ANNO DOMINI 1989-1995

First Boxed Set Celebrating Singer Tony Martin Era

Remastered Versions Of Headless Cross, Tyr, And Cross Purposes, Plus A New Mix Of Forbidden By Tony Iommi

4-LP And 4-CD Versions Available On May 31 on BMG

Watch a newly remastered, HD upgrade of the video for Headless Cross

and preorder: Here

pic Peter Cronin

Black Sabbath’s history with singers Ozzy Osbourne and Ronnie James Dio has been chronicled extensively through the years in multiple collections. Until now, no boxed set has focused on Black Sabbath’s time with Tony Martin, the band’s second-longest-serving singer.

BMG explores this prolific period from the godfathers of heavy metal in a new collection that brings four albums back into print after an extended absence. ANNO DOMINI 1989-1995 will be available from BMG on May 31 in 4-LP and 4-CD configurations. The set contains newly remastered versions of Headless Cross (1989), Tyr (1990), and Cross Purposes (1994), plus a new version of Forbidden(1995) that guitarist Tony Iommi remixed specially for the collection.

Several albums make their vinyl debut in the LP version of ANNO DOMINI, whilethe CD version contains three exclusive bonus tracks: the B-side “Cloak & Dagger” and the Japan-only releases “What’s The Use” and “Loser Gets It All.” A booklet comes with the set featuring photos, artwork, and liner notes by Hugh Gilmour. The collection also contains a Headless Cross poster and a replica concert book from the “Headless Cross Tour.”

ANNO DOMINI picks up Black Sabbath’s story in 1989, two decades and multiple lineup changes into the band’s groundbreaking career as metal originators. At the time, membership had solidified around riffmaster and founding member Tony Iommi, legendary drummer Cozy Powell (Jeff Beck, Rainbow, Whitesnake), singer Tony Martin, and longtime Black Sabbath collaborator and keyboardist Geoff Nicholls (Quartz, Bandy Legs).

The group originally released Headless Cross in 1989 on I.R.S. Records, the first of a five album deal with the label. Praised by fans and critics alike, the band’s 14th studio release produced three singles: “Devil And Daughter,” “Call Of The Wild,” and the title track. Bassist Neil Murray (Whitesnake, Gary Moore) joined for the “Headless Cross Tour” and stayed to record Sabbath’s next album, 1990’s Tyr. Named for the Norse god of war, the album explores similar mythological themes in songs like “The Battle Of Tyr” and “Valhalla.” On “The Sabbath Stones,” the band channels Old Testament fire and brimstone into a classic bruiser.

In 1992, following a successful world tour, this incarnation of Black Sabbath was put on hold when the band reunited temporarily with Ronnie James Dio. Two years later, Martin and Nicholls were back in the studio with Iommi to record 1994’s Cross Purposes. The band was completed with the addition of founding Sabbath bassist Geezer Butler and drummer Bobby Rondinelli of Rainbow.

The Tyr-era Black Sabbath lineup reunited in 1995 when Powell and Murray returned to record Forbidden. It was the band’s 18th studio album, and its last for nearly 20 years. (In 2013, Iommi, Osbourne and Butler released Black Sabbath’s final studio album, 13.) Forbidden, produced by Ernie C of Body Count, the hard rock band fronted by rapper/actor/Sabbath fan Ice-T, who appears on the song “Illusion Of Power.” Since its release, sonically improving the album has been one of Iommi’s pet projects.

He explains, “I was never happy with the guitar sound, and Cozy was definitely never happy with the drum sound… So, I thought it would be nice to do it for him in a way.” He adds, “I just felt that, without changing any of the songs, there was an opportunity to go back and bring out some of the sounds and make it more what people would expect Sabbath to sound like.”

BMG are announcing a new Black Sabbath eight vinyl boxset called ‘Hand Of Doom’, that features the bands classic albums released from 1970-1978 on picture disc vinyl, limited to just 3,000 copies, to be released via BMG this coming December 1st.

