Album Review: Eliminator 'Last Horizon'

I first encountered Lancaster’s Eliminator supporting Satan at Camden Town’s Purple Turtle (now closed) in October 2011. I left the show impressed with their energy and ear for a catchy riff, and with a copy of the then-recently released We Rule The Night EP in hand. Fast-forward seven years and three changes in frontman, and the north-western warriors have at long last graced us with a full-length album. It was worth the wait.

Last Horizon starts out strong with '2019'; a spot of high energy riffage underpinning some topical musing on man’s relationship with technology that launches the listener straight into the broader “feel” of the album: No ominous, quiet intro or buildup at the start of this number – it’s fretboard acrobatics and plenty of “whoah”s and “yeah”s from the off. New vocalist Danny Foster brings considerable flair to this recording, and the vocal delivery soars as much as the guitar leads. Look for the promo video doing the rounds for a fun display of “Blade Runner but in northern England”. Continuing in the sci-fi vein established with '2019' and pushed in the overall presentation of the album we have the title track, 'The Last Horizon': To this listener, one of three major highlights of the release. An engaging intro section gives way to grand, powerful vocal melodies over some cracking riff-work in the chorus section and some interesting use of dynamics and melody alternating with the quieter verses. Guitarists Jack MacMichael and Matthew Thomas deserve commendation for delivering some tasteful dual lead work in the middle section here.

The album’s pace drops slightly with the first of its four “epics”, 'Echoes'. This boasts a lovely repeating melodic motif and the faster section towards the end contains some impressive shredding. A solid song, though I wonder about its placement on the album and whether something shorter and more “immediate” might have preceded it. Either way, this song is quickly outshone by the second “epic” and my second album highlight: 'Procession of Witches'. Space and technology have been left behind as lyrical themes by this point, in favour of a tale of mystic communion with dark, elemental powers. After an intro with some fancy double lead and nice-if-brief solo basswork spots by Jamie Brandon, the initial movement of 'Procession' goes fast with a catchy melodic riff carrying it all along, with a drop of pace in the middle section. Here, drummer Dave Steen focuses his energy on floor toms in a section evoking ritualistic percussion, which builds tension with restrained guitar chords and vocals before taking us into a closing instrumental section and verse reprise, which can be aptly described as “well tasty”. I’m left in the mood for something more quick and direct following this and Eliminator supply just that, with my third album highlight 'Edge of A Dream'. The main riff might boast the catchiest melody in the whole album, and some interesting choices of vocal melody (memorable and pleasing to the ear without being “obvious”) rub up against some seriously powerful riffs and a flash lead section toward the end. This is a masterclass in simple, effective heavy metal song writing.

The album’s home stretch begins with the third “epic” 'Fall Of The Seer'. This moves at a stately pace and concludes the tale of 2012’s The Seer single with a story of a mad, decrepit clairvoyant foreseeing his own doom. Thematic reminders of Iron Maiden’s Seventh Son of A Seventh Son are in evidence here, and Foster demonstrates some serious low-end vocal tone in addition to his impressive falsetto. 'Pride and Ruin' follows, and presents us with one last burst of quick, concise heavy metal (heralded by an opening riff that wouldn’t have sounded out of place on a Slough Feg release) before the final “epic” and album closer, 'Spoils of an Empire'. This is a worthy note for the album to end on, the lead section heralded by a falsetto scream at the 3:45 mark being a highlight.

I’m happy to report my excitement for this album was rewarded. We’ve a selection of powerful, memorable songs delivered with panache and a sound production job that doesn’t sound sterile or low-tech-for-its-own-sake. Eliminator have already announced a few dates around the UK to promote this album. Do yourself a favour and get yourself along to one if you can. Last Horizon confirms it: These gents represent the best that British heavy metal has to offer. A must-have.

Score: 4.5/5

Last Horizon is available on CD from 23/03/18 or Vinyl from 18/05/18 via Plastic Head.

Album release party:  24th March @ The Star & Garter, Manchester.  Support from Seven Sisters, Ascalon and Heavy Sentence.  Details here.

Other dates:

20/04/18: The Dev, Camden (more info)

25/05/18: British Steel 2, The Underworld, Camden (more info)

Keep up to date with Eliminator news via their facebook page.



