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Funeralglade – May The Funeral Begin



May the Funeral Begin is an E.P. from Finish outfit Funeralglade. The synopsis for this E.P. listed them as a melodic death metal band after listening to the E.P. I disagree.

I felt  it was more of a Blackended death metal style, due to the use of synth and keyboards, which were not used to drive the songs but used to set a more atmospheric tone.

The music style of the E.P. can be argued all day and the reason why? May the Funeral Begin has so many musical styles which can be heard in abundance.

You can hear the Melodic Death Metal, Deathcore, Groove Metal and Black Metal styles through the E.P.

With so many styles clashing on the E.P. it really detracts from the songs and makes you struggle to really grasp what are you listening to.

As the tracks transition too frequently into the above mentioned styles, it dwindles the listening experience  as the song sounds keep changing. A perfect example of this is on the opening track Shadow and Misery. You get this heavy bass and drum mix met by a classic black metal scream.  The track then shifts to a traditional metal style with a lead fill, then in to a black metal opus, then back to a metal style but as the styles are so different, it makes the track disjointed. This Makes you raise that questionable eyebrow and asking yourself the question “what and why am I listening to this”?

When they get the blend correct they do produce some great musical work like the second track Death (Only Way Out). It starts off with a similar heavy guitar mixed with some keys then artificial harmonics. It then goes straight in to a great metal feel, then slams you into another transition to melodic death metal and the mix stays similar throughout the rest of the track giving it a unique style of song. 

The second track is the only good example of Funeralglade getting it right as the other tracks Hollow and A Bedtime Story: Bloodlust offer the same questions like eyebrow as track one Shadow of Misery.

I applauded bands who try and push the envelope, Funeralglade did indeed do this.

However they need to learn a more effective way to get there style across and fusing their style correctly.

Municipal Waste – Slime And Punishment

municipal waste


Municipal waste come to us with their 6th studio album Slime And Punishment. It has been a while since I invested anytime with Municipal Waste not because their are a poor band, but a move in style made us part ways. 

I was blown away by their debut album Hazardous Mutation, with its mix of hardcore punk blended with speed metal and thrash. Unleash The Bastards demonstrated the hardcore punk, then the trash/speed context was demonstrated on  tracks like Terror Shark and Set To Destruct.

One thing I will say is that to this day you will not see a more fantastic sight than grown men crowd surfing in shark costumes.

Muncipal Waste changed styles with the Art Of Partying and offering a reverse contrast in music, this time more fun style thrash rather than hardcore punk. This is evident with Head Banger Face Rip and Beer Pressure.+

The split for me happened in 2009 when they opted to be more serious and focus on just being a thrash band, dropping a lot of the fun and leading with a style direct out of the D.R.I handbook. This reminded me of when NOFX stopped been a fun punk band and took a more political approach to their music

With this in mind it gives me s great opportunity to look at Slime And Punishment 

Slime And punishment has that great production feel to it, just like massive aggression giving you that great blend of Philip halls bass mixed with Ryan Wastes guitars giving you that feel of bass and guitar attack.

With the opening track of Breathe Grease, it gives a great promise of a great album, however 39 seconds into the track you are hit with a very Iron Maiden style trill and this doesn’t stop here, it appears again on the tracks Slime and Punishment, Low Tolerance and Under the Waste Command, which then tries a traditional trade mark twin guitar exchange very akin to Murray and Smith.

The album does see a return to some of their Hardcore punk thrash style on tracks 9 – 14, as seen on Hazardus Mutation. It is however severely lacking the  lyrical content of prior albums and giving nothing to the imagination.

We do also see some moments of light on the album with some great tracks like Shreadnecks and Poison the Preacher

Overall as a speed metal album it is exactly that, but nothing to excite or make Municipal Waste fuck you up


Thunder -Rip It Up


Uk rock stalwarts Thunder return with their 11th studio album, following on from the highly successful Wonder Days. Whilst Rip It Up is not as instantly accessible as Wonder Days, it is every bit as good a listen if not better. If you are a Thunder fan then there will be the odd surprise on Rip It Up. Nothing major of course, they haven’t ripped up their blues rock template for metalcore breakdowns or jazz fusion. The things you have always loved about Thunder are still there, Harry’s ride cymbal, Ben’s organ ( ooooo errr ), the tug at the heartstrings ballad and of course THAT voice.

