KoRn is without a doubt one of those bands that’s been on every headbanger’s lips at some stage in their life, one of those bands that have managed to make at least one favoured song in almost every album released. Even to headbangers that don’t even like them.

Korn has had a prodigal career up until now and regardless of one or two dreadful releases, they are enduring to go ahead and arouse millions of young bands across the globe to never back down when facing your dreams and the success thereof. Never give up and remember who you are! This is what the band reminds us with the seemingly third instalment of their ever so popular debut!

But how exactly will KoRn III (Remember who you are) cope with Headbang Today’s Power Review? Well let’s get going:

At first glance, the album seems a bit short.  It carries a total of eleven tracks; one of which is the album’s intro track and the rest are deficient, barely longer than five minutes.  But once popped in, with the volume cranked up… WHO THE FUCK CARES, right? It’s KoRn!

Jonathan Davis sticks to his renowned vocal grumble while KoRn’s traditional funky bass bitch slappin’ and heavy guitar riffs destroy any sign of tenderness in the atmosphere. It’s KoRn as we know them: Hard, Loud, Heavy and Raw! So, yeah, if you’re a KoRn fan then this album is for you! One thing that also stood out about Davis’ voice is the one step up with heavyweight roars which divinely work with the album’s darkness.

While we enjoyed it, we would’ve loved for the album to have more tracks! Non KoRn fans might want to give selected tracks a few listens before starting to get into it, but this album is worth a top ten nomination at the end of 2010.

8/10 Metal Horns! \m/

Sevendust are hard rockers with a pure instinct for rocking the shit out of any line-up of bands. Their much anticipated “Cold Day Memory” was released recently and this is how Headbang Today’s Power Review treated it!

With very metal album art gracing their album’s cover, Sevendust usually delivers when it is least expected of them. Cold Day Memory is filled with both musical and vocal excellence. A first listen gives a Sevendust fan the feeling that they will never be able to pull off another “Home” album with its heaviness… But rock out to this album for the second time and you will realise that this might just be their best work yet!

Even after purposely trying to find holes in this album, we were swiftly reminded that there are none, really. Sevendust deserves as much respect as what genre defining bands such as Megadeth and Slayer has earned in their prolonged musical careers and Sevendust might just get struck by that with this one!

9/10 Metal Horns!

Massive Scar Era is a hardcore Egyptian metal band with talent that should never be overlooked… by anyone! After they’ve been entered into Headbang Today’s Most Metal Underground Band competition, this is the review they’ve gotten themselves into!

_
_

Whenever the metal world hears of band with a female vocalist, a point often gets made that the band is either made or broken purely because of the vocalist.  Massive Scar Era fortunately supports a female vocalist with impressive vocal potential. This chick can sing, for sure… but how does her screaming compare to the likes of Kitty’s Morgan Lander? Close… if not identical.

A better comparison would be a female version of Hatebreed’s Jamey Jasta! Their “Tribute” song is a rather fine example of that.

Their music touches melodies and instruments which gives us an ancient Egyptian feeling… Whether it is Massive Scar Era’s intention or not, the coincidences are simply too hard to ignore. These guys do a fine job at sticking to the integral part of modern and ancient Egyptian culture… musically.

Their guitar solos are pretty rad but the diversity in musical instruments sometimes leaves you feeling that it might be a bit too much. If they had to stick to their metal guns (which would be purely drums, bass, guitars and vocals) this band will definitely without any doubt go far.

It would be a close call if this band had to face Varden in the battle for Egypt’s Most Metal Underground crown and a moment we here at Headbang Today hope to experience.

Bring on the beer, bring on the gigs, bring on Massive Scar Era!

HEADBANG TODAY’S RATING: 8/10 METAL HORNS!

FINAL SCORE: 9/10

Review by Scream

Rob Zombie hits the shelves once again with a new version of Hellbilly Deluxe, labeled “Hellbilly Deluxe 2 – Noble Jackals, Penny Dreadful and the Systematic Dehumanization Of Cool”. It’s a mouthful for an album name. About just as much of a mouth-full as Rob Zombie’s clever and ‘cool’ lyrics are in this second installment under his ‘Hellbilly Deluxe’ series.

The average length of tracks on this album roughly ticks up to two minutes, leaving you with that ‘is that all?’ feeling after each track has finished.  His vocals remain un-altered and this had been the case since his White Zombie days.  I am yet to hear Zombie add more variety and show us some more vocal talent.