Comprising some of BLACK SABBATH’s most powerful albums ever produced, “Hand Of Doom” features the “Complete Original Black Sabbath 1970-1978” collection on picture disc for the first time. The highly collectible set contains the band’s self-titled debut (1970), as well as the multi-platinum “Paranoid” (1970), the platinum albums “Master Of Reality” (1971),”Vol 4″ (1972), and “Sabbath Bloody Sabbath” (1973), the gold-certified “Sabotage” (1975), alongside “Technical Ecstasy” (1976) and “Never Say Die!” (1978).

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Pic courtesy of Michael Ochs

“Hand Of Doom 1970 – 1978” includes each album’s artwork printed on Side A. The self-titled debut, “Vol 4”, “Technical Ecstasy” and “Sabbath Bloody Sabbath” feature the original back album artwork on Side B. “Paranoid”, “Master Of Reality” and “Sabotage” features an album-era photo of the band. The collection also includes a large color poster of the band taken in Los Angeles during the summer of 1972 while the band was recording “Vol 4”.

We’ve reached ‘Live Evil’ in the super deluxe reissues from Black Sabbath and whilst the box sets have been of the highest standards the last few Dio year’s releases have been something else. from the quality of the packaging and what in the sets for Sabbath fans it’s been the ultimate treat as far as reissues and remastered packages go they’ve truly gone the extra mile for the fans. So ‘Live Evil’ might get its critics for featuring the remastered vinyl and the original but I guess it would be live evil overload to include an extra live show as part of this set anyway seeing as the original was culled from various live recordings as part of the tour.

In this box, you have a hard case with superb artwork from the original as well as the heavyweight records but the cream of this package is the lavish 40-page hardback book depicting the Dio era of Sabbath which had its critics but it also took the band in a different direction of creativity and threw up the two mightily impressive studio albums that provide the majority of the material on this live album. As you’d expect BMG has done a pretty amazing job on the remaster as they have done on all the Sabbath box sets thus far and the inclusion of the book to muse through whilst revelling in the remaster is a beautiful thing.

Stop moaning about having a pristine 180gm version of the original and marvel at yet another top-tier Sabbath box to add to your collection. Adding Dio to the ranks of Sabbath was always contentious due to the shadow cast by Ozzy but Dio committed 100% to the task at hand and with one of the most amazing vocals in metal he delivered on all fronts holding his own in such an iconic role. The myths and stories about the recording of this record have never gone away but the one thing I can say is his vocals stand tall and are incredible after all these years and Wyn Davies has done a brilliant job on the remastering ‘Neon Nights’, ‘Mob Rules’, ‘Heaven And Hell’ easily stand up to the interpretations of Sabbath classics such as ‘War Pigs’ and ‘Paranoid’ and the monster version of ‘The Sign Of The Southern Cross’ is still a magical highlight from any of the band’s output.

With this being the band’s first live album it stands as a true testament to the awesomeness of Ronnie James Dio’s vocals and live presence. A masterpiece in live albums for many many people and on the evidence of this box set BMG and Camp Sabbath have done yet another truly awesome job. Add live Evil to your collection as a matter of urgency. Sabbath mark ii was truly a giant and rightly so. What next? ‘Born Again’ please and give some kudos to the Gillan mark iii era of Sabbath. Buy it!

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Author: Dom Daley




2-CD And 2-LP Versions Of First Black Sabbath Albums With Ronnie James Dio On Vocals Feature Newly Remastered Audio Along With Rare And Unreleased Music

Ronnie James Dio joined Black Sabbath in 1979 which resulted in two back-to-back classic albums: Heaven And Hell and Mob Rules. On those memorable albums, Dio’s soaring tenor and gothic songwriting were the perfect foil for the band’s bone-crushing mix of razor-sharp riffs, intense grooves, and dark imagery.

