For 10 years now, melodic metalcore outfit Deadly Inscription from Paisley have busted their asses to develop into one of the town’s finest bands, and they are set to hit a whole new level with the release of their latest EP – A Testament To Sin.
Without a second to waste, they fire into a thrilling opener titled Subservient that delivers great results in the vocal department; afterwards diving head first into the barbaric Taxidermist which is highlighted by some formidable, breakneck drumming.
They follow up with the insanely catchy Tower Of Silence, then the fast-paced, dynamic Hellion Rising before wrapping up in menacing style with The Gravedigger’s Oath, where imposing riffs and daunting bass lines stand at the forefront.
An immense record that is the result of a decade of hard work and talent building which continues to showcase Deadly Inscription as one of Scotland’s most promising young metal acts.
Three years ago, multi-talented filmmaker and musician Adam Stafford enraptured listeners and critics alike with an album by the name of Imaginary Walls Collapse, and well deservedly received acclaim for his efforts.
But now, the artist is set to enthrall once again with a new record entitled Taser Revelations, and not surprisingly we have been blown away once again.
Over the course of 40 minutes, we are presented with numbers that combine strong vocals, awe-inspiring skills on the guitar and wonderful writing, with the most notable highlights including the engaging Phantom Billions, the endearing Bracelet Dream Of The Shadow and memorable lead single Atheist Money.
But to us, no track stands out more than Railway Trespassers, which is defined by a haunting, goosebump-inducing sound, in addition to astonishing chords and striking lyrics. An absolutely captivating tune that catapulted us from merely keen onlookers to solidified avid admirers of Adam.
And with that said, the album as a whole is nothing short of incredible; already a serious contender for Solo Record Of The Year in our eyes.
This gentleman has “it”, plain and simple, and we expect nothing less than a prosperous future for one of Scotland’s most gifted singer-songwriters.
Last year, Edinburgh-based alternative artist Mt Doubt made a significant impression in the Scottish scene, and with an album as strong as My Past Is A Quiet Beast, it’s easy to see why this chap has been garnering some serious attention.
Opening in spine-chilling fashion with Beast, he proceeds to deliver to the listening audience plentiful of pleasant upbeat numbers with enjoyable guitar work to be had, such as Feathers and Leap.
In addition, we get a variety of endearing mellow tunes carried forth by smooth rhythms including Slump, I Break Spirit and Soft Wrists, as well as songs that stand out with mesmirising, hypnotic sounds in the form of Dancing Phantoms and Telmosses.
Named as one of the “Top 25 Scottish Artists to Watch in 2016” by the renowned Vic Galloway for a reason, Mt Doubt is riding a bustling wave of momentum that is sure to take him to great new heights over the course of the next year.
Being in a country as big as the USA, it proves to be quite the challenge for underground bands to make a significant impact, but recently we unearthed one group who all have the tools to emerge as one of the nation’s next big metal acts in the years to come.
The band we are referring to is Rhine from Seattle, who are set to release their second album – An Outsider.
From the off set, they are quick to pull no punches as they deliver a hell of an epic 12-minute opener in the form of Dreaming Of Death.
But it doesn’t end there, as they continue to add fuel to the fare with more complex, monstrous tracks with merciless riffs, relentless rhythms and a mighty combo of clean vocals and vicious screams; highlights including the likes of Spell Of Dark Water, Paralyzed and Into The Unknown.
But one certain song caught our attention and stuck out from the rest, and that was P.R.E.Y. It starts out with an uncharacteristically pleasant middle ages sound, before suddenly dropping into another heavy and very catchy number.
Overall, a bloody good record that serves as a dynamic and diverse marathon that should not be underestimated.
It’s been about a year since we first discovered Rising Pacific and it’s insane how much they have got people talking in a short amount of time.
We’ve heard nothing but praise for the young upcoming trio, and they even bagged themselves a pair of well-deserved awards courtesy of Alternative Music In Falkirk.
If you want the best evidence of the hype behind them, look no further than their latest offering – a great single by the name of Parts.
Starting off, it is a polished rock tune with a steady rhythm that puts on display incredibly smooth harmonies, as well as some cracking riffs.
But suddenly, it all goes quiet, before picking up again for a high-octane latter half carried forward by a ridiculously catchy hook and dynamic drumming.
These three continue to outdo themselves, with this song for sure being their strongest work to date. In fact, it’s quickly getting to a point where we are running out of new ways to say how impressed we are, and if that’s not a sign of clear talent, we don’t know what is.
It’s been a long time coming, but the wait is over and We Are Satellites from Edinburgh have at last stepped out of the studio with their first record entitled Transmissions.
What we get is an enticing compilation of infectious pop-rock tracks that all feature intoxicating melodies, in addition to each having their own individual stand out elements.
For example, Shades has a simple yet effectively bouncy rhythm, while the bass-drive Electric Blue is highlighted by an explosive, passionate chorus.
The lead single Soldier is insanely catchy, the lyrical work is strong in Reflections, and Waves is a slow but warm number with some great riffs and vocals to be had.
After much anticipation, We Are Satellites’ debut is a fantastic and very memorable one. A lot of heart and effort was poured into this, and it is made abundantly clear as you listen through the songs one by one.
These fellas are sure to take the Scottish scene by storm and emerge as one of the country’s hottest new acts.
The latest chapter of uncovering the Canadian metal scene brings us to the renowned Like Animals of Orillia, who are set to impress again with their next EP – Feral.
The title track itself is a solid opener that features plenty of tasty riffs that are backed up by an addicting rhythm. The bass-driven The Lion’s Share kicks off nice and easy before firing into a louder, more turbulent second half.
Lounge Lizard is a catchy as all hell tune where the guitar work is escalated to the nth degree and the drum work is cranked up big time. That established momentum is carried on into Caterwaul, which unexpectedly settles in the middle and turns into a slower, more restrained number.
The pace picks up again with Jungle Book Of Love, starting at a medium, foot-tapping tempo but amplifying further as it progresses and builds to an exciting finish.
With material like this, it’s no wonder people continuously flock back to these guys for more. An engaging EP that is not only memorable, but one that sets a standard that all other metal bands ought to follow.