The album is more ‘rock’ than ‘metal’ in my opinion. I seem to get pretty confused when it comes to classifying his genre as pop-metal, glam-metal, ghoul /gloom–glam-hard rock or simply just metal. Who cares? Rob Zombie is respected among many metal heads and even sparked and ignited that metal flame within many non-metal heads. I can name twenty people off the top of my head that can’t stand ‘loud music’ yet they love Rob Zombie’s first solo album ‘Hellbilly Deluxe”. Especially classics such as “Dragula”. This is where Hellbilly Deluxe 2 falls in I suppose. The fans of the first version would definitely dig Zombie’s latest release.

Don’t get me wrong. Tracks like “Sick Bubblegum” and “Werewolf Women” are heavy. But the album overall lacks the very element most headbanging metal fans long for.

It’s a ‘cool’ album. And excuse me for systematically dehumanizing the word ‘cool’.

Score: 7/10 metal horns

[Rating:7/10]

Headbang Today vigorously invented a rigorous review system which will be applied to all bands and albums worthy of getting reviewed. This system could not have been put to a better test than using it to review Dark Tranquility’s latest album! A bit late, but in spite of that, show us someone who cares!

Review by Scream

Band: Dark Tranquility

Album: We Are The Void (2010)

This review is very straight forward and to the point, really.

Fans of the old Dark Tranquility will love this album while fans that devotionally prefer their newer stuff, might not. “We Are The Void’s” vocal work very much reminds me of “The Gallery”. Its semi-death metal, golem-like growling goes well with their improved melodic instrumentals. Yet the deathly golem singing gets a bit repetitive and to be blunt, slightly annoying. If only more of “Haven’s” style of heavy growling was assorted in along with the current sound, then it would’ve made this album a tad more interesting.

Their music and composition thereof is superb though! This album was without a doubt in mind written to potentially satisfy all fans of the death melodic genre. A sub-genre which I don’t personally get pleasure from, but Dark Tranquility always seem to end up playing in the background when I have one of my many metal playlists brutally contributing to the setting.

“At The Point Of Ignition” is probably my preferential track out of the entire album. It has good solid rhythms with striking drum-solos and significant melodies. I don’t mind the vocalist in this song. It’s an enjoyable track.

A question I beg to ask though, is whether this album is worthy of a year-end top ten list. Quite possibly. But this album’s quality outweighs its quantity by far. 11 tracks are probably a worthy buy for any Dark Tranquility fan, but then again, that’s what “We Are The Void Limited Edition” is for. For the fans. The normal 11-tracked album surely can’t be aimed at expanding the fan-base, is it?

The bottom line is that I would recommend this album to the fans only.

SCORE: 7/10 metal horns. \m/

[Rating:7/10]

(Plus our secret ingredients which make up our review system seem to be extremely effective! Quite concise for its debut!)

Soul Sanctuary is a six piece alternative metal band from England and we’ve been keeping our eyes on them since the initial  interview that they had with HeadbangToday.com! Afterlife is Soul Sanctuary’s debut album and was produced, engineered, written, sung (screamed), mixed and mastered by one of their lead vocalists Luke Gibson. Heavily talented  to bring us quality heavy metal!

Their demo tracks grew onto me like  a parasite, tapping into the host’s brain, convincing me that this will be an album worthy of purchase. So there I had it. I bought “Afterlife” and waited in great inticipation for its arrival. Upon receiving it, I popped it in and the only thing that kept coming to mind while listening to the entire album twice in a row was “REVIEW” – This album deserves and demands a review that will contain my thoughts and feelings that streams throughout my mind as the tracks play along.

The album explodes with the very first track after which the album is named (or vice versa) “Afterlife“. The intro of “Afterlife” itself already gave me a sense of what I can expect from the rest of the tracks with it’s brain-vibrating screaming, fast paced drumming and ground-breaking riffs. The song well put together with very nice polish that will ensure you the overall quality of the album. It has a beautiful guitar solo backed up with heavy riffing and contains two very apocolyptic-sounding breakdowns near the end which eventually leads to a nice steady decline of solid screaming which halts after the song’s trademark drumbeat.

Game Of Conviction is the second track on their album which reminds me very much of Sevendust with it’s coarse backing vocals and short-bursts of combined musical excellence. It contains yet another beautiful solo which is carried by fast metal drumbeats and kick-ass riffing. The melodic vocals and screaming compliments eachother well in this song which is something not many bands in my experience can get the hang of with two vocalists.

