Tracks like 'Master of Disaster', 'The Instigator', 'Walker In The Dark' and 'Vendetta' will surely tick many boxes for well established fans. The vocals still sound as reassuringly strong and distinctive as ever, the guitarists have some memorable riffs to work with and show flair in the solos.

The title track and 'Wrong Side Of Midnight' sound like almost hesitant departures from the norm that throw some new influences into the mix that may raise some eyebrows. Personal favourites are 'Dead Man's Eyes' that chugs aggressively, perfectly complimenting Udo's sinister vocals and 'One Lone Voice' - a surprisingly mellow affair with strings and ... tubular bells (sic).

In summary, there is a lot here to keep existing fans happy but listening to the formulaic nature of the tracks has long since become tedious for this listener.

7/10

By Al Hoath

7.5/10

By Dave Attrill

RECOMMENDED IF YOU LIKE Iron Saviour, Royal Hunt, Edguy

8/10

By Glenn Milligan

7.5/10

By Dave Attrill

WEBSITES www.underoath777.com www.definethegreatline.com

8/10

By Dave Attrill

7.5/10

By Glenn Milligan

No it ain’t the UK Van Halen tribute but this is a Swedish Metal band that has been going since David Blome’s day of school.

It’s of supreme quality who empower supreme melodies to theirsongs. They even refer to Yngwie Malmsteen as God in ‘The Analyst’ so they get our vote.

Of epic proportions throughout the album – take ‘Seventh Sign’; the madly titled ‘Ghost of the Alchemic Hall’ or the exuberant ‘Like the Candle’.

The Swedish are the best at this type of metal.

10/10

By Glenn Milligan

Coming across like Canada's answer to our beloved 'Saxon' (well almost) and other early 80's bands as well as holding an flourish of an AC/DC vibe in places.

A good band with a vocalist called 'Wolf' who sings mid mainly but can also hark out a terrific high wail. Best cuts are the ballad 'Let me go'; 'Rock 'n' Roll' that's very Tikaboo Peak come Deadline. Elsewhere it's very Dio and Saxon epecially the cut 'I'm the One' - worth checking out.

7/10

By Glenn Milligan

A wild army of different styles ranging from aggressive metal to American acoustic country folk. They are an outfit who feature Eric Zimmerman (Guitar/Bass); Greg Bisonnette (ex-David Lee Roth on Drums); his brother Matt (Bass) and Vocalist Robbie Wykoff.

This album has tones of vision, making them totally uncategorisable and will guarantee to have a festival promoter scratching his head on which live slot to place them in. The title track itself, 'Bad Heir Ways' is crashy nu-metal meets grunge while 'Noel (The Christmas Truce)' is what would happen if Alice Cooper (in his 'Nightmare era) worked with Led Zeppelin in acoustic mode while sparkin' up a strange but smooth contemporary Incubus like vibe. 'Devil's from a Midwest town' steps into the blues and 'Safety in Numbers' goes from Death to Funk Metal coming across like a bunch of Mike Patten bands rolled into one (and I'm talking Faith No More, Fantomas and Mr. Bungle - I kid you not!!).

An album that is both musically and mind expanding. Releases of this nature are not a regular occurrence. Worth investing in for defo.

8/10

By Glenn Milligan

The UK Rock band cookin' it up live in the studio environment on 11 numbers. Just as good as they are when they've studio layered it - but they are a great band anyway who need no safety net at all. Now playing the odd gig at The Classic Rock Bar, Sheffield after umpteen supports to various tributes at The Boardwalk.

There are some gripping stoner riffs and Black Label Society like urping blasts ('Mother' being a good example) to US Southern Rock styled offerings like 'Black Rain'. A drum solo is also thrown in - it ain't a ten minute Toad meets Moby Dick thank god but enough to flow into the smouldering, Wylde smiling 'Dead'.

I'm chuffed that they've done 'Mornin' Song' and made it the last number - a deep, groovin' bluesy stoner number - a fave of mine that goes into the land of Lynyrd Skynyrd's vocal phrasing territory.

More please.

8/10

By Glenn Milligan

Like Artenzia seem to have established themselves as melodic rock's new big label, so progressive rock appears to have found itself a new secure hostel with SPV. Then we can't judge an album by its cover, of course.