Writer: Craig Stewart

Live Review: Robin Trower @ Islington Assembly Hall

Islington Assembly Hall is packed to capacity this evening. After the postponement of last year's date at the same venue, it seems nobody wants to miss Robin Trower this time. He has tended to appear in London quite regularly over recent years, but even so there is an awareness that this esteemed guitarist might not be playing forever. 

Sari Schorr opens proceedings with the relatively stripped-down accompaniment of Ash Wilson on guitar and Bob Fridzema on keys. One thing is clear immediately - this woman has a strident voice. The American chanteuse delivers a performance of unwavering intensity that at times risks overpowering the music itself, but there is no denying her confidence. A version of Bad Company's 'Ready For Love' almost sounds like a threat rather than a bid for seduction, yet thankfully her sidemen keep their cool with tasteful, restrained playing.

Robin Trower takes the stage at nine o'clock sharp with the now-familiar pair of Richard Watts and Chris Taggart on bass and drums respectively. Veteran fans already know what to expect - a set of soulful rock music minus any unnecessary showbiz frills. From the first note to the last, Trower is lost in a world of sound and feeling. This is one musician who simply cannot "phone it in", the space in his music means that he is too exposed to ever be anything other than fully present in the moment. 

Watts handles the bulk of the vocal work, and his understated approach works well on the material from the hallowed James Dewar era. He has no intention of attempting to overshadow his boss or imposing his own ego on songs that have stood up so well over the decades. Behind him Taggart sets about his kit with the unbridled enthusiasm of a young pup.

If there is any criticism to be made here, it would simply be that the set list is remarkably similar to that of Trower's two previous London gigs. When your catalogue is as rich with great music as his, it seems a shame to rely on the same handful of old songs whilst ignoring so many other gems of the past. The newer tunes picked for airing tend to nestle comfortably in the twelve bar form with less in the way of hooks and arrangement than the vintage material. Yet it's not as if the man's recent work is bereft of inspiration - a song like the magnificent 'The Past Untied' would be very much welcome in this context.

After roughly an hour and an half of blues-drenched rock music, with the emphasis firmly on exceptional lead guitar playing and barely a word spoken to the audience, Robin Trower humbly waves goodbye and leaves the stage.

Score: 3.5/5

Writer: George Colwan

Photo: Andy Rawll

Live Review: Saxon, Diamond Head and Rock Goddess @ Cambridge Corn Exchange

Welcomed into picturesque Cambridge with blustery winds and a biting chill means we immediately take refuge in the closest Wetherspoons which we soon realise is just a stones throw from the infamous Cambridge Corn Exchange. Beer in hand and surrounded by a mix of both Rugby enthusiasts and heavy metal loyalists - we're now very much looking forward to the doors opening for Saxon, Diamond Head and Rock Goddess.

Full of liquid calories, we're lit with adrenalin as we make our way towards the grand venue. The queue is long and so we have to make do with listening to the very brilliant Tracey Lamb, Julie and Jody Turner take to the stage from just outside the main doors. It's not long before we're inside taking off mountains of layers as we climb into a packed venue. It's great to see so many fans here bright and early supporting Rock Goddess as they crack on with the first tracks of their set. The somewhat solemn crowd bob and clap along to 'Satisfied Then Crucified', 'Two Wrongs Don't Make a Right' and 'Back Off'. The girls never fail to emit pure power and energy and it's not long before Jody has the crowd warmed up and finally moving as they join her in singing along to 'Heavy Metal Rock 'n' Roll'. Whether you're familiar with the girls' back catalogue or not, the catchy chorus gets bodies moving and the high energy, ballsy performance is clearly appreciated. The last time we caught Jody, Julie and Tracey live was at London's Borderline in 2017 where we were lucky enough to open the show for them. They blew the roof off the much smaller venue and tonight, albeit in a much larger venue, their performance had just the same effect. The perfect opener.

It's time for NWOBHM royalty Mr Brian Tatler of Diamond Head to prepare his axe as he enters the stage with vocalist Rasmus Bom Anderson by his side. The smell of burning gets some raised eyebrows but is soon forgotten as the band immediately rip into Lightening to the Nations' classic 'Helpless'. Although we crave some volume, there's no surprise that opening with this number is always going to go down a storm with Diamond Head fans. Frontman Rasmus is a brilliant performer as he raises his mic in the air, Coverdale style. Although Tatler is the only  original member of the band, Rasmus' stage presence demands all eyes on him. They work their way through a killer (albeit very short) set of classic numbers such as 'Heat of the Night' and 'It's Electric' with only one newer track 'Bones' from the 2016 self-titled album. Diamond Head's set absolutely flies by as one of the most well-known heavy metal riffs of all time vibrates across the room. 'Am I Evil?' sets in and the crowd finally come alive- something they should have done several tracks ago.