Afterlife’s third track is called Destiny. A new song that I haven’t heard from Soul Sanctuary before while I was enjoying all their demo tracks prior to the album’s release.  It’s chorusses finnish themselves off with decent fast and well composed riffs. Another outstanding solo has managed to embed itself into this song. Their guitarists Ed Stevens and Anthony Montague have really done amazing work with their talents and have put it to a good use. The melodic bass notes serves as a perfect backbone to the song.

Killing Time, the album’s fourth track kicks off with heavy growling and excells towards slow heavy riffs with the drummer crashing his symbols timeously with the heavy riffing. A song that also proves that whispers and screams can be equally powerful. A brilliant guitar solo electrifies you towards heavy growling followed by a very fast and funky, funk,  drum & bass-like bass slapping solo. This song is the shit.

Track no. 5 is Packaged To Sell. It’s been  a personal all-time favourite since I heard the demo version. Some have said that the screaming vocals sound a lot like that of Slipknot’s Corey Taylor… I’ll have to disagree slightly, but I have to give it to Soul Sanctuary. Their screams/growls are indeed pretty awesome! Luke Gibson does an excellent job in his vocal work. I like the way the two vocalists have come up with using melodic singing combined with screaming and packaged it into a pretty heavy album – to sell.

The sixth track called Reflections starts off with a chilled accoustic riff and decent melodic singing from both vocalists. The song then eventually progresses into nice heavy alternative rock and rocks on until it declines back into its accoustic state. A perfect blend. I can see this type of song being played on national radio here in South Africa. It’s probably one of Soul Sanctuary’s ‘safest’ songs to be commercialised and released for local radio airtime.

Number 7 – Scars Of You, was added to the album for probably no other reason but to show off each band members’ talent in their own respective department! Eardrum-tampering screams, decent melodic singing, another amazing solo, cool bass tunes with solid riffs and tight drumming is rarely heard of in one song!

Their lyrics cover personal experiences from the singer’s perspective which a lot of fans can generally relate to. I remember once seeing someone post something to Soul Sanctuary, telling them that Road Runner Records will never sign them because of their “Emo Singing”.  He even went on to compare Megadeth’s lyrics with Soul Sanctuary’s… Well, I disagree. It’s a well-known fact that Dave Mustane from Megadeth’s lyrics are usually just plain silly. Soul Sanctuary has managed to produce their own album and although a label such as Road Runner Records would be benificial to the band’s future, R.R. simply aren’t aware of Soul Sanctuary’s material just yet. Who knows? Maybe these record label giants will notice them after a second album?

I don’t even need to review the rest of Afterlife’s tracks! So I will keep them under wraps until you unwrap your own self-bought christmas prezzie and pop “Afterlife” into your system.  It’s an outstanding album, perfectly composed by an exceptionally talented band that deserves to be a part of any metal head’s music collection.

IN SHORT:

Afterlife is a music masterpiece considering the fact that it is Soul Sanctuary’s debut album of which the quality of the produced tracks are superb.  It’s jam-packed with beautifully unique guitar solos, heavy riffs, funky bass riffs and heavy screaming combined with excellent melodic singing.  I would kill to see these guys live and I anticipate future releases from them. I can’t even begin to imagine what Soul Sanctuary will evolve into.

10\10 metal horns \m/

Enough said.

Now go get the album – www.soulsanctuarymusic.com

standalone player

Quantcast

Biography:

Writing the biography for a band is normally quite a task for me, especially if I don’t know them from anywhere, like now . But I asked Paul, who actually got in touch with me to do this review, to send me their biography, and here it is:

Fear of None is a metal band from Long Island NY with its roots deeply created in the Long Island Metal scene. We are the remains of 2 bands from the late 90′s MPD and Talon. Larry on lead vocals and Paul on lead guitar hooked up as a side project after taking classes at Suffolk community college. The core of the songwriting team was born, since then there have been some great shows and great times had all over Long Island and NYC . We have made many friends in the scene and are proud to call Long Island our home. We have a very catchy brand of American Metal that takes its influences from great bands like Metallica, Killswitch Engage, and All That Remains. We have put our own mark on that genre, and are looking to get our music out to the masses in 2009. We have started off 2009 with a bang. We are doing lots of press and welcoming some new members to the fold. Matt Ward is on Drums and Jim Avelli on bass has rounded out what is sure to be Fear of None’s strongest lineup to date. We are looking to drop our first EP on 10/23/09. We’re also doing some regional touring in support of the record and get our music out to a greater audience. Hopefully we will be hitting a town near you soon. Keep it Metal!!!! ( Hell yeah! Metal for life! \m/ ) .