You could have excused Luke Morley for writing Wonder Days II and not challenging himself or his band. What he has done instead is maybe pushed himself harder than maybe he has ever done in the past. Opener No One Gets Out Alive is over in a flash of a rolling guitar riff, it gets the foot tapping and the head bobbing. Title track Rip It Up slams in next with its floor stomping heavy blues. It’s a heavy song for Thunder but retains its melody and hooks. She Likes The Cocaine floats along nicely until Lynne Jackaman comes along and tears the song a new one by adding a serious gospel flavour to the proceedings. Next up is Right From The Start, the big ballad of the album. If there is one thing that Thunder are experts in its the big ballad and this song doesn’t disappoint.

Shakedown brings out the cowbell, expect to see Ben Mathews stage left with cowbell when the tour hits, however he is gonna have to be seriously quick to get out the guitar as a wall of guitar hits with the chorus. Heartbreak Hurricane is a slab of Luke Morley brilliance. There are songs that grab you instantly, even if your not a fan of the artist there are songs that you just have to hold your hands up to and admit that it is quality, this is one of those songs. Any rock fan will appreciate this tune. In Another Life kicks in next and I’m waiting for Alannah Myles to start singing over that bass line. What we get instead are some Ben Matthews keys and an absolute classic Danny Bowes delivery, it’s their smokey bar song. Piano brings in The Chosen One before it kicks in to a straight ahead rocker, more of where that came from please.

The Enemy Inside is the nearest to Thunder by numbers,  there’s something that keeps it above being a filler as you never lose interest. The Who kick off Tumbling down before Thunder take over and turn it from Pinball Wizzard into another slab of blues rock goodness. Album closer There’s Always A Loser has the same kind of vibe as their song Once In A Lifetime, albeit with an electric uplifting ending.

All in all this is a grower of an album, with so much to listen to. You couldnt ask for more.



WildeStarr – A Tale Tell Heart

WildeStarr’s new album, A Tell Tale Heart, comes at you with a ferocious pace from the opening beats of Immortal, Judas Priest would love this track in their locker. The vocals of London Wilde need to be heard, the power in her voice is immense no matter what range she is using. The song gallpops along with an almost call to arms chorus. Transformis Ligea is not as frantic as the opener, this gives the music time to breathe and because of this the song seems heavier. The solo in the song fits perfectly and is not simply shredding for shredding sake. The string work of Dave Starr is superb, you need to hear this.

A Perfect Storm has an almost 80’s metal feel to it as it opens, it doesn’t take long to get dragged to the present day. The double bass drumming of Josh Foster is prominent throughout the track, without ever being overbearing. There is the jagged riffing and soaring vocals to suit most metalheads. Valkyrie Cry slows the pace a touch, again the heaviness of the song benefits. Wilde’s vocals are extremely impressive, taking the song to another level. The track has an epic feel to it.

Last Holy King opens with some atmospheric acoustic guitar, before the song opens into huge, slower song. Not a ballad, but the same feel. The band express light and shade throughout by dropping in the acoustic guitar with excellent effect. I hope Dave Starr can find another guitarist and bass player of the same quality to help give these songs life in the live arena. There is a huge grooving riff to open In Staccata. There are Judas Priest and even Geoff Tate influences all over this neckbreaker. A great heavy metal track.

Not Sane has an intricate guitar riff running throughout that keeps you on your toes, almost progressive. It may just be my ears but the vocals seem to have a Ronnie James Dio slant to them. Whether that be in the phrasing or not I’m not  sure but it works brilliantly. The best track of the album so far is next. The epic Seven Shades Of Winter will be a feature at any classic rock night if there is any justice. It is simply a magnificent piece of songwriting.

The Pit Or The Pendulum has a touch of latter day Nightwish about it, driven along by some very impressive drumming with the understated keys weaving in and out. Usher In The Twilight has an eastern feel to it, as well as a very triumphant feel to the music. This will have fists pumping when played live.

The songs on this album are said to be inspired by the stories of Edgar Allen Poe, of that I really wouldn’t know. What I do know is that these songs stand up on their own, they are good, honest metal songs. The album is over before you know it as it draws you in and gets you involved.

A very impressive 8/10.

London Wilde – Vocals, keyboards
Dave Starr – All Guitars, Bass
Josh Foster – Drums