As soon as the last applause is made I rush my way through to the bar and loos, eager to make my way back to the front for Saxon. However, I'd clearly missed the loud, piercing fire alarm sounding across the venue as a steward taps me on the shoulder and asks me (and the rest of the venue) to vacate the building. The streets of Cambridge are packed full of shivering Saxon fans, all
eager to get back inside but many definitely wondering what had caused the alarms to sound. Many around us continue to speculate as some people even go back to nearby hotels never to return. However, after a pint and a pee in a nearby bar, it wasn't long until we were all welcomed back into the Cambridge Corn Exchange only to find out that the sirens were merely that of a defective alarm.

The only alarm heard now though are the pipes of Biff Byford as he pounds on stage in his usual all-black attire kicking-off with new track 'Thunderbolt' swiftly followed by 'Sacrifice' and 'Nosferatu'. Biff jokes with the crowd about having to leave the Cambridge Corn Exchange due to a false alarm for the 2nd time in his heavy metal career but praises the venue for being such an iconic setting.
The setlist sees a mixture of tracks old and new with the newer tracks going down well with a now buzzing crowd.The vibe in the room is familiar and content and this is only heightened as Saxon pay respects to Motorhead with 'They Played Rock 'n' Roll'. A rapid yet emotive performance.


The sing-along, head-banging and fist-pumping actions are now fully underway with beer glasses galore floating through the air to celebrate first-rate Saxon material 'And the Bands Played On', 'Crusader' and 'Princess of the Night'.

Any concerns of Saxon's set being cut short due to the alarm were long gone as they treat us with an encore and any Saxon enthusiast could guess what this will include. It's time of course for 'Heavy Metal Thunder', 'Denim and Leather' and 'Wheels of Steel'. Unlike many generic numbers from classic heavy metal bands, these tracks are never tiresome to hear and certainly never fail to keep you moving - rest-assured sweat levels increase rapidly!

It didn't matter that we'd lost our prime spot at the front, nor did it matter that I was under a 7ft man's armpit. Saxon are one of those bands that you could end up seeing several times a year, but they always put on a jam packed, energised performance which leaves no attendee disappointed. True heavy metal heroes who seem as if they'll continue forever... let's hope so!

Score: 5/5

Photography: Frank Baring

Writer: Kayleigh MG

Collectors In Rock: Pt. 2

It's no secret that rock and heavy metal possesses some of the most committed fans around. 

Collectors In Rock celebrates the dedication of avid collectors from across the globe as they display and share some of their most prized posessions with us. 

Would you like your collection featured on Collectors In Rock?
Just send an email to bornagainheavymetalsoundhouse@gmail.com 

Collector: Mario Corbella

Location: Milan, Italy

Tell us a bit about yourself and when you started/why you have a passion for collecting:

I've listened to heavy metal since 1986, just after I saw the movie "Trick or Treat" featuring the soundtrack by Fastway (R.I.P. Fast Eddie) and then discovered Motorhead, Ozzy Osbourne, Black Sabbath, Deep Purple, Rainbow, Kiss, AC/DC, Judas Priest, Metallica, Iron Maiden, the whole NWOBHM scene that I still love so much. Not to mention the speed/thrash metal movement in its glory days. I also love doom bands like St.Vitus, Pentagram and the '90s great Pete Steele of Type O Negative, Carnivore, Fallout etc.

I have collected heavy metal stuff (both vinyl and tapes) since about 1989, but just trying to find out items by bands I really love. I’m not a completist and I don't like to buy records spending obscene amounts of money just because they're "rare" on collectors’ market. In the last 25 years I have focused my attention on NWOBHM goods, especially 7”s.

First ever vinyl purchase:

Ozzy Osbourne- Speak Of The Devil

Most prized possession: 

Holocaust- Heavy Metal Mania 12” EP acetate promo (in picture sleeve fully signed by original line up from back in the day).