Fear of None is:

Larry Owens – Vocals / Guitar
Paul Rayes – Lead Guitar
Matt Ward – Drums
Jim Avelli – Bass / Backup Vocals

Review:

Well here comes the fun part again, being a fan of the above listed influences, I was looking forward to hearing their music.
From the first song I listened to ( Homeward Bound ), I could hear the music and vocals hinting at their influences, but in a new way, almost combining the influences into one, instead of sounding like one of the bands, and that lead to something completely new for me.
The instrumentals on the song were awesomely done, with nice break downs for the more hardcore parts in the song, and the vocals suit it perfectly, with the vocals ranging from a more emotional style singing, to a deep scream for the heavier parts.
I felt the screaming fitted in really well with the instrumental sounds that were being layed down, and the more I listened to it something just became clearer and clearer – I could just imagine them at a live show, seeing the crowd scream with the music, jumping around. Awesome. \m/
Now onto the third song I listened to ( Holding On ), this song wasn’t as heavy as the other songs that I listened to before, but I could feel the Killswitch Engage influence in it, it came across with an insanely emotional feel to it, much like the earlier Killswitch Engage work, when Jesse was the vocalist. Hmmm the fourth song ( Volition ) was one of the heaviest songs I listened to, with heavy break downs and screaming for those parts, and then going into a more melodic chorus, much like All That Remains does. And then right that back into the heavier part, this would be perfect for a metal crowd, with people moshing and then stopping for a breather only to sing the melodic part, and then get back into the mosh for the heavier parts, I know I’d go insane. \m/
The last song I listened to ( Where Does It Lie ), was actually heavier than the previous song, the guitars were faster, the break downs heavier, and the screams were deeper, and sometimes the screams went into a more high pitched scream much like the screams in the Death Metal genre.
The song was constructed brilliantly, and I had to listen to it quite a few times, just because it was that awesome \m/. After about 1:30 of what I would call a ‘moshers-paradise’ , the song has a little chill session, only to end in a really long scream that builds you up for more of the heavy screaming, that then gets followed by some normal vocals, and then some more screaming, I’m sure the Killswitch Engage fans, will feel right at home here. As the song comes to an end, you really just want to listen to it again… and again… and again…

Well I don’t really know what to say, this band blew me away, not only was I impressed, but I am now looking forward to hearing all their new stuff, the elements that they took from their various influences were masterfully crafted into something out of this world.
For those of you that like your metal heavy, and the vocals overpowering – then this is definitely for you. With sufficient moshing material for the ‘pit fiends’, and some awesome guitar work to keep the instrumental enthusiasts occupied, it should leave metal fans satisfied, and with a smile on their faces like Prawns stuffed on catfood .
I highly recommend this band, if you enjoy this type of music, and I also need to recommend that last song ( Where Does It Lie ), it was amazing.
Well from my highly satisfied point of view.
I give Fear of None, 4.5 / 5 horns \m/.
Well done Gents looking forward to more.

Also if you are interested in hearing the band or following them, take a look at the following sites:

Band Website: www.fearofnone.com
Myspace site: www.myspace.com/fearofnone
Reverb Nation site: www.reverbnation.com/fearofnone
Twitter site: www.twitter.com/fearofnone

Wraith

Hatebreed 2009

Hatebreed 2009

After the album landed on my desk a week ago, the amount of attention I’ve given it was purely minimal up until today. There is probably no better review that can be done on a band and their latest release than a review done by someone who was never really a fan of the band in general. So today I have decided to dissect it, give it a more intense listen and compare it to the personal symptoms that I have been suffering from lately. Symptoms that has recently plagued me with that very metal craving which sent me in pursuit of a remedy… CouldHatebreed be that remedy?

Hatebreed’s self-titled album explodes with “Become The Fuse”. A song with energetic rhythm and tight drumming that blends in well with the song. These are elements that I was actually looking for and the album actually starts off well, giving me that required dosage. The third track “Between Hell And A Heartbeat starts off pretty chilled with a seductive and somewhat mesmerizing intro. It then leads itself into a fast paced and well-constructed song with a decent break that will get any headbanger banging the snot and shit out of his own head at anyHatebreed concert. I can imagine it being a pretty crazy song to see them play live.

