guitar-friendly gargle-fest should shut them up. Imagine John Tardy and Chuck Billy vomiting down the same loo pan whilst half of the Bay Area's biggest figures keep guard outside the door, distracting anyone wanting to look, with some at times surprisingly commercial speed metal licks. Not a bad start, boys.

7/10

By Dave Attrill

They say it is always best coming from its native land. So we're all off to death metal's long-known spiritual home of Florida, many years after the scene's legends emerged to see who rules the roost in Deicide-land today.

Diabolic's fourth full-lengther, this is actually their fifth release on as many different labels. One listen may provide the clues as to why their previous contracts were a smidgen short lived. It took until part way through the third track before any form of diversion away from this trouser-poopingly predictable endless high-speed chugging, to come about, and even this only lasted a couple of numbers. Frontman Ed Webb may have the perfect voice for the job, but it is another wasted through the motions.

Not a Diabolic-al release but nothing I'd take time off work for.

5/10

By Dave Attrill

Musical cacophony that's like Mike Patten's 'Mr. Bungle' gone headfirst into a brawl with Sack Trip. It's as mad as f*ck with Jazz filled Metal and all sorts of shenanigans goin' down and that's for real matey - take a listen to 'Love song for a witch' the opening slice of nuttiness. The highlights here are in large proportions like the Death Metal zaniness of 'Rapist Eyes'; the easy-listening to Jazzed up 'Castaway'; that suddenly goes into thrash 'n' death metal.

Is there any logic behind this? The answer no - but it's damn good musicianship. You can't get bored because the music styles change so often. Sample 'The Acid Memoirs' that goes from disco to eclectic madness and even a spot of Saxophone on the brightly shining 'Déjà vu'.

They even chuck in a hidden track - a cover of Frankie Valli's 'Grease' from that cheesy late 70's film with Olivia Newton John and John Travolta in it - ironically enough, this has been done just like the original - weird or what.

This is the best disco I'm ever likely to be treated to.

10/10

By Glenn Milligan, BA Hons CS

I hate to add another country to this list but Greece's switch hasn't frequently flicked by metal's finger when it comes to bands on said nationality's worldwide profile belt. Rotting Christ have a healthy following in the extreme metal scene as we all know but us outside the country get little else to choose from. Thank god that someone was kind enough to ship a copy of Dark Vision's debut full-lengther over to these shores then.

However, with their native origins in regard, they still seem to prefer the sounds of Scandinavia, belting out a frighteningly well-recognised black metal sound, but being from a land further afield, they've recognised their entitlement to scribble on the rule books on quite a few pages.

While the vocals cackle away - a la Lord Of The Rings's Gollum - the guitar has some texture to be felt, woven with a little Type o' Negative-coloured cotton and some female-sounding back voices also make the album at similar occasions quite absorbent. In their younger days, Dark Vision still have some way to go but now with previous education in this subject, they aren't too likely to face a slow journey.

7/10

By Dave Attrill

Defiances's 'Transitional Forces' is the first material I've heard of theirs, and I have to keep reminding myself that this is not a new Queensryche album, as they do sound THAT similar, even down to the high pitch vocal style of Lance King. The interesting combination of power and progressive metal reflects that as a band these guys are expanding in ideas and style.

Powerful guitar work and a heavy solid rhythm section make this band make this a great album and the diversity of the production keeps it fresh. Unlike some bands, they don't seem to play fast fro the sake of speed, which gives this CD a great likelihood of impact and Defiance their own style.

8/10

By Steve Windle

They are back - Mark Mangold, Al Fritch and drummer Johnathon Mover and they are full of as much romance as ever. Their songs are that are definitely ones to please up to the Missis with in a dark, candlelit room - well as long as she likes soppy 'n' syrupy 80's ballady AOR .

This is tear jerking stuff that we can all relate to 'cause this is real life' as the album title says. It's an immense release that got me involved from the start (and I usually hate this fetch-me-a-bucket slush stuff) due to the exceptional musical and vocal harmonies, not to mention the highly enjoyable well-structured melody lines. It's all good and notable high points include the Journey-like 'What's it gonna take'; trhe instantly grabbin' funkiness of 'All my heart' and the closer 'Believe'.

These songs'll work on all girls the world over - a collection of love anthems who's lives will remain timeless and last forever.

10/10

By Glenn Milligan, BA Hons CS

Back with their second album 'Evilised' and it just doesn't seem 5 minutes since the debut 'Dragonslayer' came out. Ballsy double-bass drum somersaulting Power Metal from Sweden who spent 2002 promoting the last said album as well as supporting Blind Guardian and doing a headline tour of Japan.

They are one of the best bands of the musical genre and they've delivered well again with ferocious instrumentation and soaring vocals. On this album they offer up supreme cuts such as 'Break the Chains'; title track 'Evilised' with its almost orchestral Maiden meets Queensryche intro before the track sets on fire, spilling out like a volcanic eruption. Then there's the exquisite balladeering piano led 'Forever More' and the sey 'Made of Metal' -which will no doubt become a festival favourite for these spectacular Swedes.

Metal Up Your Ass !!!