The rarest item you own:

Not sure about that (as people and market tell different stories almost everyday) but I guess it’s a small bunch of coveted NWOBHM 7”s including Stormchild, Lautrec, Stormqueen (red label), Marquis de Sade, Shock Treatment, Demolition, Phyne Thanquz, Sapphire, Tracer, Tyrant, National Gold, Vahalla, Vardis (1st), Virtue, Iron Maiden ‘Strange World’ 10” acetate and more (including those mentioned in “Top 5 list”, see below)

Most featured artist in your collection:

For sure Blitzkrieg! My all time favourite band. I love everything Brian Ross made with all the bands he was involved, but Blitzkrieg’s vibes, rhythm, lyrics (from alien invasions to nordic legends, from Dr Who to Jack The Ripper, from The Prisoner to Alice Coper) and everything sums up what I’ve always loved about HM music...and it’s still inspiring me today!

Favourites (7”s, LPs, Demotapes):

• Iron Maiden- The Soundhouse Tapes (with insert & signed stuff) 7”ep
• Def Leppard- The Def Leppard EP (with insert & fully signed ps) 7”ep
• Hollow Ground -Flying High (fully signed) 7”ep
• Big Daisy - Fever (fully signed) 7”
• Fallout - Rock Hard (with inner signed/dedicated to me by Pete) 7”
• Diamond Head- Lightning to the Nations (fully signed white label 1st issue) LP
• Saracen - Heroes, Saints and Fools (fully signed 1st issue, white rear) LP
• Desolation Angels - Desolation Angels (fully signed test pressing) LP
• Angel Witch Sweet Danger (2 x one-sided 12”) EP
• Carnivore - World wars III & IV (acetate 12”) EP
• Satan - Guardian demo MC
• Paralex - Gettin’ Somewhere MC
• Jaguar - Stormchild (fully signed) MC
• Trespass - Through the Ages MC
• Virtue - Fool’s Gold MC

Priciest Piece:

Original EMI Rec. reel to reel master tapes for the first Iron Maiden album (sent to New Zealand for that country issue in 1980)

Worthless wonder:

Mythra ‘D&D’ EP - Guardian record label printed more than 15,000 copies so you can still find it quite easily and cheap, but that slice of vinyl is class! One of my all time favourite records since the first day I gave it a spin on my record player! Top stuff!

Guilty pleasures:

Not hard rock or heavy metal but... original Motion Picture soundtracks, especially from John Carpenter’s movies (Escape From New York above all)

Favourite place to purchase/trade:

Back in the 90s’ every week hunting took place in record shops and/or fairs, it was magic!…Now only the world wibe web...

Bargain Bin: 

Meanstreak Played It Right 7” with press kit $0,5

Skitzofrenik USA 7” £4

Favourite non-vinyl collectable: 

Demotapes! I’ve always loved that prime era stuff by any band from the 70s’-80s’. It’s somehow fascinating to me and in several cases it not only represented a sort of passport for young bands to try and ‘fly’ to the majors, but also contained all the original stuff written and recorded so far. I still love to dig old tapes by cult underground bands, possibly help in officially reissuing them and resurrect old combos. 

Interviewer: Kayleigh MG

Collectors In Rock: Pt. 1

It's no secret that rock and heavy metal possesses some of the most committed fans around. 

Collectors In Rock celebrates the dedication of avid collectors from across the globe as they display and share some of their most prized posessions with us. 

Would you like your collection featured on Collectors In Rock?
Just send an email to bornagainheavymetalsoundhouse@gmail.com 

Collector: Erwin Lucas, Aged 45
Location: Heerenveen, The Netherlands

Tell us about where and how your journey began:

I am a collector of Iron Maiden and related items. Not only vinyl but almost everything available from the mighty Maiden and everything ever recorded by its members, past and present. I even wrote a book about that called 'Outside Iron Maiden'. Vinyl is magic... the smell of it when you open the sleeve for the first time, the look of that shiny black disc, the sleeve itself, ... The spark came for me when I started collecting Iron Maiden records back in 1986. CD just made it's entrance but wasn't the standard yet. Going to my local recordstore with the pocketmoney I made on my saturday paperround. Boxes filled with LP's and 12"s. Taking hours to find that one record you took home. And ofcourse the sound... so much richer than the digital recordings from nowadays.