BMG salutes the long shadow cast by this short-lived line-up with newly remastered versions of both albums expanded with rare and unreleased music. HEAVEN AND HELL: DELUXE EDITION and MOB RULES: DELUXE EDITION will be released separately on November 4th and November 18th. Each album will be available on 2-CDs, or a 2-LP set. Due to space constraints, both vinyl editions include a selection of bonus material from the CDs. The music will also be available via digital download and streaming services the same day.

Dio joined Black Sabbath for the first time in 1979 and quickly found kindred spirits in guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward. When Heaven And Hell was released in April 1980, the album was met with effusive reviews for the band’s return to form on metal masterpieces like “Neon Knights” and the title track. The album reached #9 in the U.K. and #28 in the U.S., where it was also certified platinum.

HEAVEN AND HELL: DELUXE EDITION adds several bonus tracks, including versions of “Children Of The Sea” and “Die Young” recorded live in 1980 in Hartford, CT. The set concludes with live rarities like “E5150” and “Neon Knights” that originally appeared in 2007 on the limited-edition collection, Black Sabbath: Live At Hammersmith Odeon.

To follow-up Heaven And Hell, the group returned to the studio in 1981 to begin recording Mob Rules, with drummer Vinny Appice joining the band for the first time. Released in October 1981 and certified gold, the album was another Sabbath classic, including standouts like “The Sign Of The Southern Cross,” “Turn Up The Night” and the title track.

MOB RULES: DELUXE EDITION boasts an expansive selection of rare and unreleased recordings. Along with additional tracks from Live At Hammersmith Odeon, the collection also includes a newly mixed version of “The Mob Rules.” The cherry on top is an entire concert recorded in 1982 in Portland, OR. Highlights include stellar performances of “Neon Knights”, “Heaven And Hell” and “Voodoo.”

Well folks, here we are again as the Sabbath catalogue gets another Super Deluxe version on both CD and Vinyl and once again to be fair to whoever is curating these reissues much like the Motorhead ones these are some of the best box sets out there from the packaging to its content a lot of love has been poured onto these reissues and be it the box office Sabbath biggies or the lesser releases they all have the same quality and eye to detail.  ‘Technical Ecstasy’ is no exception, from the mini-poster to the four-CD packages it’s top-notch in the reissue department.


The reprint mini-tour book is quality even if I do need my readers to dive into the text as is the period reflected in the hardback book that’s included. Man, these gents were into their satin even as punk broke they were oblivious somewhat. Iommi sat in the produces chair for this the seventh studio release from the original line up and whilst it has one foot in the prog camp there is also an indication of the direction that Ozzy would head sooner rather than much later.


Maybe Sabbath was for the first time taking their cues from elsewhere rather than leading the genre and with the heavy influence of Gerald Woodroffe’s swirling keyboards the band couldn’t be accused of standing still from the proggy opener of ‘Back Street Kids’ through the swirling keyboards creating a good foil for Iommi’s doom-laden riffs on ‘You Won’t Change Me’ is a good example as Iommi and Woodroffe trade solos whilst the rhythm section gets that Sabbath heaviness anchored down.  The Beatles tinged ‘It’s Alright’ is one of the best tracks on offer for me and has stood the test of time and proven that Ward didn’t need a bucket to carry a tune on his moment in the sunshine. Then there’s ‘Gypsy’ again with its keyboard-driven workout.


Side two of the album sees the band go for a groovy workout where they get their collective funk on ‘All Moving Parts (Stand Still)’.  I do however love the groove the band gets on ‘Rock And Roll Doctor’ throwing another curveball by just jamming out a real Rock and Roller when everything else screams trying hard to be hip and adventurous it’s as if they just decided to go easy and rock out.  Then step forward ‘She’s Gone’ the album’s hushed acoustic introed song with strings n all and a chance for Ozzy to try out what he would later perfect through his solo career. Then to close it’s Dirty Women’ and on reflection, it’s a decent album and unpackaging the extras this labor of love has unearthed some new mixes and the usual Instrumental mixes of tracks like ‘She’s Gone’.  As for the hardback book, well, it’s full of great pictures and well-researched Japanese single sleeves as well as interview snippets from the band and a well-covered history of the mid 70s Sabbath for the hardcore fans and newcomers alike.  But for me, the treat inside the box of goodies is the live album – recorded on the 76-77 world tour.