8/10

By Glenn Milligan, BA Hons

Hailing from Studio City, Los Angeles, D-Zire are a classy Glam band with all the clothing attire to go with it who kinda sound like as a sophisticated Motley Crue mashed in with Tigertailz and Pretty Boy Floyd.

This 15 tracker includes songs that were written between 1995 and 2001 - some of which politically relates to George W. Bush like 'Omega 9-11' and the spoken word number called 'Change'. There's lighter material as well throughout the cd like the kickin' 'Daydream' with its glam choral harmonies and crunchy riffing; the very likable 'Hollywood Attitude' about LA bands; the slutty 'She's no angel' or Toney's dedication to his beautiful daughter 'Amanda Mae'.

Makes me wanna get to LA right now this instant !!

8/10

By Glenn Milligan, BA Hons CS

Probably one of the best moments on their 'Born a Lion' album there Danko explains how to call the girls from his elders - so 'If you wanna do it right, up n' down and side to side', then follow the gospel, of Danko.

Worth buying for the 2 other tracks - 'Big bad' from their debut E.P. and 'Starlicker' - bother recorded in Toronto in '97.

8/10

By Glenn Milligan, BA Hons CS

DARKANE - Expanding Senses
(Nuclear Blast - 2002)

Well, well, well, they don't come much more diverse than this, I must say. These lads have tried everything possible in the extreme metal arena here. Thrash, Death, Industrial, Goth, Hardcore, you name it. Uniformly, guttural thrash metal, Darkane's material is capable of going melodic in the vocal department (a la Fear Factory) at the flick of a button during the course of each song.

The tracks are like a set of fireworks that are missing their labels - you don't know exactly what you're going to get with of each one, but light the fuse and stand well back all the same because you get sparks coming up in colours of at least three of the above-mentioned genres. And look how the other natural elements blend into and round it all.

The chemicals can have come from any number of the following sources, Megadeth, Sepultura, Machine Head, Slayer, Strapping Young Lad, and as I said earlier, Fear Factory. Providing more loud bangs as always is the twin guitar talent of the band's two axemen, with excellent work in both lead and rhythm lines, and the drumming is the usual fully charged high-speed motor required. Quite how these labels manage to keep getting their mits on upper-rung metal acts like Darkane, I can never figure.

9/10

By Dave Attrill

From The last two pathetic CD releases of Danzig 5: Blackacidevil and Danzig 6: Satan's Child you would have expected from the poor sales that he would of done something about it. Luciferi is what has been left from 'Satan's Child'. What happened to the mouth-watering writing's that were produced with Danzig 1 through to 4? Danzig needs to sit down and think what the hell he is writing for his avid fans like myself who have followed him through his Misfits years.

From the eerie intro of 'Unendlich' you are enticed into a self-sense of security that builds your expectations as you also go through the gates of hell of ' Black Mass' and 'Wicked Pussycat' to be dropped at the next hurdle and then trampled on as you lay on the floor in pain of disappointment.

Apart from the wonderful start to this CD and the ballad 'Dead Inside', it makes you wonder, why can't he release material like this all the way through? Is it because he gets tired? Or does he get bored in the studio? What ever it is, he needs to do something about it, and do it now, as I can see Danzig 8 being a total waist of time and money.
Take note when you read it Danzig.

A very disappointed 6/10

By Tony Watson

The only trouble with receiving CD's of bands and the musicians you have never heard of, is that you don't know what to expect, usually the record label gives it away but in this instance they have clearly shocked me.

Ok Dead Soul Tribe is a hard rock band who opens the CD with a tremendous track 'Power Trip' with the heaviness of Monster Magnet but the speed of Megadeth that makes you think WOW this is bloody good, which then turns into what I can only describe as 'A Perfect Circle' minus Maynard James Keenan, although Devon Grave (a.k.a. Buddy Lackey, Psychotic Waltz) tries to come across in the same way, he does quite a good job of it.

Dead Soul Tribe from the second track 'Comin' Down' onwards hits you in the same way 'A Perfect Circle' affects your emotions. If you were in a pub or at friends and you hadn't heard it before, you would say have 'A Perfect Circle' released a new CD.

Although I may be flogging 'A Perfect Circle', Dead Soul Tribe are in the same dimension with their style and emotion but at the same time there seems to be a touch of 'The Fields Of Nephilin', which in itself is not such a bad thing, you have 13 tracks and 45 minutes of melodic, temperamental, gothical and original rock that will relax even the hardest of metal fans especially 'You' and 'Once' that definitely play on those heart strings.

10/10

By Tony Watson

I must admit that I walk in through the door from the dunces department when it comes to talks on the subject of Death and Black metal as not a great deal of the stuff gives me that much to write home about.

This album, whilst full of high-octane extreme metal, is far too by numbers for my taste, I mean even most H.C./metal acts can be told apart easier than acts of this ilk. OK, so it features the usual Olympic speed guitar work, and vocals with more hate than you'd find between Bush and Bin Laden, and whilst and whilst I might not go so far as to say I hate this record, it 's nothing I'd desperately slap on the decks after a hard day at work, except a bad one perhaps.