First vinyl purchase:

My first vinyl purchase was a 7" by a Dutch band Doe Maar called 'Pa' back in 1983 when I was 11. The song is about a young man who did not become what his father wanted him to become. I liked the sleeve and that band was so popular in the Netherlands around that time, it felt like Beatlemania again. 

Most recent vinyl purchase:
An original 1978 Dutch pressing of Styx- Pieces Of Eight album. There is a secondhand store in my town that sells records and sometimes I find some real gems in there for a bargain.
Most featured artist in your collection:

Iron Maiden
Blaze Bayley

Bruce Dickinson

Wolfsbane

Samson

Most prized possession:

My prized possession is the original Iron Maiden - The Soundhouse Tapes 7" that I personally received from former Iron Maiden drummer Doug Sampson. He handed it to me when he was in the Netherlands with his band Airforce. I have it framed accompanied by a handwritten letter by Doug claiming that this is an original first batch pressing from 1979 which he got from Iron Maiden manager Rod Smallwood back then, and a photograph of me and Doug where he is giving it to

me.

Top 5 favourites:

1) Iron Maiden - The Soundhouse Tapes 7"

2) Iron Maiden - Prowler 7" (Japan)

3) Speed - Down The Road 7"

4) Iron Maiden - Virtual XI 2LP signed by Blaze Bayley and Steve Harris

5) Iron Maiden - Iron Maiden LP (Mexico) signed by Dennis Stratton

Needles in the Haystack (Most Rare):
Of course my copy of The Soundhouse Tapes but also the Iron Maiden picture disc collection they released in 2012. All albums from 1980 until 1988 re-released on limited edition picture disc. The picture discs aren't that rare but I have the black box that holds them all and there are only 200 of those boxes released.

Priciest Piece:
I can't put a price on my Soundhouse Tapes. I've seen them being sold for over £1200 but this particular copy previously owned by Doug Sampson with the letter etc. is priceless.

Worthless Wonders:
1) The Secret - The Young Ones 7" UK Pressing 1977. You can buy this one for around €10 but is the first recording featuring Iron Maiden guitarist Dave Murray although uncredited.
2) The same goes for Cockerel Chorus - Nice One Cyril 7" from 1973 which you can buy for less than €1 but this one is the first recording featuring Iron Maiden drummer Nicko McBrain, also uncredited by the way.

Guilty Pleasures:

Halt Mich - Herbert Grönemeyer 7".

Most regular place for trading/purchases:

Mostly on Discogs but also in a few recordstores in my neighbourhood. Sadly now there aren't many record stores left but there are a few good ones near by.

Bargain Bin:
I've got two Italian radio promo's on 7" which I got from Radio Trieste for close to nothing. One has 'Massimo Luca' on the A side and 'Run To The Hills' from Iron Maiden on the B side. The other one has The Coconuts on the A side and 'Flight Of Icarus' by Iron Maiden on the B side. Not worth a fortune but getting them for almost nothing was a real bargain.

Favouite non-vinyl collectable:

A cassette single from The Trooper. Only released in Holland in a 12" package. Only a few left the factory before the management cancelled it. Bought it in the '90s for about 15 Guilders (€7) and saw it sold recently for over €150.

Interviewer: Kayleigh MG

SAXON Announce Pt. 2 of Thunderbolt Tour

SAXON aren’t wasting any time in 2018! Following the critically acclaimed release of Battering Ram in 2015, the heavy metal giants have released their 22^nd studio album ‘Thunderbolt’ via the Militia Guard label (Silver Lining Music) which reached the Top 30 in the official UK charts this February. Now they have announced Part 2 of the Thunderbolt Tour, with Part 1 selling out, SAXON will bring their iconic live show to more cities across the UK. This time, SAXON will be joined by special guests Y&T and Wayward Sons.

 Biff Byford  “We’re gonna be bringing the tour back into the UK and Europe in the Autumn, playing some classic venues with some classic bands….it’s going to be special – BRING IT ON!”

*NEW* Thunderbolt Tour Dates for 2018
Thursday 18th October- UK, Glasgow Barrowlands
Friday 19th October- UK, London Roundhouse
Saturday 20th October- UK, Portsmouth Guildhall
Sunday 21st October- UK, Manchester Academy

Don't miss out this time! Get your tickets here. 

Live Review: Hammer Of Doom XII @ Posthalle, Wurzburg

With a strong line-up boasting acts such as Lucifer's Friend, Warning, Time Lord and Cirith Ungol, we made our way to Wurzburg for the 12th edition of Hammer Of Doom.