Mixing together classic Sabbath from the awesome ‘Symptoms Of The Universe’, ‘War Pigs’ and ‘Black Sabbath’ there is also room for ‘Technical Ecstasy’ tracks like ‘Gypsy’ and ‘Dirty Women’ the quality of this live recording is exceptional and through a decent pair of headphones it’s like being sat next to the sound engineer with Bill Ward’s bass drum sounding as big as an arena all by its self.  It’s been a long time since I’ve sat down and actually played a drum solo and Guitar solo on a record but they are here in all their glory and the one thing that stands out is what a powerhouse Bill Ward is – absolutely outstanding. Capping it all off with the monster that is ‘Children Of The Grave’ and whilst listening it makes me smile that the reproduction tour book also has all those tour ads intact especially the £2.50 tour shirt imagine what one of those would be worth in 2021? Wow!


So in a nutshell of course its a no brainer for Sabbath fans old and young this is another of those box sets that is a must-have and another exceptional package to while away the hours and marvel at the masters of heavy metal and what a class act they really were even when they weren’t at their best they were still better than most.

Buy Vinyl Here

Buy CD Here


Author: Dom Daley




4-CD And 5-LP Versions Of Black Sabbath’s Seventh Studio Album Features The Original Album Newly Remastered,

A Brand New Mix Of The Album By Steven Wilson,

Plus Previously Unreleased Outtakes, Alternative Mixes, And Live Tracks


Pre-order HERE: Here

Black Sabbath embraced change in 1976 when the heavy metal innovators started managing themselves and began exploring different sounds on the band’s seventh studio album, ‘Technical Ecstasy’. The record reached #13 in the U.K. and was certified gold in the U.S.

BMG honors this daring album with a collection that includes a newly remastered version of the original, a brand-new mix by Steven Wilson, plus more than 90 minutes of previously unreleased outtakes, alternative mixes and live tracks. TECHNICAL ECSTASY: SUPER DELUXE EDITION will be available on October 1st as a 4-CD set and 5-LP set on 180-gram black vinyl. Both the 4-CD and 5-LP versions are available for pre-order now: Here .  The remastered studio album will be available the same day on digital download and streaming services. The newly remastered version of “Back Street Kids” is available today digitally. Click to listen now: Here


In the summer of 1976, Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward headed to Miami to record Technical Ecstasy at the famed Criteria Studios. The band was coming off a world tour for their previous album, Sabotage, that had found their live performances evolving to include keyboards and synthesizers. These newly incorporated instruments and sounds were then introduced into the recording process on Technical Ecstasy.  The new songs encompassed a wide range of styles from the hard charging “Back Street Kids” and ballad “It’s Alright,” to the funky “All Moving Parts (Stand Still)” and progressive “Gypsy.” The album also featured the single “It’s Alright,” which was the first Sabbath song to feature lead vocals by Ward. The Deluxe Edition presents a newly remastered version of the eight-track album, along with an entirely new mix of the album created by Steven Wilson using the original analog tapes.

TECHNICAL ECSTASY: SUPER DELUXE EDITION comes with eight previously unreleased outtakes and alternative mixes. Among those are different mixes of “You Won’t Change Me” and “Rock ’n’ Roll Doctor,” as well as both outtake and instrumental versions for “She’s Gone.” The collection concludes with 10 previously unreleased live tracks recorded during the 1976-77 Technical Ecstasy World Tour. The songs touch on different eras of the band’s history with early tracks like “Black Sabbath” and “War Pigs” alongside new songs “Gypsy” and “Dirty Women.”

The collection comes with an extensive booklet featuring artwork, liner notes, rare memorabilia and photos from the era, plus a replica of the 1976-77 world tour concert book and a large colour poster.