Ad-libbing horror movie clips and effects throughout the songs may also be nice for decoration but it hardly makes the music itself any more exciting. If this stuff happens to be among your preferred flavours, do not be deterred by this rather disheartening review but I'd warn you rookie followers to the scene, you're better off checking some of Nile's material first, preferably live.

5/10

By Dave Attrill

Yes, astoundingly, Def Leppard are back again already with another album, three years having flown past at speeds matching that of the Concord, since 1999's rather excellent 'Euphoria' disc. They've just been viciously bashed for this newie via that one-K rating in a famous UK Metal Magazine that starts in K and ends in G and I dived in as soon as possible to save them any sales that the aforementioned slating of the Steel City lad's latest long player may be at risk of costing them.

So is it actually any good? I'd say that's a yes, old chappie. Very, in fact. Recent hit single 'Now' says it all from the start as it is as apt a description of the Leps current musical direction as you're likely to encounter - a fresh sound structure that maintains the melody of more recent material but with more lightweight instrumentation, in particular the percussion.

As stated last year, it's a bit of a cross between 'Euphoria' and 'Slang'. 'Unbelieveable', is one of the first songs to be premiered that's been written by outside writers is still stands up as well as any penned by the Leps. I'd still prefer to lean on the repeater button for 'You're So Beatiful', 'Everyday' and 'Four Letter Word', all prime time Leppard rockers for the new millennium. 'Long Way To Go' is another one from outside writers but this has a rather ropey chorus melody - I'm hoping it isn't originally the work of a b*y b*nd.

'Torn To Shreds' is purely new-age Leppard - melodic mid-temp verse leading to grungy chorus line but great song all the same. 'Love Don't Lie' is one of the highlights of the tour and virtually draws level with the Stan Bush classic of the same title. 'Gravity' does not exactly see the Lepsters staying on Earth, the fivesome opting for a pseudo-electro rhythm backing but come chorus, it appears that they've produced some sort of sequel to the 'Slang' title track here, though unintentionally. Something also arcing back over the last two albums but culminating in a crushingly heavy blend forms the basis for 'Cry' and turn's D.L's diversity cogs even further.

'Girl Like You' tries out more electro-grunge experiments and with a decent chorus to boot, gets the job done, and 'Let Me Be The One' is that most compulsory of things for any Def Leppard album - a ballad and not at all a bad one either - shut it, 'Ke**ang' . Now there would have to be at least one song that journeyed back to the good ol' days and 'Scar' should satisfy even the most cynical Leps fan on the planet today. Just enjoy a totally Leppard-brand hard rocker in the 'Hysteria'/'Adrenalize'/'Pyromania' mould, (but don't you dare call it mouldy) and even reunites with their classic, heavier drum sound too. Once seems definitely not enough as 'Kiss The Day' carries on as likewise. A cunningly arranged cut, pace of this slow brooding number suddenly ups the gears at the end for some classic Collen/Campbell riffing. This is sadly a bonus track on the limited edition version of the album as is the subsequent unplugged run of 'Long Way….' so hurry to your nearest store if you want your copy to contain these two cuts on the end of the other thirteen, permanently available, numbers. Def Leppard 2002 AD, a band who've moved on, though not without peeping at the rearview mirror a few times (and why not ) and whose talents and inspirations seem to travel an endless spectrum. As I strongly advised earlier, take absolutely NO notice whatsoever of 'Ker-you-know-who's opinions 'cos this is one of the Sheffield legends' very finest hours.

Buy.

9/10

By Dave Attrill

This is Ronnie James Dio in a conceptual album mode which tells the story about a book of spells called 'Magica' which has to be reclaimed from the evil ones. It's all classic heavy metal Dio material which sees him deeply obsessed with the night as usual. 'Fever Dreams' has that well-worn Dio style (i.e. Holy Diver) just the way you like it.

'Eriel' the super-hero of the story is a great slow-sped ballsy number allowing Ronnie to exercise those incredible vocal dynamics that produces plenty of atmosphere like no-one else can create. There's only Ronnie who has that high soaring tenor sound and it comes into life especially during 'As long as it's not about love' - a ballad I add.

It's a real magical album - scuse the pun - Ronnie even tells you the story 'Magica' - which unfolds just how imaginative this guy can be. It went down well live as witnessed when he last graced the UK in 2001 with Alice Cooper.

So how does the story end? Find out when you've bought the album.

7/10

By Glenn Milligan, BA Hons CS

This is the first album to come from this influential 80's British hardcore punk band in 10 years. Discharge have returned with an astonishing CD along side the original band line up, with of course Cal Morris with his political ideas on vocals.

This 13 track CD will have every hardcore punk coming out of their graves to reform their identity in society and create destruction and devastation everywhere they go, and who would blame them! This aggressive structure of music starts with 'You Deserve Me' and just doesn't stop with its aggressive attitude throughout its entirety as Discharge rip their way through 'Corpse Of Decadence', 'Trust 'em', 'Into Darkness', 'What Do I Get' and 'Hell Is War' to finish off this 31 minute piece of pure brilliance with two remixes 'Accessories By Molotov' and 'Corpse Of Decadence'.

