This is album number eleven for the ever prolific L.O.N. and his Hellveto project. Album eleven which sits alongside eight demo/splits/EP's and four best of compilations, which must must put him the super league of releases in the past dozen years. For me, I think this is the third Hellveto album that's come my way and it's yet another album to fully immerse yourself in. Call it what you will, atmospheric Black Metal, Dark Ambient, Medieval, epic Lord of the Rings fantasy Metal, what L.O.N. does, he always does well. Which makes me ponder why this is only the third Hellveto album I have in my collection...
Neoheresy includes huge keyboard swathes, a ton of atmospherics which trigger feelings

Last Warning are not the most prolific band on the planet. Having formed in 1987, this is only their 3rd album and their first since Under A Spell, which came out in 2000. Musically, this is Progressive metal, with a hint of Power Metal. Comparisons with Queenryche are inevitable because of Fabio Del Sal's vocals, which sound very much like Geoff Tate's, although the delivery is very different, which is where I believe the Power Metal tag comes from. Or that's how I see it anyway. And despite any comparison I made with Queensryche, as you'd expect, this isn't in the same league. It's pleasant enough and the band work hard at keeping it varied, with nice acoustic segments and Gianluca Venier's

If a band is on Shiver Records, then you know they come from Belgium. Sound wise though, they sound like they're from over the border in Holland. This is the third album from the band, but the first to feature female lead vocals, which I suspect will give you a few clues to how they sound.
And before I continue, let me clear one possible point of confusion. The album booklet features a picture of new vocalist Virginia Fantoni, as does the new video for the bands cover of Sting's Russians, except that if you read the small print at the back of the booklet, it reveals that the vocalist for the band, for the recording of this album, is Nina Van Hecke,

I've only a passing interest in the Industrial side of life. I was very much into Ministry in the late 80s and early 90s, but I've not really done much exploring of the scene since, but with the number of quality Industrial influenced albums that have headed my way recently, that may well have to change.
Project Pitchfork have been around for two decades now. This though, is the first taste I've had of their music, so I can't compare this to any of their extensive back catalogue, although it has been labelled as the band going "back to their roots and beyond". What you get on Dream, Tiresias! is dark, very danceable, electronica. Comparable to, by me at

Power Metal, high-pitch vocals, predictable, German, cheese. I don't think the Drakkar PR lady is going to be very happy with me, as that wasn't a random selection of words, but my thoughts on this album. This is Germanic Power Metal with the occasional dip into traditional waters. It's well produced, well played, but I've heard it a million times before, especially with Ecki Singer's high-pitched tonsil's. This could be Helloween, it could be Gamma Ray or Stratovarius, the list goes on. Even the lyrics and arrangements are strictly by the Power Metal book of clichés. "I will fly on the wings of" and then the rest of the band joins in "eternity". Or how about: "Free like the wind, up in the sky I want to spread

A Melodic Hardcore band who've produced a concept album dealing with human emotions via the use of homeopathic remedies. Sounds a bit gay doesn't it? Unfortunately that statement is about 50% correct. Let me explain.
There's two sides to The Blackout Argument. The good side is a ballsy Hardcore band. Huge gang shouts, venomous vocals, blazing, all-out drums, guitars etc... Everything you could ask for. The downside is the melodic side, which is crappy "emotional/Metalcore" you choose which phrase to use, vocals, which are limper than a wet fucking lettuce in a tropical rainforest. I feel like a scratched record, so I'll make my moan a brief one. Why

My review disc is actually faulty as it jumps around quite a bit. But to be honest it made little difference to my opinion of this album. While the biog claimed that songs like Raising The Devil sound like Judas Priest, it doesn't, not in a million years or that Collector of Tears sounds like Amon Amarth, which ok, guitar wise, I guess it does, a little, there's no getting away from the fact that this is Metalcore, which neither Judas Priest or Amon Amarth are, nor will they ever be. Admittedly, The Sorrow can be very heavy, and were it not for the Metalcore vocals, I think I'd quite enjoy the majority of this album, but the weak clean vocals, when used, just kill it for me every time.

More dark art from the Trisol stable, this time, it's Norway's Zeromancer. Like their label mates Project Pitchfork, Zeromancer bring to the table very dark music that is very danceable and very accessible. The main difference being that Zeromancer have more of a Gothic edge to them. Once again, the keyboards are to the fore of their sound, and extremely catchy, but they are also backed up by real instruments. IE: Guitars, bass and drums and each song is hook ladened, and comes with a memorable chorus to boot. Although nothing is as catchy as Hookerbot 3000 from the new Revolting Cock album, Sex-O Olympic-O, a song that swims around in my head for days. Zeromancer are a