Geezer Butler, a founder member of Black Sabbath, presents his entire solo records in one convenient place (A box Set) and doesn’t stop there as he also includes lost tunes and other unreleased material. What you get for your money is his three solo albums as well as a fourth bonus disc made up of tht largely unreleased material.

‘Plastic Planet’ was released back in 1995 under the name g/z/r and featured Burton C. Bell of metal titans Fear Factory on vocals and is considered something of a classic of 90s heavy metal. The album saw Geezer’s doomy primarily blues orientated mixed with the more industrial influenced metal sound that was just becoming a big thing in the nineties. This was heavy metal with a thud as songs like the brutal ‘Drive-By Shooting’ raised an eyebrow or two.  Something of a departure from that Classic Sabbath sound this was Geezer taking a chance for sure and certainly not standing still. After the epic opener ‘Catatonic Eclipse’ had twisted and turned its six plus minutes into your ear people should sit more comfortably for what was to come.

With a relatively short turn around 1997’s  ‘Black Science’ which had dropped the G/Z/R name and gone with the simple ‘Geezer’, this album sees Butler again work with drummer Deen Castronovo and guitarist Pedro Howse, and like ‘Plastic Planet’, was produced by Butler and Paul Northfield. Bell was unable to provide vocals this time due to commitments with Fear Factory, but his place on the mic was filled by the then completely unknown Clark Brown who delivered an impressively powerful vocal performance over the album’s high-energy and heavy power grooves. Opening with the ‘Man In The Suitcase’ the direction was similar to that of the debut with the emphasis being on powerful grooves and heavy guitar licks.  There were forays into the unknown like on ‘Mysterons’ with samples and synths being used to enhance the alien and out-of-body experience as the main thrust of the album’s lyrical matter was that of aliens, mystery and that of the unknown. ‘Department S’ had its interesting intro before breaking out and making way for Geezer to open up his bass effects on ‘Area Code 51’ again with its grinding groove metal being the main player. there was ‘Northern Wisdom’ to enter a trip-hop territory with breakbeats before signing off with ‘Trinity Road’

It wouldn’t be until 2005 that Geezer would get the chance to continue his solo explorations, having returned to Sabbath for the 1997 edition of Ozzfest, remaining in the band ever since, but in 2005 he released ‘Ohmwork’, this time under the name GZR again. Once again the album featured Clark Brown on vocals and Pedro Howse on guitar, the difference this time being that drum duties were handled by Chad E Smith (the veteran St. Louis drummer, not the Red Hot Chili Peppers drummer).

With ‘Ohmwork’, it was less industrial metal influences that the previous albums were heavily influenced by, but Geezer still didn’t really lean on his past works with Sabbath although obviously, the influence is there it’s still more contemporary than Sabbath but less than his previous offerings and maybe a more traditional heavy rock sound. Above everything, Geezer was and is a music fan and was passionate about the genre that had served him so well drawing on influences from everything that was going on in rock at the time. The metal of ‘Aural Sects’ to the epic, psychedelia of ‘I Believe’ with its gentle acoustic intro that builds and builds into a swirling epic seven minutes. ‘Ohmwork’ was a welcome addition to Geezer’s solo work and a fine full stop to his trilogy that offered a journey of discovery and experimentation from the Bass player as he expertly weaved his songwriting on one hell of a journey and a decade of discovery.


The bonus disc here features material that will be the disc fans will gravitate towards as it’s taken from throughout the sessions of all three albums with rare and unheard material, including three live tracks lifted from his debut album and feature Burton C. Bell on vocals.  There are plenty of demo versions, instrumentals, and rough mixes on offer spread out over fifteen tracks.


This brand-new collection brings together all three solo albums under one clamshell roof for the first time and also features a booklet with never-before-seen photos from the studio from when the original albums were recorded. wrapping up an impressive set to go with all the other excellent Sabbath packages that have recently been released. Again one not to miss from the very talented and capable hands of Mr. Terance Butler.


*There is also a seventeen-track compilation Best Off to accompany this release with tracks taken from all three solo albums. Obviously entitled ‘The Very Best Of Geezer Butler.