Although Discharge have been amiss for 10 years, they haven't been forgotten and starting where they finished off gives me great pleasure in saying ''Punk Lives. Buy it''.

10/10

By Tony Watson

Dokken sound like a completely different band - gone is the previous sound (double-bass drumming, OTT wailing guitars and piercing vocals). In its place are the vibes and atmospherics of a outfit who've matured well for they have now taken a more melodic, mellow route and greeting us with gorgious vocal harmonies - which I have to say is a lot more of a delightful listen than in-your-face and then some more in-your-face - they've been there and done it and it's time to move on.

The power is still there though such as in the opening 'Sunless Days' (you guys been listening to Zakk Wylde lately) and others like 'Under the Gun' (the amount of Rock/Metal songs with this title !!!) or the fresh-faced cover version of The Yardbird's 'Heartful of Soul'.

The album was produced by Don Dokken and mixed by Michael Wagener who's outstanding previous outings iclude Alice Cooper, Ozzy Osbourne and Metallica. On guitar is John Norum of Europe fame as well as a new bassist, Barry Sparks who's worked with rocks icons like Yngwie Malmsteen and Michael Schenker.

Vocally harmonies are in high abundence especially on the catchy 'Everybody needs (to be with someone)' and the Everly Brothers flavoured acoustic beauty, 'Ive found' about fining the woman of your dreams that you never knew existed and then there's 'Goodbye Old Friend'.

This album is proof that Dokken have a lot of milage left in 'em yet.

9/10

By Glenn Milligan, BA Hons CS

Dusseldorf's Rock Princess has got a fight on her hands here - but those fists ain't involved. This is her latest pledge to the world of rock. Something tells me that the drummer is the same Johnny Dee who fills the seat for Britny Fox - since their singer, Tommy Paris says he is her plaything - plus they did tour together not too long ago.

Mountains of Metal hammer at you and it ain't boring either or tongue in cheek like many I could mention. Doom Laden brilliance marks a return of the Giant presence that is Pete Steele of Type O Negative who duets with Doro on 'Descent' that'd make an exceptional single - they'd look so right together on stage as well. Elswhere, there's plenty to get excited about such as the ballad 'Undying' (that's about love and not vampires or anything else connected with the undead you care to name). 'Legends Never Die' with its slowed down 'All along the watchtower' riffage and beautifully grafted guitar solo from Joe Taylor well worth frothing over.

The sinister, 'Sister Darkness' is worth mentioning as well that has an addictive jogging bassline played by Nick Douglas and the enigmatic 'Hoffnung' (give me hope) is essential listening.

Come back to the UK Soon.

8.5/10

By Glenn Milligan, BA Hons CS

This is Rock 'n' Roll at its most honest, rawest level - sleazy, loud, straight-up, no bullsh*t - the standard that you'd associate with AC/DC - but Danko Jones (the three piece - going by the name of the frontman) aren't from Australia - they descend from Canada and are far more uplifting than many firmly establihed, well-known artists like Bryan Adams or Nickelback.

Setting the scene immediately is 'Play The Blues' that tricks you with its opening authentic slide guitar blues before slamming some hard kickin' rock - "If you wanna know how to play the blues, get yourself a woman", Danko rants - you've just got to believe the man as well because it's delivered so honestly - and is the first single from the album as well. 'Lovercall' speeds up the adrenalin furthermore - where the melody arrangement style is introduced with, "I like it when it goes like that and like that". This is awesome power with blistering emotion - it's a great goer about learning the tips on how to pick up women, that he learned by watching his peers.

Danko has a cool swagger that firmly places him in the same category as David Lee Roth, Bon Scott and Ted Nugent - in fact he even places me in mind of Alvin Lee (Ten Years After) and George Thorogood, especially during 'Word is Bond' and 'Love is Unkind'. You could even joke and say that he sounds not too unlike the carnivorous plant, 'Audrey 2' from 'The Little Shop of Horrors' - no seriously.

It's little wonder that the incredible three-piece, 'Danko Jones' found their onto the second stage at Ozzfest - they will command it with a doubt and prove to be a hard act to follow - in fact, next time I think they will be playing the main stage.

This album will entertain and educate males (and even females) the globe over - explaining all you need to know about the so-called 'Fairer Sex' that is the Woman. These are songs from the heart, performed by three Candian Lions - who'll prove to be kings of the rock 'n' roll jungle.

10/10

By Glenn Milligan, BA Hons CS

Coming across as a progressive, wacky 70's vibed Genesis with touches of Yes and Pink Floyd, Italian outfit, DFA have been caught live at 'Kehigh University's Zoellner Arts Centre on June 12th 2000. This was their first ever US performance which is mainly instrumental - with the shortest piece being 6.5 minutes long.

Keyboard effects are amass plus plenty of improvisational drumming, bass, lead and rhythm guitar work throughout. Highlights include the moderately fast-paced instrumental 'Escher' and the avante guarde weirdness of 'Pantera' (no relation to the band of the same name).

It's impressive stuff that's constantly seen on those Live In Concert German satellite TV shows like 'Ohne Filter'.

