Twenty songs. Thirty minutes. You can pretty much guess how this one’s going to go.

Basque, France’s Infest erupt out of your speakers with an aggressive combination of hardcore, powerviolence and grindcore that is a welcome surprise from the land of wine and fashion. These guys tear though Nasum and Napalm Death inspired blasting grind like there’s no tomorrow, rarely letting up for a moment.

The guitars are thick and driven while the rhythm section bludgeon with the best of them. Vocally, the screams settle mainly in the mid to higher end of the range, only dipping occasionally into guttural silliness for those extra special moments. Overall, Moshroom is appropriately titled — you’re brain will feel like it’s caught in a never ending mosh after a few listens to this album.

Peace Love Freedom and Flowers
The album starts out with some pretty beefy riffs and rapid fire drums… hell the whole album is chock full of this stuff. The drum tone took a while for me to get used to, but I love the vocal destruction these guys are letting fly.

Murphy’s Law
The dual vocals really add that extra bit of oomph that pushes the album into greater depths. This is a thick, moshtastic song that will have you spinning around your room Tasmanian devil style in no time.

I Ate a Bin
There’s a nice death n’ roll groove to this one in between the manic drum and vocal eruptions. It’s definitely a stand out track on the album.

Identical Bodies
There’s a decent chugging bit of riffery weaving throughout “Identical Bodies,” a song that, for the most part, is pretty even keeled and easy to get into. The slow down at :43 has a nice groove to it.

20th Century Fucks
Full on grinding destruction can be found in the short 1:38 that this one takes up. It’s full on from the get go and never lets up.

How Many Minds
Mmmm… guttural pig squeals, or at least the French variety of them, opens up the vocal delivery on this next song. The change in guitar tone at :45 is a nice touch that lets the song breathe nicely before disintegrating into grinding blasts to end out the song.

Greatest [S]Hits
I’m digging the Napalm Death feel to the guitars on this one while the more hardcore like vocals are shouted violently over them. They combination makes for a very aggressive sound.

Future is for Us
“Future is for Us” has more of that death n’ roll vibe to the early riffing, but quickly descends into grinding madness with rapid fire drumming and much deeper guttural vocals piled into the already chaotic delivery.

Could Anybody Answer?
There’s a great punk/hardcore vibe to the guitars and drum work that gets this next one off to a voracious start. The grind kicks in a t:45 with vicious vocals and massive drumming. The bass lines running through this portion of the song are pretty damned thick.

100% Malin
Man, this song is delivered with some vehemence. The vocals are tortured and raw while the rest of the band bludgeons their way through 30 seconds or so of destruction.

Paberse Matao
The reverb that ends out the previous song fades into the meaty riffs that comprises “Paberse Matao.” For as beefy as this song is, there’s still a pretty decent groove in it’s unrelenting attack. The end of the song is a mass of verbal chaos and reverb.

This Song is Called
This is a killer track with massive riffing, thick rhythms and vicious vocal work. The burst of activity at :48 is barbaric as all get out. I’m digging the amount of effort that’s been put into the throat wrenching vocals.

The Slyness of Repercution
“The Slyness of Repercution” has a great, doomy feel to the massive guitars that fills the 1:48 long instrumental.

C2h5O5
The band gets back to the blistering grind after that brief respite with this violent trip through “C2h5o5.” I’m not sure how ethanol plays into the band’s song writing, but if this song is any indication they’ve been gargling this shit every morning.

Playboy Square
“Playboy Square” is a pretty traditional dual vocal grind attack. The guitar tones are down tuned and thick while the drums unleash hell upon your ears.

Moshroom
The title track is a brutal back alley beat down from the moment the song opens up until 30 second later when it just as violently leaves you laying unconscious in a pool of your own feces.

Shoot the Pope
Dude. This song kills it. “Shoot the Pope” is a full on death n’ roll influenced batch of mid-tempo grind. I’m loving everything about this song. Well, except for the inexplicable pig squeal around the 55 second mark. The higher end shrieks around 1:30 are intense. This is a beast of a song.

Mr Polkak
I’m not sure how much more my feeble brain will be able to withstand after listening to this album a couple of times today. I’m pretty sure I’m going to be useless at the office tomorrow. Ah well, they can suck it. I’m going to crank this shit loud through the rest of the night.

Rent a Wife
This next song is another of the few that have a more traditional grind sound ala early Napalm Death. It’s a bruising track with thick guitars and violent drum work. The vocals on this one are aggressive as all get out.

Polype
The album closer is a bestial track but has some crazy wacked out vocals that really show that these dudes know how to have some fun with themselves.