Friday

Greece’s The Temple are a fantastic choice to start things off. It’s straightforward, traditional doom which pays its respects to the godfathers of the genre, some of whom will be on stage later this weekend. Front man Father Alex’s clear and melodic vocals are a real highlight. (LD)

Next up we’re taken in a slightly different direction by Italy’s Witchwood. Armed with the vintage melodies of both the organ and the flute, they bring a distinctly 70s vibe to the stage. It’s an early indication of the amazing amount of diversity on offer at this festival with almost all fringes of the doom scene represented in some form. The band swing easily from heavy riffing and jam‐like guitar solos to flute and organ interludes. There’s a lot going on but they manage to pull it all together creating a beautiful amalgamation of slightly spacey prog and hard hitting rock n roll. (LD)

Witchwood

Witchwood

After a quick beer break, the hall fills up with hundreds of bodies, all waiting in anticipation for Procession to begin. The smoke that has already filled the stage is starting to pour over the front rows as the echoing vocals of ‘The Warning’ call out. With synchronised head banging and a powerful drum sound backing everything up, the band come off as a unified machine of brute force. It’s a Doom Decimation heavy set, allowing most of us to get a first live taste of the newly released record. It stands up to the more well known material and there’s no less of a reaction from the fans who are lapping up every second of the show. ‘To Reap Heavens Apart’ is absolutely crushing, sending people into a frenzy, screaming along to those epic choruses. Despite the slow pace, the end of this set comes around far too fast but at least we’re treated to a long goodbye. The mournful tones of ‘Chants Of The Nameless’ are absolutely hypnotising. The relentlessness of the rhythm section paired with the raw power of the vocals and the beauty of the solo guitar work make for a totally entrancing experience and Procession leave the stage to a whole hall screaming for them almost as loudly as they played for us. (LD)

Procession

Procession

Lucifer’s Friend has been one of the most highly anticipated acts of the weekend. Having only played a handful of European shows since the 80s, there’s plenty of people here who are waiting for their first live experience of the band. Things start off a little spooky with the stage plunged into a dark blue haze but within moments, the groovy duo of Hesslein’s guitar and Wichmann’s keyboards have kicked in. Opening with new recording ‘Pray’, released as a bonus on 2015’s Awakening, seems like a statement that the band are not simply a 70s throwback but a fully alive and functioning outfit.

Over the course of the next twelve songs, they drive that point home repeatedly. John Lawton appears absolutely in his element, the power in his voice coming through on every track from 2016’s ‘Demolition Man’ and 1981’s ‘Fire And Rain’ to the iconic ‘In the Time Of Job…’ and ‘Keep Goin’’ from the bands’ self titled 1970 release. Particularly on this early material, original members Peter Hesslein and Dieter Horns really strut their stuff and are totally in their element. Being most familiar with their ‘70s output, I’m pleasantly surprised by the ‘80s tracks which I haven’t heard before.

There’s so much power coming from everyone on stage, ‘Hey Driver’ sounds huge with Horns and Fellenberg thundering away on bass and drums. All five on stage look like they’re having a fantastic time dancing to the funky sounds of their early material, taking in several of the band’s catalogue; Mind Exploding, Where the Groupies Killed The Blues, I’m Just A Rock ‘n’ Roll Singer and Banquet. John Lawton says it best himself, “We’re just some old people having fun!” The fun is infectious and has spread throughout the entire hall by the time Lucifer’s Friend have to leave us Flying High…. (LD)

Lucifer's Friend

*Born Again- Heavy Metal Soundhouse Highlight: Warning*

There couldn’t be a better band than Warning to finish a long day at a festival like this. It’s a total contrast in atmosphere after Lucifer’s Friend but nevertheless, it fits. Watching From A Distance is, without a doubt, one of the greatest doom releases of all time and it seems clear that this performance is about to do it complete justice. From the first note of the eponymous track, the sound is almost incomprehensibly huge. The wall of sound which Walker, Taylor, Hatfield and Prestige create makes it feel as though we are experiencing this album all around us, filling the entire room, rather than simply listening to it. Walker’s vocals, as well as the rest of the bands performance are perfect. The beautiful agony in his recorded vocal performance loses none of its power and emotion when translated to the stage.