7/10

By Glenn Milligan, BA Hons CS

The Great Little Dungeon Master who owns the big vacal chords has struck his sword again with new release, 'Killing the Dragon'. Musically and lyrically it harks back to Holy Diver/Dream Evil period, encompassing a warm production that vinyl used to do in the days of old.

Mr. Dio has brought in ex-House of Lords guitarist, Doug Aldrich (so does that mean he has left 'Burning Rain' ?) who sounds like he's been Ronnie's right hand man from the very beginning. Scott Warren creeps in a few Jon Lord organ riffs, especially during the rocker 'Before the Fall' and the line-up is made complete with long-stayers, Simon Wright (Drums) and Jimmy Bain (Bass).

The album opens up with the title track that is both powerful and bombastic - in that chilling, harsh style that only Ronnie can pull off best - there's many copyists who try, but this is the master of the ceremony at work and he cannot be bettered. 'Better in the Dark' sees Dio shake hands with the 70's territory of Rainbow - think 'Kill the King' brought slightly more up to date. 'Rock and Roll' carries over into the plains of Led Zeppelin due to its dark Page-like riffery and Kashmir'ish overtones and melts into an avalanche of metal as well, not to mention it's Spinal Tap styled title chorus.

What a stompin' closer 'Cod Feet' is. It features a riff that'll rock you head-down style wherever you happen to hear it - although the obvious place would be a forthcoming Dio concert somewhere hopefully soon.

Overall, 'Killing the Dragon' is a very impressionable album with vibrant spirit that makes that the power of Dio will never die, no matter how many large winged, fire-breathing reptiles have to be killed in the process. Ronnies back - be warned.

9/10

By Glenn Milligan, BA Hons CS

This album has everything that I love to hear in an album - power, passion, acoustic bliss and simplistic heart-driven songs. Jo Dog (who you should know as being the guitarist from 'The Dogs D' Amour') has hooked up with Vocalist/Drummer, Paul Black and drafted in some guests including ex-Gunners Gilby Clarke and Teddy Andreadas, Bam Ross (Bubble) and Kyle Kyle (Bang Tango).

It's a magical experience ecompassing styles that are largely associated with Ry Cooder, Ronnie Lane, Bob Dylan and of course, The Dogs D'Amour' - Awesome is a word that comes straight to mind. It's all a highlight take the album title track 'Sundown Yellow Moon'; the Doggish 'Destination Nowhere'; 'Out of the blues' (with mindblowing harmonica played by Billy Ferrick and Banjo from Joe); the acoustic banjo-esque blues of 'It's Hot'; 'I see daylight' (with thumping slide guitar work) or the scary surf rock of 'That's what I like'.

This album is a must for all self-respecting blues and American folk fans everywhere.

10/10

By Glenn Milligan, BA Hons CS

Dream Evil - Dragon Slayer
(Century Media - 2002)

Powerful Melodic Metal hailing from Sweden that sees the musical idealogies of Frederik Nordstrom (Hammerfall, In-Flames etc) and guitarist, Gus G (of 'Mystic' and Prophecy') rub shoulders in the studio.

Dream Evil sock you with Metal of all natures - be it heavy or power metal. It's as tight as hell -as it should be. A definite stand-out track to be found here is most definitely 'Kingdom of the Damned' that's very reminiscent of Helloween without the need for high piercing vocals - this is more of a baritone nature - making for an ideally pleasant change.

These guys aren't even afraid to go all ballady on us either - which sees the 'Evil throw themselves head-first into Journey territory with the track, 'Losing You' and then rock out with the Ozzy 'n' Saxonesque squealings of 'Heavy Metal in the Night'.
Think mid 80's - classic Dio styled band - no wonder they go by the 'Dream Evil'.

8/10

By Glenn Milligan, BA Hons CS

A collection of un-used ditties from Dobby's Archives that have been recorded between 87 and 89 (with liner notes stating exactly where e.g. Sheffield and Louth) after being sacked from Saxon for no apparent reason. Steve reckons it could have been because Biff Byford wanted to be the spokesman for the band, so he was ousted as a result due to Dawson being the other main mouth.

The Production is rather cheap 'n' nasty for the drums sound boxy and the sound is scratchy 'n' weak - but let this be known, the performances aren't. The songs reflect the period and there's one or two songs that start with that killer guitar intro and the 'Yeah' vocal cry like the moderate tempo rocker, 'Answer to my Prayers'. Believe it or not, the one that really stands out is the cover of Lennon/McCartney penned 'Step Inside Love' that was a major hit for Cilla Black - it's amazing what can be done to an otherwise crap song - this is a Metal Masterpiece with powerful sustained wailing vocal perfection from Adrian Davidson. If only Cilla had released an arrangement as uplifting as this - it would have raised her credibility no end. 'All I want' is melodic rock heaven - an energetic happy song about girls.

The bonus live section recorded at Ranmour College in Sheffield in 1987 is ok but suffer in the vocal department - too many drop-outs and strains for my liking which is a pity because musically it's knockout - featuring inclusions of the Saxon stellars 'Motorcycle Man' and 'Dallas 1PM' that are pulled off due to Nigel Durham seeing to drum duties.