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Additional Notes:
N/A

This three piece blues/doom outfit from Madison, Wisconsin dig arcade games, robots and rock n’ fuckin’ roll. Droids Attack‘ third album Must Destroy is filled to its crusty brim with tongue-in-cheek song titles, bluesy scuzzed out guitars and a rhythm section that’s creative and thundering.

Founded by vocalist/guitarist Brad Van, the trio blend bluesy guitar tones into meaty riffs that ooze a doomy, stoner vibe. The grooves rumbling through each song are infectious and catchy, leaving you a heaping pile of raucous hard rock to worm your way through.

This is the type of shit you’d want blaring out of half blown speakers as your drag a near empty keg through your decimated basement, weaving in and out of passed out bodies, out the back door bleary eyed and slightly crispy from the night before. These dudes deliver music made for a major rager and have a sound that makes you feel like anything could pop off at any time of day.

Unforgiven 4
“Unforgiven 4” lets everyone in on what these guys are about. After a solid 55 seconds of noise and reverb that fades in slowly over that time, we’re greeted with big, doomy riffs that are hear to bury you before the album even gets into full swing The lead that joins in at 2:15 is short, but soulful.

Great Wall Of Gina
“Great Wall Of Gina” kicks the album into high gear with some High On Fire inspired riffing, massive drums and thick bass lines. The uptempo rhythm keeps the thick, fuzzed out guitars from suffocating too much. Vocally, the delivery is relatively clean, raspy and a bit in the distant, sheltered beneath this huge umbrella of doomy, stoner riffs — they are perfect for what the band is doing with their sound.

Blueshammer
“Blueshammer” is certainly that — a hammer of bluesy riffs and pummeling drums. The raucous start to this one will have you throwing horns as you bang your head along with the thick groove. This is a bad ass track, plain and simple. Easily one of my favorite songs on the album, this one has some balls. The bass lines alone are indicative of the burly tones the band is hurling around with “Blueshammer.”

Arcade Bully
Wow. The opening riff to “Arcade Bully” is hands down one of the best on the album. The rhythms that accompany it suit it perfectly. This is a hard rock anthem if ever there was one. It’s heavy, rocking, massive… everything you could want in a song. The lead at 2:17 is bluesy in nature, but shreds like no tomorrow before shifting into a huge Sleep influenced doom riff. I gotta hear that one again.

Must Destroy
Another sweet doom oriented bit of guitar work keeps the momentum churning along as “Arcade Bully” transitions smoothly into the title track. For as awesome as the riffs are throughout this album, it’s the combined rhythms of the bass and drums that turn out to be the unsung heros, matching Van’s guitars perfectly with nicely timed transitions and tempo shifts.

Crisis In The City
“Crisis In The City” starts off much slower and more deliberate with bluesy, fuzzy guitars before shifting into a riotous blast of sweet riffage and a more aggressive vocal delivery. The drums push the band along nicely as the guitars warble and the bass lays it on thick. This is a relatively quick song at just over three minutes in length that blends in seamlessly to the next track.

Canadian Death Bus
“Canadian Death Bus” fades in with a blues and roll feel that sounds like something George Thorogood might have cranked out had he been into doom. The extended lead that starts just before the two minute mark hovers nicely above the thicker rhythms. This is a song full of all kinds of great stuff and envelopes you in a sweet atmosphere.

Koko Beware
After that epic track the guys get back down to business with driving riffs and thundering drums. The uptempo “Koko Beware” is chock full of doomy and bluesy mayhem, meaty rhythms and a quick vocal delivery that’s punctuated with a sweet lead at 3:20.

Astro Glider
The final song on the disc slows things down a bit with monolithic guitars and sick, rocking lead just after the song opens up. This is essentially Brad Van letting loose for a few minutes with his guitar while keyboards and the rhythm section lay down a solid foundation for his fuzzy guitars to stand out. This is one hell of a way to close out the album.

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Additional Notes:
N/A

Comprised of current and past members of Novebers Doom, Chicago’s These Are They let loose with one hell of a debut album. Who Linger straddles the line between straightforward American death metal, the more melodic Swedish variety and doomy elements of their other endeavor. Featuring massive down tuned guitars and a raw, yet rich production, the band has enshrouded themselves in a thick wall of doom influenced death metal.

At times reminiscent of Amon Amarth, the guitars feature anthemic flourishes that are epic in nature before stepping back into the abyss with burly, doom tinged rhythms and riffing. These Are They does a great job of morphing from chugging grooves to brooding passages that swell with an atmosphere of desolation, all the while punishing you with bruising rhythms.

