if this is an idea that Stellar Master Elite can expand upon. Itwould certainly help them strike out on their own if they were tofurther embrace their experimental instincts, as you can’t helpbut feel they are holding them back. For now, “DestructiveInterference Generator” is an interesting diversion, but the bestis surely yet to come.

POWERPOINTS: 123456123456123456123456123456ROSS BAKER

MYSTICUM“Lost Masters of The Universe”

Genre: Black MetalPeaceville Records

This compilation wasreleased in 2004 under adifferent label but is gettinganother go with the samedemos included, but thisversion also features theaddition of the “Piss Off!!!”promo instead of contributionsto tribute albums likepreviously. This act was one ofthe first to take black metal anduse a drum machine to brilliant

effect, and one listen to this rather excellent album will confirmthat for you. Having caught the band live in October 1996supporting Marduk, I can confirm that the band were indeed verystrange, disturbing even, and their bone brittling barbarism islaid to bare on this reissue, which covers seventy-minutes-plusof black nihilistic terror. Incredibly creepy and haunting, the guitarriffs on the songs comprising the “Wintermass” demo aredepressively intense and focalised with dark entrenching rage.The same applies to the songs on “Medusa’s Tears”, both demosoriginally being from 1993, and the utter despair and nightmarishperniciousness throttles the life out of you. The “Piss Off!!!” demofrom 1995 showed how the band was leading up to theirmonumental debut, “In The Streams Of The Inferno” in 1996, thevitriol being delivered with such emotionless dementedness thatit really makes you shiver at the utter stripped down ghastliness.Cruel, pervading music.

POWERPOINTS: 1234567812345678123456781234567812345678MARTIN HARRIS

CHRISTIAN CULAK“Essence”

Genre: Instrumental Metal/Progressive Post-RockIndependent Release

Beautifully realised itmay be, but the music of multi-instrumentalist Christian Culakultimately leaves me cold. It’sdelightfully composed, andChristian’s guitars, bass,drums, piano and effects areall superb, but thecompositions themselves fallinto that main pitfall ofinstrumental music: waiting forthe vocals to start. “Catharsis”

sounds like Nevermore jamming with Planet X, while “Eclipse”,“Abstract of I” and the rest all showcase the depth and breadthof Christian’s exemplary talent, but the tunes aren’t there. Mixingmetal, post-rock, shoegaze, shred, jazz fusion and doom into amelancholic whole, the man has some serious talent, but at timesloses his way.

POWERPOINTS: 1234512345123451234512345ANDREW HAWNT

IDLE CLASS“The Drama’s Done”

Genre: Punk RockBlack Star Foundation

Germany’s Idle Classare a very lively punk rock actand “The Drama’s Done”reflects the band’s ability towrite catchy tunes with plentyof rock, big hooks and sing-along, gang styled choruses.Right from the outset, IdleClass take off with “Essence OfThe Night”, a track with Rancidlike vocals and a familiar,friendly feel to the number. The

vocals are perfectly suited to this style of music and the trackreminds me of other more commercial punk rock acts, such asBlink 182, NOFX et al. “Chances Are For Poets” opens with a nicerocking guitar intro before the vocals and gang choruses. Thisformula that Idle Class use on each song is addictive riffs andmelody lines that are traded with the group choruses, which addsa nice touch to the album. The band don’t stray far from thistrademark sound, as all ten tracks on “The Drama’s Done” usea similar style of the gang choruses and a punk rock attitude. Asa result, the album does sound a little repetitive, but this is a small

point, as the listening experience is very enjoyable.“The Drama’s Done” is a very upbeat and enjoyable

listening experience and is one that’s not to be missed if you likeyour punk rock to be sing-along and fun.

POWERPOINTS: 123456123456123456123456123456GLENN BUTLER

KEN HENSLEY AND LIVE FIRE“Trouble”

Genre: RockHear No Evil Recordings

Ken Hensley is morethan just a highly respected,immensely talented musician.With more than fifty albumsunder his belt and a careerthat spans more years than heprobably cares to remember,Ken has been an ever presentas the story of rock hasunfolded over the decades.He is part of the fabric of themusic that we all hold dear...

and he’s still crafting records as fine as “Trouble”! Cultured andclassy, “Trouble” is a collection of quality songs delivered withpoise and panache. There’s nothing brash or obvious aboutsongs like the title track or “It”; they unfold gracefully and subtlywork their magic on you over repeated listens, ensuring thealbum’s staying power and longevity. Roberto Tiranti deservesspecial mention for his sweetly measured vocal delivery – Kenreally seems to have found the perfect voice for his songs. Thereare definite flavours of Uriah Heep throughout “Trouble”, whichis only to be expected, as Ken was such an integral part of thatband, and I would urge any Heep fan to explore what Ken andLive Fire have to offer.