Basically, this is a CD to keep the Saxon fans happy until the Oliver/Dawson
version release their studio album.

6/10

By Glenn Milligan, BA Hons CS

Well! What can I say about a band who describes themselves as metal and new-school hardcore? What is that supposed to mean? If new-school means that they are one fucked up band who express themselves through the weirdness of Primus, with the full on thrash of Slayer, the jazziness of Red Hot Chilli Peppers with the cheekiness of Faith No More and the underground touch of Napalm Death, do we have what is called metal and new-school hardcore, probably!

The Dillinger Escape Plan are a bunch of talented guys with no rhythm, and I well say this in the kindest of respect, you could be enjoying the intro to any of their tracks when all of a sudden it goes straight over your head with out any warning and there it is, lost for good.

'Calculating Infinity' is a 37 and a half minute CD, from the start of 'Sugar Coated Sour' to '*#..' through 'Destro's Secret' to finally finish off with 'Variations on a Cocktail Dress' will in one sense gives you a full outlook on the bands talents and achievements over a short period of time, and in the next sense, has you screaming in pain as your ears bleed with the full on focused nuclear assault of extreme noise and aggression.

To fully appreciate The Dillinger Escape Plan, the band would have to been seen live, only if it is to see if what they do as musicians with their complicated out of sink rhythms can be produced in the live gig atmosphere.

7/10

By Tony Watson

Dominoe - In No Silence... No Lambs
(MTM Music - 2002)

Previous to hearing this, I thought that Dominoe (Domino) was just a song by Kiss or Genesis as well as being a game played by old flat cap codgers in the local pub, but this Dominoe break out of this mode entirely. Blending the 80's and the 90's in the same bag, they put some freshness back into the overdone melodic rock sound-byte.

Vocalist Joerg Sieberg has a warm voice that blends in the contrasting qualities of Brian May and Bryan Adams. Musically they do at times slip down the Roxette Radio Route in an It Bites kinda way, but there's enough bite here to prevent you from hitting the eject button.

'Here I Am (2002) - I guess it's been out before is very much a power ballad that you'd be let off for if you thought it had come right out of the head of John Lennon or George Harrison that even has a tasty dash beautiful blues harmonica. There's an unplugged version as well towards the end of the CD which matches up just as good.

Elsewhere there are plenty of up-beat numbers that aught to be heard on FM radio, especially, 'We Stand Together' (with gorgeous female backing vocals) that'd sit there snugly on one of those Bible-bashing compilations especially since it's so tranquil and concerned with having faith. It's rather cheesy but I can dig it as the melody is really something quite spectacular.

Other major highlights include the tribal drumfest and bottleneckin' poppish rocker 'Silence' which'd make for a tremendous single. A real knock-out of a number has got to be Dominoe's cover of the Bachman-Turner Overdrive classic 'You ain't seen nothing yet' where the band have placed their own mark on it by using echoey radio effects on the vocals as well as making their rendition both electric and acoustic simultaneously. This fantastic arrangement for the overplayed 70's rock staple makes the album worth buying for this track alone, except that the majority of the material found on this CD stands up well against it all the same.

There's 'No Silence... No Lambs' and most definitely No Hannibal Lector - but instead an exceptional album of classy melodic material that I hope won't sink without trace.

9/10

By Glenn Milligan, BA Hons CS

The second single to be taken of the platinum album 'Sinner', 'Tear Away' is a slower and darker side to Drowning Pool, which has the chorus 'I don't care about anyone else but me' that will stay with you forever.

From such a brilliant album, 'Tear away' shows a different side to Drowning Pool that will give you the sense that they are not a one minute wonder.

10/10

By Tony Watson

Demon - Spaced Out Monkey
(Record Heaven Music - 2001)

Demon are a band from the early 80's that haven't so far made much of an impact in the U.K. - in fact I'd not heard of them before Classic Rock featured a few reviews of their re-released back catalogue.

They are real sophisticated players who these days are sort of Pink Floyd meets Fish-era Marillion and their vocalist Dave Hill fits somewhere between those two bands - he possesses a high, dry, hoarse voice that has a lot in common with the offerings of Dave Gilmour, Roger Waters, Peter Gabriel and of course, Fish.

Highlights include the title track, 'Spaced Out Monkey' with its Hendrixy 'Voodoo Chile' riff and the moderate rocker 'Where are you coming from' that is extremely atmospheric' and has an echoey sound (the drums especially), giving the impression it could have been recorded at a large concert hall in front of a packed crowd. 'Cry on the street' sees Demon go into Genesis territory as well as that of Marillion with its 'Hey Dude' chorus. 'Alone' is a killer of a number with its swirly and spacey ambience that puts me in mind of contemporary 70's rockers like 'Smokie' or 'Joe Fagen'.

If you dig this - seek out their earlier releases available on the same label - Record Heaven Music.

7/10

By Glenn Milligan, BA Hons CS

Doro - Calling the Wild
(Koch Records)

The voice of Warlock bites with 'Calling the wild' - her most recent studio album. It's heavy and almost nu-metal in parts - but no, she hasn't sold out to the young kids - in fact, she's as dark as ever and 'I give my blood (dedication)' is a clear indication of this with its scorching sinister chorus in a song concerned with being sick of how one's life is.