Front man Paul Kuhr maintains a burly, guttural delivery that fits his band mates perfectly. There are only a few moments of oddness vocal-wise — the clean vocals of “The Indweller” and a depressive, yet interesting take on Soundgarden’s “4th of July.” Overall, the guys come together well, delivering groovy, doomy and bruising death that just about any fan of metal should enjoy.

Ascension
“Ascension” serves as an instrumental opener to the album, starting off with distant noise and atmosphere (the first minute or so) before peaking with some seriously catchy guitar work that’s melancholy in nature yet still holds quite an epic feel. I honestly could listen to those guitars all day.

When The Voices Sound Deadly
It’s not until “When The Voices Sound Deadly” gets going that you know these guys mean business. Starting with a guitar tone similar to the album opener the band quickly shifts into an Amon Amarth like combination of double bass and chugging riffs. The layered vocals that appear throughout the song add a good deal of depth to the beefy guitar work. Even though the sound is similar to their Norse counterparts, Who Linger has a deeper, more doom oriented tone to the guitars and completely different lyrical content. There’s a decent lead at :330 that fits in nicely with the dark tones.

Upon The Doors Of Oblivion
This next one is a chugging monstrosity of a song with an opening few moments that will have you head banging like there is no tomorrow. Once the vocals kick in, deep and guttural, the guys kick it up a notch into the quickest clip on the album. The guitars add an air of bleakness to the deep walls of sound these guys are kicking out. There is a definite doom influence on the guitars within this song.

In The Halls Of Waverly
This is probably my favorite song on the album. Massive drums combine with deep, doomy riffs and a very direct vocal approach for one foreboding and dark sound that ends up having a great head banging groove and open vibe to it. The drum work throughout the song is what really makes it for me. And for such a “slow” song, it packs a hell of a punch.

Blood Vengeance
While most of the material on the album is rathe slow moving, this one has a decent up tempo pace with catchy guitar work and shifting rhythms. There is plenty of aggression delivered with the rolling drums and driving riffs. There’s definitely an air of vengeance in the vocal delivery, as well. Be sure not to miss the lead at 2:54.

Eclipse Abysmal
For as dark as this song is, the guitars carry and epic feel in what is probably the moodiest song on the album. Massive doomy riffs dominate a good portion of the first minute or so of the track before the vocals kick in deep and guttural. The groove thundering through this song is thick and monolithic as the guys chug along. There’s a good deal of power surging through the guitars and drums around the 3:20 mark that’s followed by a decent lead.

The Indweller
A Swedish death metal feel opens up “The Indweller” with plenty of rolling drums and semi-melodic guitars. A huge growl and catchy riffs kick in just before the one minute mark and will leave you nodding along with the crew as they settle in to a nice groove. The moody, somewhat clean, somewhat chanted vocals that serve as the chorus are a bit out of place. They fit the music well enough, but with the rest of the vocals delivered in a fairly aggressive manner, they really stand out like a soar thumb. It’s an interesting song to say the least.

The Midnight Hour
I love the opening riff work on “The Midnight Hour” as the band shifts into a pretty decent chugging groove and deep guttural vocals. With regard to the vocals, there’s a higher end, raspy shriek added to the mix that helps offset the bowels deep main delivery. The guitars that accompany the chorus has an anthemic and brighter feel to them, especially considering the lyrical content to this song. I’m also loving the super gutturals after the four minute mark.

Resurrection In White

“Resurrection In White” has an interesting beginning with an equally interesting vocal delivery — it’s deep and guttural of course, but the staggered nature of it to match the music is pretty sweet. Overall, there’s some nice song writing throughout this one with plenty to keep you entertained and head banging along with the sludge tinged riffs. The soulful lead around 2:40 is dripping with sorrow and despair.

4th Of July
I’m not 100% familiar with this particular Soundgarden song, but These Are They’s take on it certainly is chock full of gloomy atmosphere.

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Additional Notes:
N/A

No offense to Howard Jones (you’re a killer front man), but Killswitch Engage was never the same (at least for me) after Jesse Leach left the band in 2002 — it’s because of Leach that Alive or Just Breathing is still in constant rotation on my stereo. That said, I hated Seemless, Leach’s attempt at a solid rock sound. Thankfully, dude has decided to stretch his vocals, letting loose with some of the best screams/growls/crooning combinations I’ve heard from the guy in a long while.

While The Empire Shall Fall falls within the metalcore tag, they are not merely Killswitch Engage part deux. Drawing inspiration from the likes of At The Gates, the band has also injected their own quirky interests into the mix (jazz, punk and a bit of experimental). The combined effect is Awaken, eight songs of pretty damned good music that sees leach delivering a variety of vocal ranges and messages of a political nature.