POWERPOINTS: 123456123456123456123456123456CHRIS KEE

DEROGATORY“Above All Else”

Genre: DeathFDA Rekotz

Graaarrggh. There’salways something particularlyvicious about Californiandeath metal, oft evoking theferocity of earlier east coastbatterings, and this LA quartetis no different. Theimaginatively-titled “Intro” hasa sinister Cult feel, with chimingDuffy-esque tones, aforeannihilation ensues withcareering speed, punishing

violence from undulating riffs, squalling leads and a fearful scourfrom Christian Ordonez, which is so dry as to be a deadly whisper.“Cryopreservation” is old school death with a wicked grooveand ferocious, withering rhythms, whilst the chiming leads,chopping riffs and shifting gears of the title track don’t detractfrom a savagery, aided by the harsh, sparing production thatlends a frosted atmosphere and jagged edge to the harmonies.A little like luring Slayer, Exodus and Boltthrower into a trapwherein the monstrous Suffocation awaits to devour, this is bestexemplified by “Foretold In My House of Seance”: a murderousbattery underpinned by phenomenal yet understated stick workfrom Jose Coyton, occasionally waylaid by chaotic leads andjoyously unexpected NWOBHM bridges.

There’s an angry young mob banging at your door,insisting that you stay true to the old values. On this form, they’llsoon be pretty unstoppable.

POWERPOINTS: 123456123456123456123456123456PAUL QUINN

THE FALL FROM GRACE“The Colours Of Change”

Genre: Post-HardcoreIndependent Release

I want to like this a greatdeal more than I do, and it’sonly due to the sheer quantityof post-hardcore releases thatare hitting the shelves that thiswon’t break through. Becausewhen all is said and done,there is nothing wrong with“The Colours Of Change”other than its lack of significanthooks; the material here isdeftly played, expertly crafted,

and well presented. It’s just that The Fall From Grace are upagainst too many killer releases to make it worth their while. Buttaking this as a single specimen, you get a set of rather morosetunes full somber melodies, clean vocals that break now andthen into a tortured scream, and guitar riffs that throw the genreback to the day of giants like Thursday and Funeral For A Friend.

Tracks like “Static Conclusion” and “Resistance Is Futile”are The Fall From Grace firing on all cylinders, and if all theirmaterial was as strong as tunes like these, then you’d be lookingat a higher score. As it stands, the band need to strengthen theirvocal hooks to keep the listener engaged.

POWERPOINTS: 1234512345123451234512345BRUCE TURNBULL

DEATH ANGEL“The Art Of Dying”/“Killing Season”

Genre: Thrash MetalNuclear Blast

Quite why NuclearBlast felt the need to re-package Death Angel’s 2004and 2008 albums is a bit of ahead-scratcher. Havingreleased “The Dream CallsFor Blood” on the same labelearlier this year, DA are backin full flow.

Back in 2004, DeathAngel re-appeared after afourteen-year gap. One of the

early forgers of the death metal scene burst back into life with“The Art Of Dying”, opening with the uncompromising statementof intent that is “Thrown To The Wolves” with furious guitar workby the returning Rob Cavestany and new cohort Ted Aguilar,and the unmistakeable growls of Mark Osegueda. Thepummelling “No” and “Famine” are full-bodied statements ofintent.

It was a solid return but with some weaker moments likethe dull “Spirit” and nu-metal-like “The Devil Incarnate”. It wasfour years later, with the release of “Killing Season”, that theyfully came back to life. Louder, harder and faster than itspredecessor, “Killing Season” is the true ‘we’re baaack’ messagefor fans.

“Dethroned”, “Carnival Justice” and “When WorldsCollide” are furious, invigorating thrash metal blasts full of franticguitar work and aggressive vocals. The songs are superior, butsadly a weaker production reigns “Killing Season” in.A strange time to release this double album package, but it’snever a bad time to be reminded of a great thrash band.

POWERPOINTS: 12345671234567123456712345671234567DAN BOND

EIDOLA“End Of The Spectrum”

Genre: HardcoreIndependent Release

The life of a freelanceris often an impecunious one.One would perhaps think thatit was reward enough toreceive free music all the time,but put yourselves in our place,and you might soon come todisagree. Especially whenforced to listen to theumpteenth band that mostlikely thinks they are doingsomething of originality, or

even value, but in essence, sound exactly like a dozen otherbands that you have already been forced to listen to in the sameweek. Still not getting it? Imagine watching hours old paint dry,with your eyes forcibly propped open.

It’s not that bands like Eidola are necessarily bad; it’s justthat we’ve heard it all before. A hundred times before. No, athousand times before. If this Californian hardcore lot wants tostand out and make a difference, then they really have to trymuch, much harder. No pun intended. Thankfully “End Of TheSpectrum” is only an EP, because quite frankly, I’m starting to geta headache. Still, the hardcore kids might just disagree.

POWERPOINTS: 12341234123412341234MARK GRIMSHAW

IRON GLOVE“Break The Chains”

Genre: AOR Rock/Hard RockIndependent Release

German quintet IronGlove clearly have a lot of wellyand gusto behind them. That’sunquestionable. The guitar-driven, chugging numbersbeing road tested aboard thisinaugural effort are far fromterrible; with soundtechnicality, the gents areevidently capable of churningout a thumping, classic-esqueformula. The niggling trouble

is that it’s all a little underwhelming, in the nicest possible way. It’sa tad safe, a smidge generic and a wee bit repetitive. Based ontheir mastery of simplicity and slickness in composition, and on

POWERPLAY ISSUE 161 - FEBRUARY 2014 - PAGE 57