Pesch puts the much-needed sparkle into a Gothed up doomy up-tempo cover of Billy Idol's 'White Wedding'. She makes the original sound quite insignificant in comparison. This version has more in common with Type O Negative with Doro on lead vocals as opposed to Pete Steele.

The album features Slash playing a solo on 'Now or Never' that has a G'n'R meets Biohazard feel about it. The song is about a woman who wants a specific man to take her love. Lemmy has writing credits to two of the numbers like the Motorhead song, 'Love me forever' and the beautiful 'Alone Again', which is a real rare gem because the Lem plays acoustic guitar as opposed to his guttural bass. On guitar is famed producer Bob Kulick (brother of 'Bruce' ex-Kiss Guitarist) and coincidentally ex-Kiss member, Eric Singer on drums of course.

'Scarred' sees Doro hit on a David Bowie meets The Sisters Of Mercy musical level - there are atmospheric piano notes and 80's electronic drums present here and lyrically is all about feeling pain when someone has gone.

Throughout the album magnificent musicians are to be found - buy the CD to find out who they all are. Get your hands on this 'Metal Masterpiece' now.

8.5/10

By Glenn Milligan, BA Hons CS

Not the most comforting titles I'd rather be looking at this evening having just been bombarded by typically British near-torrential downpours on the way back home from work. Never mind, there's a nice, powerful, searing melodic rock CD to look forward to at the end of the journey, and this was it. Another band from out of absolutely nowhere - a bit like that half-hour burst of sunshine I had earlier this morning. Also it's bit like the style combinations of this album as I am for some reason reminded of Danny Danzi singing with some great German metal band from the eighties. No disrespect in the slightest to this Deutschland based act, who do their country proud here.

High pitched tonsular tactics just where needed the most, along with lashings of juicy guitar and keyboard harmonies obey the trademark regulations to the hilt and the concoction of influences is on clearly labelled exhibition throughout. Most important of all they still come through with their own distinctive sound, despite the vaguely gospel-toned backing vocals being a known tradition in European metal circles for quite some years now. There's one moment at the end of 'Dreams' where I'm reminded of some song called 'Bohemian Rhapsody'. You may be sick of hearing this line by now but this really 'IS one of those albums you may have to give a couple of plays before you fully appreciate their sound', if you are not used to too many different styles of melodic metal or rock. Nonetheless, Dreamtide are worthy tutors in this class.

Buy!

9/10

By Dave Attrill

The band who brought us the gothic big hair pop sound of the single 'Sleeping my day away' are back with a slightly different vibe than I remember when I first heard them over a decade ago. Gone is the arena big hair rock vibe and here in its place is a more down-to-earth modern pop groove which sort of mixes in the shades of The Cornells, R.E.M. and The Offspring with good examples being the title tracks 'Everything Glows' and 'Nineteenhundredandyesterday'.

If I'd heard this material on the radio I wouldn't have thought it was the same band. Is this the true sound of D.A.D. or are they simply experimenting more than previous - it's hard to tell!!! To be honest it doesn't really matter - since it's a strong album that illuminates a nice chunk of power-pop - a good example, being the song, 'The Road below me'. Another number, 'Evil Twin' has a Hendrixy intro, that's closely followed up by a chanting Red Indian tribe - it's awesome stuff which has got a full-on Aerosmith flavour to it. At times, lead vocalist and guitarist Jesper Ginzer is even a deadringer for Steven Tyler, especially during the chorus of 'Candy Bar' - a delicious up-tempo rocker.

The production on this CD is crystal clear and the quality vocals and dynamics in the overall mix are outstanding. Jesper's voice is extremely friendly, unbelievably smooth and classy - he could be the modern Marc Bolan!!! The rest of the band sound so incredibly fresh (which consists of Stig Pederson - Bass/Backing Vocals, new drummer Laust Somme, who also plays the vibraphone, keyboards plus performs backing vocals and the other Binzer boy, Jacob who takes charge of guitar, keyboards and backing vocals.

The album is full of tasty surprises like the ballsy 'Summer me soon' about for the warm hot dry season - and mark my words, it'll be a definite live crowd pleaser with its brilliant Black Crowes tinged blues harmonica break. Although the standout track by far is 'A kiss between the legs' - a ditty of pure humour directed at the women. It's very much a moderate, cheesy rocker containing the funny chorus lines,

'Whenever you find what you seek,
It's be kind to clitoris week"

I'd simply love to hear Disk Jockies take a chance with this the world over - and see what sort of press they receive. It's actually a great song that's got the term 'hit single' branded all over it - but I suppose the chorus might have to be changed to keep the upper hand happy. There's also some spectacular musicianship on offer here and even reminds me of the legendary 'Santana'. Buy the album for this track alone.

All in all, 'Everything Glows' ain't a bad album, that'll put some light into the lives of many a rock fan worldwide.

It's worth a good 7 out of 10.