Awaken
The title track is comprised mostly of Leach’s softer side with good singing, but it also sees him unleash some sweet growls and shrieks that remind of his previous work with Killswitch Engage. Overall the song has a bit of a Meshuggah feel with off kilter timing and thick riffing. The softer portion of the song around 2:30 is a bit cheesy for my liking, but it only proves to how well these guys can lay down some punishing grooves. The screams that follow that slower section are impressive. “Awaken” is a damned fine way to introduce yourself to the world.

Lords of War
“Lords of War” is a pretty furious song with big screams, driving riffs and an up-tempo rhythm. Man, it’s good to hear Leach unleash his screams — which dominate the majority of this song. There’s a nice groove flowing through the underbelly of this song. The lead at 1:45 has a bit of a rock vibe to it, while the rest of the guys lay down some thick mosh behind it. The arpeggio sweeps around 2:40 are a nice touch as Leach screams.

Voices Forming Weapons
Clean vocals with a bit of an effect added fade in as the drums and steady riffs arrive on the scene. The vocals quickly shift to some impressive screams as the chugging riffs settle into a decent groove. I’m digging the new approach to his delivery that Leach is showcasing here. The clean vocals are well done and don’t simply ape the work he did with Killswitch Engage so many years ago. Hell the dude has even added in an alright deeper growl that adds to his repertoire another vocal weapon.

Choir of Angels
Now here we go! “Choir of Angels” erupts out of the gate with blasting Swedish death metal. Leaches vocals are back by some seriously deep guttural growls in the first moments of the song. This track is full throttle for the majority of it, but also throws in some nice variation on the guitars with a bit of a jazz presence to the noodling. Man, this is one pissed off song. The aggressive nature of the song keeps up until about the 4:12 mark with the mood shifts dramatically atmospheric and moody guitars that go on for another minute or so to end out the song.

We the People
“We The People” immediately brings us back up to speed with thundering drums and semi-melodic riffing. The vocals are fairly clean to begin with and shift to a spoken delivery in the lighter portions of the song, but Leach does belt out some decent screams and barks here and there. It’s not a bad song, but a bit on the mellower side, even with the burly finish.

These Colors Bleed
The guitar work that starts off this next one is pretty memorable and stays the course when the drums come in along with Leach’s quickly delivered barks. The clean chorus is a nice change from the more aggressive, thrash like vocals that dominate the song. Leach shows more versatility throughout the song leaving no doubt in any one’s mind that he’s still got it. You’ll be head banging along with this song in no time, especially during the thick mosh after the two minute mark, as well as the riffing after the three minute mark.

Our Own
“Our Own” has some big riffs to get it going with a brief belch from Leach. The song has a more technical feel to it with strictly timed mosh, melodic guitars and a varied vocal delivery. Holy crap that’s some heavy riffing at 1:30 — a stark contrast to the lighter side of the song. The jazzy elements in this one give it a bit of a spastic feel with plenty of action, layers and tempo shifts to entertain even those of you who forgot your Ritalin this morning.

The Kingdom
Some decent and memorable moshing starts off the final song Jesse Leach’s return to form. His vocals take a bit of a back seat to the riffing and drum work, but still have plenty of power and dominance in their delivery. The guitar work at 1:30 is pretty sweet. It’s not the strongest song on the album, but a decent enough way to close out a pretty damned good album.

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Additional Notes:
N/A

Sweet mother of all things unholy! Nova Scotia’s Thy Flesh Consumed unleash some serious sonic destruction with their brand of blackened death metal. The band’s fourth studio album, Unrepentant, has a perfect title for the blasphemous sound it contains. There guys hurl bludgeoning death metal riffs, caustic vocals and more at you with little to no remorse.

Overall the album is full of death metal fueled, chunky riffing with plenty of crunch. The rhythms are pretty much full bore the whole time, but do let up here and there to keep from becoming overbearing. Vocally, the growls sit mostly within the mid-range, raspy growls, but do reach into the guttural depths from time to time, as well, as a few nicely timed shrieks.

All in all, there are a boat load of crappy death metal bands out there. Thy Flesh Consumed ain’t one of them. Buckle up and hit play cause these dudes mean serious, evil business.

Siege Engine Of Unreligion
“Siege Engine Of Unreligion” erupts right out of the gate with a massive wall of destruction complete with thundering drums, layered vocal mayhem and blackened guitars. Once the guys “settle” into the song, they really let loose with blasting drums, thick death fueled riffs and plenty of vocal aggression. The short tempo shifts are plenty to keep you fully at attention and ready for the next blast of bestial pandemonium.