“In Ashes They Shall Reap” consists out of one of those sing-along chants that are bound to get the entire crowd to … well … sing along! I can see now whyHatebreed’s live shows are so energetic. In Ashes They Shall Reap got the adrenaline pumping throughout the veins embedded beneath my skin as I could feel my muscles tingling with the desire to break out and start a mosh in this confined office space with colleagues. There WILL be injuries.

Although I am truly satisfied with what’s been drilled into my ears and my being from the tracks I’ve given a proper listen. I knew that I am yet to find a track that wouldn’t apply to my craving as stated earlier. “Hands Of A Dying Man” seems to be that very track with it’s extremely fast drum-tapping and guitar strumming (don’t get me wrong, it’s a song written for headbangers andmoshpit kings in mind, without a doubt.) But the track was over before I even knew it. Jamey Jasta maintains the heaviness of Hatebreed. With his growlish screams and the lyrical content, it would not be statements made any clearer if it was done by any other vocalist.

There is something about “No Halos For The Heartless” that grabbed me. Its heaviness and well-written guitar riffs made this very song stand out among the rest on this album. It consists out of that pureHatebreed anthems that is bound recruit any passing headbanger into the Hatebreed army. “Through The Thorns” with its death-metal like riffing is a good song up until the break-down. But then Hatebreed proved me wrong in my previous sentence and the song swiftly recovers back into it’s metalcore awesomeness.

The album ends with “Escape.” The song that gave me the final missing dosage of Hatebreed’s latest self-titled album. The vocal work in “Escape” varies from death to melodic metal to which I rest my case. The album overall reflects the hard work and dedication thatHatebreed as a band put together for their die-hard fans. As a newcomer, I enjoyed the album, even though I would’ve liked to hear a little bit more of JameyJasta’s talented melodic metal-like vocal work.

I give the new Hatebreed Album 9 out of 10 metal horns. -

In short: Hatebreed proved me wrong on many different levels and they are the exact dosage I needed. Hatebreed personally instructed me yesterday to help the scene grow in South Africa so that we can have the live Hatebreed experience right here in our very own country.

Now that Headbang Today has Hatebreed’s attention, we hope that South Africa will be placed on their next world tour map and I am confident that Hatebreed will be reading this review. Not many reviewers can say that!

- Scream
www.headbangtoday.com

Throatball

Throatball

Review By Wraith

Biography:
Well I was thinking about a little history concerning the band, and what better place to get it than from them, themselves, so here is the history of the band, that I received from their manager:

“In early 2003, Paul Opie, Simon Portlock & Ian Watson got together at the, now defunct (soon to be resurrected at another location), SUI Studios to rehearse some songs for an aborted Lithium reunion. It was during these sessions that Throatball was born.
Simon and Paul had, for some years before that, been jamming in a free rock ensemble featuring, at different times, Alistair Douglas, Dane Minojlovic and Ramon Dasilva called Moranga. It was during these sessions that a love for all things speed was kindled in Simon, but, it was only when Throatball came along that it coalesced into something tangible.

In a matter of a few short months, Throatball (then called The Monomen), had a short set of songs, including ‘Packet Of Birdseed & a Pellet Gun’, ‘Deathtrap’, ‘Destruction’ and ‘Fuck You And The Horse You Rode In On’, all of which were destined to appear on their first album. They showcased these songs to mixed reactions, some loving it, some looking on quizzically, and some walking out. It soon dawned upon the members that speed in music, was an acquired taste.

Then disaster struck! For personal reasons, Paul decided to quit the band. Lesser bands would have folded, but Throatball (still The Monomen) went straight into the studio to cut their first demo EP, ‘Drink Up, Fall Down. Puke In, Pass Out, Wake Up, Down Down, Oi! Oi! Oi!’. The EP featured tracks that would later appear on the album and a few that would be cut from the set as the band moved in a more metal/hardcore direction.

To add bass lines to the songs, during the recording of the demo, required a bass. This was lent to the band by Gavin Essel (a friend of Simon’s) and, from that, it seemed only natural that Gavin should join the band. This he did, and with the inclusion of mutual friend of Simon & Gavin, Warren Weitz, the band moved forward. Again to mixed reactions.