By Glenn Milligan, BA Hons CS

Brilliant- the waiting is over. After nearly ten years the Cockroach album
has been unleashed (a two CD set that includes the original Ted Poley album
and the re-recorded Paul Laine version as well).

I ain't swaying one way or the other - I'm leaving it up to you to make your
preference. Ted Poley and Paul Laine's voices are so different - with Ted
having that high pitched, loving and angelic warmth to his and Paul's being
very gruffish and shouty (a la Glenn Hughes).

If you already own the D2 back catalogue then you'll recognise a few of the
numbers such as 'When she's good, she's good (but when she's bad she's
better)' that appears on 'The Return of the Great Guildersleeves' and 'Sick
little twisted mind' re-recorded for 'Four the hard way'. It's excellent to
hear the original versions.

The Ted Poley version is very early D2 styled (although it's bound to be
since it was recorded around 1992) and has strong hints of Def Leppard in
there too - like 'Afraid of Love'. Expect to hear plenty of cock-rock
throughout - the track 'Tip of My Tongue' coming to mind immediately. The
Paul Laine version is heavier and has a more bombastic almost Metallica
texture about it.

Although both versions feature the same tracks in a slightly different order
the Paul Laine version comes with a bonus track - the blasting rocker 'Don't
Pull the Plug'.

It's a thoroughly enjoyable set and you can purchase it via the bands
website www.dangerdanger.com

10/10

By Glenn Milligan, BA Hons CS

Reviewing two corking Celtic-styled hard rock albums in one month is quite a stick situation as biased comparisons can develop quite easily, making the latter album's write-up sound like part 2 of the other one. Believe it or not, though, we at Metalliville do believe in carrying out a fair test.

It's been almost a case of 'Long time, no hear' for Darren Wharton and gang, the thick end of four years having flown since previous elpee 'Calm Before The Storm' (can't imagine where Tikaboo Peak picked that song title up from.), but not worry, because he's bad. And he is Ba-a-a-aD! Not that the album is, of course. Opener, and recent MTM comp' cut 'Silent Thunder' is a beautifully crafted number that shows all those years in Thin Lizzy paid off for Dazza. Practically identical in style, sophomore cut 'Dreams on Fire' sees a very welcome - and appropriate - addition of Irish pipes to the blend. 'White Horse' gallops by in acoustic colours, but you can put your bets on it being a rocker, and sounds more like Vaughn and Richard Marx are racing one another round the course on this lap.

Title track 'Belief' and 'Run Wild Run Free' are more ballad-oriented treks, not that much to look at in the originality department but still Mr Wharton at his musical best. 'We Were Friends' is belie-e-e-e-eve it or not, another ballad-oriented trek but a bit of extra length allows for some stunning Gaelic guitaring at the offset. This song would have been on the 'BraveHeart' movie had it been written SIX BLOODY YEARS EARLIER! Back up with the tempo, finally, this one actually has quite a Bryan Adams-y harmony to it. Grrrrr-eat!Afterwards, 'Where Will You Run To' has us actually running back to the acoustic guitar cupboard again, but still with balls! Then it's back to walking again for another ballad in 'Take Me Away', taking thankfully a point away as this and one or two of the other ballads earlier on didn't quite cause me the greatest fireworks. Rockin' out again - as we do - now though, it's got to be lies that Dez and Mick ain't had any involvement in the writing of this Celtic cracker.

We end, boys and girls, with…. dum dum dum, dum-dum, dum, duuuum… a ballad. As if we haven't had enough of those today already. Still, all things in the world being as they are, further complaints are fully withheld as this album sees Darren return to deliver a truly Wharts n' all performance. Remember; Dare will be headlining this year's Gods festival. Don't you DARE miss 'em!

9/10

By Dave Attrill

Drowning Pool - Sinner

(Wind-Up Entertainment, Inc. Cat. no. 60150-13065-2 (2001))

I you are looking for a CD with attitude, then this one's for you, there are four members of this band who work together perfectly, there are slight variations to each track with interesting guitar solos, melodies and an angry vocalist who seems as though he hates everyone and everything, with so much power and aggression within the CD, Drowning Pool have produced an eleven track CD that is interesting and at the same time becomes more enjoyable with every listen.

With the bands like 'Limpbizkit', 'Linkin Park', 'Deftones', 'Static X', 'Disturbed' and 'Papa Roach' who are all going round the circuit and getting massive media attention, Drowning Pool have released a CD that people at the moment want to hear.

The CD starts off with the title track 'Sinner', that consists of power cords and hard hitting drum beats with a melodic chorus, which then quietly disappears, then out of the blue we get a sentence repeated four times "Let the bodies hit the floor", which then rips into your ears with so much aggression it leaves you breathless, 'Bodies', what a track, if this song doesn't do anything to you then you must be dead. This is the track that will probably get all the attention, but at the same time it's a track that will never be over played.

With every track you get a mixture of the above-mentioned bands, with a touch of 'Stabbing Westwood' thrown in for good measure. As well as 'Bodies', there are also wonderful tracks like 'Tear Away', 'All Over Me', 'Reminded', 'Mute' and 'Sermon' that fills you with so much excitement that you find it hard to control yourself. Wonderful.

10/10

By Tony Watson