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Author: Dom Daley





BMG pay tribute to Black Sabbath – with the release  of a collection that includes a newly remastered version of the band’s sixth studio album ‘Sabotage’ along with a complete live show recorded during the band’s 1975 tour.

SABOTAGE: SUPER DELUXE EDITION is available as a 4-CD set and a 4-LP set that includes the same music on 180-gram vinyl plus a bonus 7-inch with the single edit for “Am I Going Insane (Radio)” and “Hole In The Sky” on the flipside, with artwork replicating the very rare Japanese release of the single. Both the 4-CD and 4-LP versions are available now: Here

The newly remastered version of the original album is also available via digital download and streaming services. Click Here to listen to the newly remastered version of Am I Going Insane (Radio).

To commemorate this incredible release, BMG has partnered with Bewilder Box Ltd., creators of award-winning physical and digital escape room adventures and specialists in IP based puzzle gaming, to create an interactive online environment every Sabbath fan will love, the Sabotage: Escape Room


Enter the mysterious mirror world of Black Sabbath’s ‘Sabotage’ in this this mini online escape room game where your mission is to recover a copy of the coveted Sabotage: Super Deluxe Edition! Travel back in time to the 1970s and make your way through 15 minutes of mind-boggling Sabbath-themed puzzles, where only those with sharpest of wits and heaviest riffs will succeed.
Plug in your Gibson SG, turn your brain up to 11 and see if you’ve got what it takes to be The Prince of Smartness in the Sabotage: Deluxe Edition Escape Room.

Details to note :

·                It’s a single player browser game

·                Takes approx. 15 minutes to play

·                Filled with Sabbath themed challenges

·                Fans can preview album tracks and find secrets in the artwork

·                Mobile/tablet compatible but full computer/laptop recommended for best experience

·                Share your time on social channels using #SabbotageEscapeRoom




Right, let’s start with what a box set should consist of.  Personally, I want something that’s going to wow me and have me waiting for the post in anticipation of its arrival.  Sure there are some that try to be innovative like the Keith Richards box sets with the elasticated straps and pouches but it’s called a box set for a reason and when they cost a pretty penny I want it housed in a sturdy box that will last.


I want it to look like a box, open like a box and contain extras like a nice book from the time period may be a replica laminate or some badges that type of thing and to be fair BMG deliver on the box set front and what you see is attention to detail and a quality finish for your hard-earned.  From the mini replica CD slipcases that house the disc in Japanese disco bags is a nice touch as is the tour poster but to give credit where its due is the book that’s packed with loving detail and really informative labour of love a real credit to the Sabbath catalogue and a box set well worth owning.


Originally released in 1975 (when Sabbath was worse for wear from certain substances and off the pitch wranglings so to speak), the album is so-called because the band felt the recording process was being sabotaged by their former manager Patrick Meehan. The band fired him as they felt they were being tucked up, and he sued them in turn, with lawyers serving writs to the band in the studio. The tales from all four in the band are well known, and the enclosed book expands on those stories.

The book contains very in-depth liner notes, and rare pictures, live shots and rare editions of the album. I think really helps when you can see the passion put into the release.

Then there are 4 CDs in card sleeves and the first is the original album, with its famous cover showing the band facing the same way in the mirror’s reflection. The original concept to signify sabotage was itself sabotaged (ie the black costumes not appearing before a rushed photo shoot) and it was too late to the change the idea, Bill Ward wearing his wife’s red leggings still makes me giggle as to how it makes him look and with it being on the album sleeve he must have been off his trolly.

The opening track Hole In The Sky is classic Sabbath, it’s a great riff, raw and heavy (something influenced by the tension in the studio caused by the legal issues). followed by the juxtaposed ‘Don’t Start’, an acoustic instrumental showcasing Iommi but something of an interlude for me and my love of instrumentals. Heavyweight ‘Symptom Of The Universe’ both in riff and quality of songwriting its classic Sabbath.