Somehow, it’s been a long time since I’ve sat down and listened to Watching From A Distance, to the point where it’s even become a little unfamiliar but as soon as Warning start their set, it comes flooding back and I find myself, along with so many others, singing along to every word. It feels like the comfort of an old friend. There’s a profound atmosphere in the air as the band make their way through the rest of the album, almost everyone watching seems to be quietly taking everything in, in all its magnificent detail. As the last notes of ‘Echoes’ wind up, I’m sure I’m not the only one who leaves for the day with chills running down my spine. (LD)

Warning

Saturday

It's an early start for Wurzburgs' own Cranial, one of the two acts brought in to round up the festivals line-up and replace Pilgrim. Their prolonged deep and doomy modern post-apocalyptic sounds thunder through the hall, having the effect of either sending revellers into a dizzy spin or violently waking them up with their deafening fuzzy guitar tones. New tracks from their 2017 album Dark Towers/Bright Lights echo against each dark dank surface. (MG)

Bringing back the more traditional sounds of modern doom is Below, flying the flag for the 'epic' kind. Hailing from Sweden, it's clear to see that their vocalist Zeb is inspired by the multi-tonal bellows of King Diamond and Messiah. The somber dual guitars of 'Hours Of Darkness' particularly stand out, as they seamlessly blend into a single wailing guitar solo, showing off that, all so famous, Swedish art of 'perfectionism' as the vocals kick in. (MG)

After a 12 year gap between debut album Sun Meditation and their 2016 release Heavy Burden, Naevus take to the Hammer Of Doom stage with ease, sending out heavy stoner vibes tinged with groovy solos and licks. Despite frontman Uwe Groebels' mellow vocals, he's able to interlock and compete with the powerful instruments behind him, whilst showing off his ability to 'solo' soulfully in the vocal interludes. (MG)

Crippled Black Phoenix take to the stage as a collective of musicians; guitars and keys galore. Headed up by frontman Justin Greaves, it's a slow burning set of songs, with each reaching a deadly psychedelic inducing climax. Flittering breaks of light relief sometimes break through the melancholic layers of melodic doom, as the deep vocals of Greaves are harmonised with equally morose feminine vocals of Helen Stanley. (MG)

Bringing a double dose of horror and gothic is The Vision Bleak; with a name like that, what else can we expect. Maybe something a little different for the festival, but it's sure to be that their strain of 'doom' metal has it's admirers amongst fans of traditional writers of all things macabre, Edgar Alan Poe and H.P. Lovecraft. (MG)

It seems fitting that ‘The Doomfather’ himself will be gracing the Hammer Of Doom stage albeit with his new project The Doomsday Kingdom rather than with Candlemass. The early heavy metal styled doom goes down well with Niklas Stålvind’s distinctive vocals giving things an interesting dimension. That Candlemass sound, so familiar to any doom fan, is definitely present but there’s something different added in the tone and style of guitarist Marcus Jidell. As well as a couple of tracks from their self-released 2016 demo, Never Machine, the band manages to showcase half of their self titled release before having to give way to the next of the doom titans in attendance today. (LD)

And now it's time for one of the more familiar bands to grace the Hammer Of Doom stage: Count Raven. The Swedish three-piece seem delighted to be here after seven years away from Germany. As frontman/guitarist Dan Fondelius tells us, “It's good to be back”. There's no nonsense as they pile straight into 'The Poltergeist', giving us something to get stuck into and bang our heads to. Much of the setlist consists of their third album High On Infinity and their latest full length output Mammons War, with the exception of 'Wolfmoon' and a brand new track, 'The Nephilims'. As a band that formed in the late 80s, they have garnered a well deserved following for themselves, which is very much evident tonight. (MG)

Count Raven

Count Raven

*Born Again- Heavy Metal Soundhouse Highligh: Time Lord*

It's the penultimate band of the festival, one we've been waiting for all night. Having heard that Alan Jones would be resurrecting Pagan Altar under the guise of Time Lord, a wave of excitement had swept across the group's loyal fans, leading to the feverish anticipation we are experiencing this evening.

Following the tragic death of Pagan Altar frontman Terry Jones in 2015, it had been respectfully understood that the chapter was now closed for the group in terms of live performances. After all, how on earth could they continue without the charismatic Terry Jones, whose unique voice in many ways came to define Pagan Altar?