The name Urbane has occasionally come to our attention previously and now, so have they. Originally a studio project between two chaps, namely John Mitchell and Gary Ford, once of a band called Monsterrat, this outfit's roots dates back to the mid nineties and one album 'Neon' eventually came together. Having somehow missed out on said disc, I have to jump on at this further stage and their second disc 'Glitter', thankfully nothing to do with any child molesting glam rocker that might be around, instead and accept this for what it is.

Well, it's that sort of crossover business again, this time we've got the three P's, Pop, Punk and PROG?! This I've got to hear, and so have you actually. Without relying on complex structures and 10-30 minute long tracks to spread over, they pack the elements into 14 standard length numbers, little being spoilt in doing so, and the result is a quite hearable selection of tunes packed with catchy melodies and better use of guitars than in most other bands popular in this day and age.

I'm still having difficulties naming names on the 'best songs' side of matters at time of reviewing but if you're open-minded enough to tackle this mixture of trendy and untrendy, get in there.

7/10

By Dave Attrill

What is it with some of melodic rock's most prolific outfits that prevents them having another album out less than several years after their debut? Hardline and 21 Guns both had their inaugural stonkers out in 1992 , the scene's swansong year at the top of the popularity roster and fellow US faves Unruly Child were feared lost forever as grunge muscled its way in. Thankfully, as with Scott Gorham's act, URC's sophomore offering followed only six years on in comparison to the entire decade it took to cajole another out of Gioelli and chums. And only five years on, Bruce Gowdy and gang are back with their third batch of brand new creations.

At time of writing, UC3 is the only Child album I so far own but having heard the lion's share off the previous two, I'm able to draw out the progression they've made, from disc to disc. Quite removed from their earlier output, this material is still above scratch - and one is advised to think of a pleasant combination made formed from elements of Royal Hunt, Whitesnake, Survivor, Harem Scarem and Pulse, aided by frontman Phil Bardowell's impressive Soto-esque creenings.

I still can't understand why Mark Free left so soon - apart from his ensuing transsexual meanderings - but a legend's duties have been performed ably by the new hand and on the second spin of the disc, I noticed a slight hint of Steelhouse Lane's Keith Slack in the chap's voice. And when guitarist Gowdy still writes them more or less as good as he plays 'em, and the result is another fine chapter in the Unruly Child Saga, it's just a pity we don't hear from this band more often than we do. Please try and get yourselves a place on the Gods 2004 bill, you deserve a chance over here.

8/10

By Dave Attrill

Scandinavia forever continues to fly its flags on the melodic hard rock map, this time being a blue cross on a white background rather than a yellow on a blue one. Yes you see Finland has fine produce to offer too, and Urban Tale know the job in hand. Their second album is very much a follow-off from as it is a follow-up to the debut but lighter in parts. The songs are all there and of the twelve, at least ten of them lodge in on first listen, and incur many further. The central trio of 'Son Of A Gun', 'Open Your Heart' and 'Captain Of Clouds', whilst 'Starship Of Giants', 'Houdini's Eyes' and 'Mary' are amongst others pushing the weight.

Kimmo Blom is amongst probably the best of the Scandi vocalists doing the rounds at the moment, and he, along with the other four fine chappies making up this magnificent orchestra, provide the sort of harmonies that an album of this sort needs to make an impact of the size they seek to, in melodic rock today. Everything is in place on this disc with the guitars and keys perfectly synchronized in particular. An excellent album leaving these Urban guys with a Tale to tell.

9/10

By Dave Attrill

An English death metal band.. Interesting.. Yes, you heard that right. AN ENGLISH DEATH METAL BAND. A rare sight, and sound, indeed. So how English are they, exactly. Well for starters, as four lads just starting out, they only give us their first names (then I know a certain English melodic rock band from Sheffield who are like that) and that's just about where it ends.

With a sound that's just about as likely to come from any of their heavyweight US/Scandi, Unsanctum have however taken an interesting step with the non-inclusion of guitar solos - being substituted in due course by fast moving, fast changing riffing patterns that keep a vaguely melodic air smelt round the area they stand in. This and vocalist Tom's sometimes Chuck Billy-like garglings are the vital acids in this surprisingly lethal battery.