‘Megalomania’, is something of a marathon clocking in at 9 minutes. really is of its time as it ebbs and flows from piano with a progy touch, weird harmonies but always with one eye on that Sabbathcrunch and heaviness.

Having a 4 minute instrumental is also a bit dated and certainly of its time.  single is Am I Going Insane (Radio) is another swerve as it turns up the amps again before closing out on ‘The Writ’ again another lengthy number.

Possibly not as commercially accessible with some of the band’s other albums it is worthy of the expansion and maybe time will be kind to this album and people will indulge in the whole package and gaze upon this album with fresh eyes and of course ears.

Discs 2 and 3 are a live show from the 1975 ‘Sabotage’ tour of North American tour, previously unreleased in its entirety. It does have a bit of a high-quality bootleg feel to it having some of; ‘Volume 4’ tracks left in is great to hear alongside classic Sabbath tunes.

Modern rock fans might need to get their heads around having two jams that do go on a bit (13 minutes in fact)   guitar and drum solos intact and present respectively.

With no more bonus material or studio tunes that hit the cutting room floor available it only leaves disc 4 which is a replica of a Japanese single of ‘Am I Going Insane’ (Radio) / ‘Hole In The Sky’.

History is written of one of the least popular Sabbath original line up albums but with this loving upgrade it’s something that can stand shoulder to shoulder with previous lavish box sets from the Sabbath catalogue. Excellent packaging that really does justify its price tag. Hopefully, BMG will continue making the Sabbath Boxsets and seeing as there are only two more albums to cover of the original line up it would be a shame to stop now.

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Author: Dom Daley

‘Second hand band’ is the latest offering from Aussie hard rockers Avalanche. The Sydney based four piece have been around for two years, and have built up a strong following in their native Oz and even have their own music festival! I know!


The band have their tongues very firmly in cheek and sound ever so slightly like that other well-known Australian rock band, yes them, the ones with a lightning bolt in their logo. They aren’t afraid to show their influences on their sleeve and let’s be honest, it hasn’t done much harm to Airbourne’s career. It does get a little too close to the mark on occasion though, with the riffs sounding almost identical to a few AC/DC numbers. Being influenced and downright plagiarism are completely different things!



Opening track ‘Killer Instinct’ bounces along nicely with some shouty bits and a great widdly guitar solo from lead guitarist Veronica ‘V’ Campbell and a frenetic, full on rock n roll ending. Next up we have the title track which tells us the bands story so far, including lyrics about ‘wanting to blow them all away’ and they admit that they are pretty much re hashing everything that came before them. After listening to the lyrics to this I start to enjoy the band more. They don’t give a fuck that they sound like other bands, and they are obviously having a great time. The production of the EP is crystal clear with plenty of bottom end to boot.



‘Get Back (To Fuckwit City)’ is ‘If You Want Blood (You Got It)’ played slightly differently lol. More great lyrics with plenty of puns here make it a standout track. Vocalist/bassist Steven Campbell (yes, they are married) barks out the words with gusto and his better half cranks out more fine solo work. ‘Spit in My Mouth’ starts off with a nice build up before we are off into full on AC/DC territory again (think ‘Riff Raff’ and you won’t be far off). Drummer Ryan ‘ADHD’ Roma deserves a mention here, his solid grooves propel the band along superbly.

‘Down in the Gutter’ has a more Ramones-like feel to it with a more up-tempo groove before dropping down into an extended jam. There’s more solid guitar work from Campbell and rhythm guitarist Arthur Divis on display here. Final track ‘Permanent Ink’ closes the EP in style with another barnstormer.

Avalanche aren’t going to change the world and they certainly aren’t doing anything new, but they sound like they are having a blast, and I would bet that they are a great band to catch live with a few beers at your local dive.  Don’t over analyse them, just bang your head, stamp your feet, and enjoy a burst of good old (new) fashioned rock n roll!

Buy ‘Second Hand Band’ Here

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Author: Kenny Kendrick