Two years later, Terry's son and band mate Alan Jones set out to complete what he and his father had started on, the album The Room Of Shadows, which was subsequently release in August 2017 with the help of former drummer Andy Green and former bassist Diccon Harper. The critically acclaimed album stands as a fitting testimony to the talent and vision of Terry Jones.

A live line-up was completed with vocalist Brendan Radigan (Magic Circle) and second guitarist Andres Arango (Cauchemar) ready to bring Time Lord to life.

You can feel the suspense in the air as the stage is set up awaiting the band's arrival. The lights dim and the familiar hymn from title track 'Pagan Altar' plays out, entrancing the crowd with its hypnotic, mystic vibes. Andy Green counts us in and guitar maestro Alan Jones embarks on an intricate signature solo; his distinctive style holds our attention emphatically. It's a bittersweet emotion that sets in as I wait for Brendan Radigan to deliver the first lines: “Dawning of a brand new day, Lighting up the way, With something new to say, From beyond the stars”. It has to be said that he's a singer in a league of his own, with a powerful set of lungs delivering the lyrics immaculately. He doesn't try to emulate Terry; rather, he takes on the role and makes it his own, giving the songs the respect they deserve. It was never going to be the same as when I'd seen Pagan Altar many times in the past with Terry, but it's as good as it can possibly be.

Radigan uses the time in between songs to introduce the songs to us, we get everything from 'Black Mass' (Judgement Of The Dead) to 'Cry Of The Banshee' (Mythical & Magical), showing off the exemplary back catalogue of material. They are remarkably tight for a band who have played only once before with this line-up, and the musicianship is of a uniformly high standard. It is wonderful to see Alan Jones smiling on stage as the crowd chants and whoops with joy as each song ends, waiting to hear more mastery.

Halfway through the set, 'Dance Of The Vampires' (from the latest album The Room Of Shadows) is played to an enthusiastic response. We can only hope that in the future more tracks from this masterpiece will be played live. This is followed by more from Judgement Of The Dead, Lords Of Hypocrisy and Mythical & Magical, including 'Daemoni Na Noiche' ('Demons Of The Night') which gives way to a stunning set of solos from Alan at the end. Time Lord end the set with the mighty 'March Of The Dead' and 'The Witches Pathway', leaving us still craving more. It always felt like a privilege being able to watch Pagan Altar live, and I would now attest to a similar feeling, having just seen Time Lord.  (MG)

Time Lord

A third festival appearance in Germany, and the hype is definitely not dying down for California's Cirith Ungol. Here at Born Again we had already witnessed their first show in Europe at the esteemed Keep It True festival back in April, so we know how good this is going to be.

To keep fans on their toes, there has already been the promise of a two hour long set (which is to be filmed live for CD/DVD release), but also King Of The Dead, the bands second album is to be played in its entirety. This is sweet music to the ears of any Cirith Ungol fan, so it's no surprise that Posthalle is at full capacity. One only has to look around at the number of Cirith shirts on display to know that they're a prominent factor in the impressive turnout.

The band take their places in between a pair of kneeling skeleton figures to rowdy cheers, and through the smoke filled blue haze the first notes of 'I'm Alive' blare out; I feel goosebumps hearing just hearing the intro to this incredibly heavy tune. Tim Baker, an imposing figure, remains calm and collected on stage as the crowd in front of him go mental. His chilling shriek is sharp enough to cut through glass - you either love it or loathe it, but it's very much an essential element of the Cirith cocktail. His vocals have retained their clarity and power throughout the years.

Guitarists Greg Lindstrom and Jim Barraza churn out the riffs and solos against the thunderous drumming of Robert Garven as they power through their discography. Night Demon's Jarvis Leatherby is most definitely at home with this trailblazing band, striking out powerful bass grooves to tracks from Frost And Fire, King Of The Dead, One Foot In Hell and Paradise Lost.

This is very much a retrospective of their career, and each album cover is projected at the back of the stage as tracks from each album is played. With J.S. Bach's 'Toccata In D Minor', a fitting tribute is made towards previous guitarist Jerry Fogle, who sadly died in 1998, and images of him are proudly shown on the screen behind the band. They cap off the set with a vigorous rendition of King Of The Dead's 'Death Of The Sun'. Cirith Ungol are very much 'Alive'.  (MG)

All reviews by Louise Dornan & Michelle G

Photography: Michelle G