Homegrown extreme metal at its best, packed with hate and aggression often seen in bands across the pond. or the North Sea. I like it indeed.

8/10

By Dave Attrill

It's not a stones throw away since the first few 'Heep albums were out in a miniature box set called 'You can't keep a good band down' but now you buy the first two separate again with bonus tracks.

The original album has stood the test of time with the frustration felt 'Gypsy'; the disturbing 'Come Away Melinda' and the kickin' 'Real Turned On'.

Like many bands of the era, BBC Radio Sessions were an essential part of the promotional campaign and on this re-release you are rewarded with BBC versions of 'Gypsy' and 'Dreammare' as well as unreleased studio versions including 'Born in a trunk' and 'Wake Up (Set your sights)'.

Plus there's plenty of photos, full lyrics and words from band members as well.

10/10

By Glenn Milligan, BA Hons CS

Like 'Very 'eavy…' it runs the same kinda course and joins the original album with some bonus tracks. From the momentous ballad 'The Park'; the electric/acoustic 'Lady in Black' masterpiece about some chick that came on to one of the band members one winter morning or the momentous title track itself with all the orchestrations - they just don't make 'em like that anymore, do they?

The bonus tracks this time around include a single edit of 'High Priestess'; an unreleased version of 'Here I Am' and unreleased mixes of songs like 'The Park'.

8/10

By Glenn Milligan, BA Hons CS

Scandinavia may have been a highly active production line in death metal bands over the last decade, but the US of A have never been in a position to be left out. Chicago's Usurper have been around for about as long but this is the first time their sweet music has made it within hearing distance of yours truly's earlobes.

Well, sweet may not quite hit it right on the line but for the leather-clad aficionados of the worlds gathered, not much should disappoint. As with a lot of death metal acts from across the pond, they are capable of switching to and fro from venting their utmost spleen to stepping back in a noticeably pedestrian manner and letting a bit of melody and traditional chug dominate the guitaring alongside the rhythm lines, themselves fitted with multi-gear speed options. Thus the styles and the style changes are there and the outfit make good use of the 72 minutes to show what they're made of.

8.5/10

By Dave Attrill

Back again, already. Actually, I got this along with that other disc from the veteran US metal act. Prob' is, I'm wondering if either that or this one is an older disc that has been reissued by the label as the two sure sound different. 'Twilight..' Goes straight to the eighties for its inspirational supplies, with the singing located quite clearly in the Bar Area section and the instrumental body keeping up the more melodic side of extreme metal's nature.

Hints of classic British acts, in particular Venom, are quite traceable in the picture and the images of a fledgling Sepultura can't quite be missed, either. One can probably guess that the material on this album occupies a large part of the band's live sets as it sounds quite stereotypical of the intended direction of their musical style.

I understand that Manowar and Cradle Of Filth are amongst the acts that Usurper have joined on the road in times past, but with such a noticeable versatility in their produce, even acts like Maiden or Priest might be impressed enough to invite them onto their schedules too.

9/10

By Dave Attrill

Never before have I reviewed THREE albums by the same group in the space of one day and rarely have I done two either. So what have we got here this time, then. Not just another album of brand new material, this time opting for an odds n' sods set but it's still new to me, even though there is a live version of 'Warriors Of Iron And Rust' from the 'Necronemesis' disc amongst songs.

'Deep In The Forest', 'Visions From The Gods' and 'Dusk' are the stronger of the first few tracks, whilst I can't make up my mind which version of Soulstalker - original or '96 - I prefer. Strong points of the remainder include 'Charon', a surprisingly commercial guitar line there, lads and 'Bonefire' which has an opening riff borrowed rather precariously from Diamond Head classic 'Am I Evil'. I would have enjoyed that live track more too, had it not been for the atrocious production effort afforded it. Still, not a flaw to the entire disc.

A hardworking act, amongst the many that exist in metal today.

8/10

By Dave Attrill

A band I saw supporting an AC/DC tribute outfit at Sheffield Boardwalk and to be honest, I preferred Unleash. The Burton quartet emulate a fresh, active Stoner Grunge groove without sounding dingy like many others can. Matt Stevenson has a pure as crystal voice as opposed to the usual bawling bullfrog stoner vocals - so here is a good stand from the start.