Throatball (still The Monomen) found themselves in the unenviable position of being too metal for the punk crowd and to punk for the metal crowd. ‘This must be how the New York Hardcore bands of the late 80’/early 90’s felt back in the day’, they thought. They soldiered on. Constantly pushing the boundaries of the genre they found themselves in. But it was time for some more drama…..

Warren Weitz was fired. It was with this move that Throatball became Throatball. The Monomen moniker was dropped. The band had contacted the only other Monomen in the world (a US harcore punk band funnily enough who were no longer together), and they had sternly recommended that the band change their name. So it was done. And the band was back as a power trio.

A couple of months later it was decided that the band should record an album. They had 10 songs in the bag, and with an investment from Miles Keylock (music journalist and fan) and the band, Throatball entered Ari Tereblanche’s West Coast studio to begin tracking.

It was decided that the band would live next door to Ari, and track for 5 days straight. The band would then return, piecemeal, to complete the album. The drum takes were done in 4 days. The first guitar tracks were laid down on day 5. The band said goodbye to Ari, and returned for the next 2 years to add vocals, bass and more guitar. During this time the band continued to play shows in and around Cape Town.

Following the final tracking it was decided to take the individual tracks to Theo Crous (legendary guitarist and producer) to mix. He did this again in a piecemeal fashion over the next year. During this period Paul began rumblings of wanting to return to Throatball. After many drunken evenings of ‘how can we make this work?’ Gavin was shifted to guitar and Paul assumed bass duties. The rejuvenated Throatball played their first show on Paul’s birthday, 5 June 2009. It had been a long and winding road.”

Review:
So after doing my review on the Melodic Death Metal band, Day Turns Night , I received an email from the manager of Throatball, asking me to review their self entitled album ‘Throatball’, as I didn’t know who to review next, this came as quite a help to me (thanks guys ). But enough about that, and lets get to the fun part. After I had gotten the album it was time for what I do best, listening to music and then tossing some ideas and feelings to the side, and then giving the horns where they are due \m/.
With the start of track 1 (Sound Of The Underground), you can hear some symbols, and some water dripping, only to be greeted further down the line by some drums, that lead you down to a classic hardcore / speed metal vibe of sound, which to me was quite a unique mix, this was the first time I’ve heard something like this, sure I’ve heard hardcore music from the likes of ‘Hatebreed’ and ‘Madball’ but it has never been as fast as Throatball. The vocals weren’t the usual screaming and/or growling I’m used to listening to, so this was a welcome change, and it suited the style of music brilliantly. Moving on to track 2 (Get Up), and my oh my, never have I felt so uplifted and amped to be running around as with this song, which had some punk elements to it, it reminded me of bands like ‘Goldfinger’ and ‘Lost Prophets’ and probably some others, but moving my mouse all the way to some place on my screen to go and find the band I’m thinking of is just too.. much.. effort . Track 3 (Packet Of Birdseed) had some heavy thrash sounds to it, which was once again, something I didn’t expect, but it was awesome to listen to. Ahhh track 4 (Anon We Go), this was the first song of Throatball that I heard, and I must admit, it actually reminded me of some earlier vocals, like from ‘The Police’s ‘Message In a Bottle’, it was a catchy song with some really well constructed parts in it, I highly advise it to people who haven’t heard this band before, because wow! I really digged it \m/. The next song ‘Passenger’, actually reminded me of the band ‘Deftones’, I have no idea why, but it just did, also a cool song. The rest of the album has some more Speed Metal and Punk sounding tracks which all in all fit in really well with the songs that have been heard up until this point, not to mention the ending of the last track on the album, ‘Deathtrap’, it definitely makes you feel like the album is done, with the car crash sound right at the end.

So from a band which I’ve never heard of, and probably never would’ve, I can say that I’m glad I did hear them, because I’ll be looking out for any other album releases they do, as well as any shows they are going to play.
Another thing that really struck me as amazing, was the recording that they did themselves on the album, it sounds really, REALLY good, almost too good, what did you guys sell to get that quality?
If Speed Metal elements mixed with some Punk vibes is your thing, then Throatball is definitely what you are looking for.
I give them 4 / 5 horns \m/.
Well done guys.

Oh another thing, their manager asked me to mention the following:
Throatball will be having their CD launch metal party at Mercury Live on the 6th of November.

Details are as follows:

MPH – Metal Punk Hardcore
6th November
Throatball
Warinsane

Mercury Live from 8pm

Wraith