Stamping the albums musical style is 'Mr. Strange' that's very Black Label Society in the riffage department. It's a release that really rides the spirit of Sabbath and ballsy rock in general with slight blues like 'Morning Song' that's easily the best number that starts off real quiet before notching up with heavy globbing riffs to the point of climax.

Scarred reminds me of the late Ugly Kid Joe in a progressive 70's mode as vocally it's very Whitfield Crane. Unleash must be one of the only bands I've for seen for the first time that have actually impressed me in the last year or two.

It's time that Unleash were noticed for who they were and not simply as a support for tribute bands - then again it's a good way of grabbing the right audience.

8.5/10

By Glenn Milligan, BA Hons CS

A collection of demos from the LA based hard melodic rockers that ranges from mediocre to sheer class. Mark Free (now Marcie Free) has a crackin' voice and especially worth bringing to the boil are numbers like the cock rockin' 'Rock me down nasty' and 'Lay down your arms', the Led Zeppy 'Long hair Woman as well as many more that you can discover.

It's a CD and DVD set for the melodic rock completits although if bought it'll create an interest in the band, especially since Unruly Child 3 is to be released - in fact it's probably out right now as your reading this review. The DVD is a nice little item that features original rehearsal footage, 1st album studio footage and an interview as well that tells the story of the songs and acoustic jams of some of them also. What lets the DVD down is the fact that some segments aren't long enough and would work better if pieced together in one full sequence as opposed to flicking around the mini-menus.

7/10

By Glenn Milligan, BA Hons CS

Back for another round, Schenker's old boys deliver us their new studio album - but it's an album that could have been lost in the post for around 20 years - it's the same old, same old bad pub rock with a different sleeve. Some of the songs are highly embarrasing lyrically, such as the opener, 'Outlaw Man' - with references to being a rock and rolling man in the chorus- you don't say !!! It's absolute crass to say the least and songs like this are prime examples of giving the genre a bad name.

I get the impression that Mick Box is quite simply treading the boards, since vocal range and texture is virtually non-existent throughout - it's more like he's reading the lyrics in the vocal booth and going for the first take because there's no real passion to his voice at all and a lot of the phrasing is on one level from song to song.

There's a couple of decent sound bites here such as the ZZ Top come AC/DC stompers like 'Someone's gotta have to pay' and 'Fighting Man' or the 45 second instrumental entitled 'Hawaii' that finishes the CD from a solo Michael Schenker - maybe that's the direction he could be going in next??

This band needs to get more original with their next release or stick to the Live in Las Vegas oldies circuit - when are they gonna write songs as cool as 'Doctor, Doctor' or 'Only you can rock me' that will fit snugly into the new millenium and not sound out of place in these present times.

Totally dated and unoriginal - although no doubt, it'll be a big hit album somewhere.

5/10

By Glenn Milligan, BA Hons CS

Well the 90's Swedish death metaller's have released their 10th CD symbolically entitled 'Hell's Unleashed', this poor excuse for a death metal CD is about as scary as listening to birds singing on that early summer morning while the dew on the grass glistens with the ray of sunshine catching every shimmering movement, O' sorry I nearly went into writing a love novel then, I do apologise.

Let me collect my thoughts and get back to the job in hand. This 15 track piece of crap is the first release for Unleashed in just over 2 years, and yes you can tell, throughout the CD the lyrical content is about as exciting as saying your own name one hundred times (they may as well forget about the lyrics and just say the title of the track all way through track, o' they already do) while watching paint dry and musical content, well what can I say here, my grandson can do better and I haven't got one. Unleashed even have had the cheek to totally ruin Venom's outstanding and unforgettable world famous track 'Death Metal'.

As I quote from the band 'We create hell, you unleash it!!!' and yes they have definitely done that as this has been hell to my bleeding ears, I think they need to have buried themselves alive with this 46 minutes of sh*t.

1/10

By Tony Watson

Uriah Heep - You can't keep a good band down
(Sanctuary Records - 2002)

An 8-CD set of 5" sized miniature versions of 7 Uriah Heep albums coming complete with an extensive booklet.

Starting off with their debut, 'Very 'eavy, very 'umble' (1970) that saw the band begin their journey into Progressive Rock and including climatic cuts like the amzing 'Gypsy' and the haunting melodramatic 'Come Away Melinda'. Going down purple foly pastures saw the band discover the enchantic harmonics created by falsetto vocals used on the 'Salisbury' album that came out the same year. The falsetto comes into power on the opener 'Bird of Prey' or the acoustic come electric 'Lady in Black' - let's not forget the long 'n' epic title track itself as well - pure prog heaven if ever I heard it.

By the time of 'Heeps next release came along, 'Look at Yourself' (1971), the use of strange organs in their music (and I am talking those with black and white keys, I may add) was in full-flight - they became one of their magical minerals. Highlights include the title track itself that has become an anthem in itself, the ballsy 'n' rocking 'I wanna be free' or the skyward opening vocal and music melodics of the exquisite 'July Morning' or the beatley brilliance of 'What should be done'. It's exceptional listening of the highest order.

'Demons and Wizards' has got to be the pinnacle album of the bands career, especially since it features their most famous hit, 'Easy Livin' - a number which sits on the pedestal with Deep Purple's 'Smoke on the Water' and Black Sabbath's 'Paranoid'. The other stand-out has got to be the sing-along with the chorus number, 'Raindow Demon' . Simialar in style is 'The Magicians Birthday' - in fact it's like the brother or sister albums - this is where to go to find exceptional cuts such as 'Sweet Lorraine' 'Sunset'.

And if you'd like to hear some of the above best tracks in concert then check out the originally titled double album 'Live', recorded in Birmingham, January, 1973 to a very excitable crowThese guys are just as good live as on record. It's simply irrestible with milestone epics like Gypsy (that's shouted out by a member of the audience - it's one of those that features the moog), 'Look at Yourself', 'Easy Livin' and 'Love Machine'. It's only spoilt by the crass Rock 'n' Roll medley of crap songs like 'At the Hop' and 'Mean woman blues' etc - ahhhhhhh !!! - Oh well, it was the 70's so I'll let 'em off.

We skip a few years as the last CD of the set, 'High and Mighty' was released in 1976 and features the cheesy rock number 'You can't keep a good band down' - so that's where the title of the boxed set came from. This album although good in its own right just hasn't got the same outright appeal of the earlier albums - it kind of missing something and is more like a going through the motions release. That said, the odd stand-out cut like the quiet ballad 'Keep It Silent'.

It'll be intersting to see if there will be another boxed set of miniatures of the next few albums. We heep up our hopes in large quantities. In the meantime though, there's enough here for you to be wearing the cd player out with.
A very buyable box set - especially for those of you, whose original vinyl copies have since worn out.

9/10

By Glenn Milligan, BA Hon CS

Interesting idea's flow through in a somewhat basic sounding american
post-grunge album. Sounding like a less commercial version of Weezer and Foo
Fighters, Ultimate Fakebook make music which wouldn't sound out of place on an
American teenage drama series. No pretentions here however, just basic
listenable post grungey guitar tunes. Most interesting here is the nice guitar
instrumental on "All The New Poisons" (nice title for a song too). Overall an
OK album from an OK band, nothing very new to offer, and they're good at
sounding like a lot of other guitar bands coming out of the US lately.

6/10

by David Roberts, BA Hons F.S.

Here's another band for the fans of Journey, who actually started off jamming Journey tunes (it is their favourite band after all). Kimmo Blom's voice has the voice for it - but has a softer, loving tone to it as opposed to Steve Perry's high-pitched stringiness. The rest of the band makes a strong platform to build the vocals on - and those backing vocals are nice - and a top example is the song 'King of Hearts'.

Urban Tale have broken down the barriers and don't simply stick to the safe grounds of AOR - colour by numbers style. They have gone down the funky, almost disco route with 'Passion Takes Over', which sees Tuomo Kovalainen's Bass and Erkka Korhonen's Guitar play a major part in the arrangement - and with an added finish whereby the keyboards of Timo Pudas come streaming over the top. It's like hearing Stevie Wonder alongside a band like Chicago who are getting off on each other's music attributes. 'Runaway Train' will more than likely be a nice stage sampler with it's blinding guitar solo.

This is most definitely a band that will be taken on open-armed by lovers of AOR everywhere.

8/10

By Glenn Milligan, BA Hons CS