The Disciplined Scorn
How do you match the ferocity of an opening track like that. It’s quite simple actually. You just amp up the vile evil a notch or tow with thick riffing and animalistic drums. The vocals so far on the album are straight from the depths of Hades for sure. I’m not sure if it’s a dual attack or if this is just one talented dude, but it’s impressive nonetheless. The lead around the two minute mark has a great blackened texture to it.

Blood Drenched Creation
The opening guitar work on this next song is evil in a league with Satan. And you better damn well be ready for the drums when they finally get into the act. This is a blasting, furious track that’s dripping with contempt. The vocals, which I’m convinced is a dual attack, are delivered and layered perfectly giving the song some tremendous depth and power. The eruption of blasting drums at 1:54 leads into layered vocals that swirl amongst chaos and blackness. This is an awesome freakin song.

The Demolition Of Thought
Man, it’s been a long while since I’ve heard an album with as much vile aggression and power as Thy Flesh Consumed have doomed the earth with. “The Demolition of Thought” is merely another step in the band’s conquest of all those you listen to their blasphemous brand of death metal. The vocals seem even deeper than the previous tracks (if that’s even possible). I love the blasting black metal trade off with the thick, rumbling bass leads. This song is full of hulking, blackened riffs and manic drum work.

Ordinance Subservience
This next song has a decidedly more bleak atmosphere and much more of a blackened feel to the drums as they blast furiously behind the wall of guitars and rabid, evil vocals. This song is like getting caught in the middle of a violent tornado that’s going apeshit on your hometown. I love the trade off between the higher end and deep guttural growls.

Devout Heathen
Finally, a bit of a respite from the onslaught. “Devout Heathen” builds up slowly over the first 30 seconds or so into a pretty decent clip with thick bass and rapid fire drum work. The guitars are chunky and unrelenting as the vocals come in after the one minute mark. Throughout this track you’ll be bombarded with evil growls and blasting rhythms. These dudes know how to lay down the hate. I’m digging the chugging riffs and deep gutturals around the 4:20 mark that eventually end the track.

Hasten The Apocalypse
Wow. I’m not sure I want to continue with the album after that last song. I’d rather end on a high not instead of… oh wait… this song shreds too! It’s not nearly as bruising as “Devout Heathen” but what it lacks in punch it more than makes up for in blackened, thrashing malevolence. This thing has the evil spread on thick. There is a nice slow down midway through the song that really does a nice job of breaking up the blasting nature of the band — it’s also got some decent groove. That said, it doesn’t last long as the guys unleash chaotic hell with layered vocals, manic drum and spastic guitars. Holy shit, I’m going to need to change my shorts.

Sacrilege And Clarity
“Sacrilege And Clarity” starts off with rapid fire drums and thick, distant riffing. I’m imagining that this song would be the soundtrack of every lost soul’s entrance through the gates of Hell. It’s just got that certain something which makes it that much more evil than the rest of the album.

Thralldom Of The Crowning Mania
The guys wrap up this stellar album with “Thralldom Of The Crowning Mania,” a track thats got some of the thickest riffs on the album. The vocals, while still as violent as ever, seem to fade in the distance a bit, but perhaps that’s due to mild hearing loss after cranking up the volume on that last song. Thy Flesh Consumed keep the vileness and blackened death metal flowing like the River Styx with this song. Man, these dudes are pissed.

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Additional Notes:
N/A

Originally formed in 2005 as Despotic Robot, this small band of maniacs from Massachusetts have finally gotten around to unleashing their first full length album and it’s a ripper. Combining retro thrash with a snarling punk element, Ramming Speed deliver 13 songs packed full with aggression, speed and hellified mayhem.

Brainwreck isn’t going to win any awards or be crowned the new messiah of old school thrash, but what it will do is kick you in your ear hole with enough vehemence to make you like it and come back for more. There is and old school aesthetic to the band’s sound (mostly in the production), but there’s also a modern twist to the overall vibe of the album. I think it’s the hardcore and punk attitude that’s spitting at you throughout each and every song. Hell, there’s even a bit of a grind influence thrown in for good measure.

Speed Trials
“Speed Trials” gets us off to a rabid start with driving, punk tinged guitars, pummeling drums and the raspy shouts that dominate the vocal delivery (although a deeper more guttural growl shows up here and there). If there’s one thing I’ve found through listening to this album repeatedly the past couple of days — I mean beside the Slayer influence the peeks in here and there — is that this fucker needs to be played loud. Real loud.

The Threat…
A more spastic opening few seconds introduces us to the next song. It’s a violent, aggressive song with plenty of raw, unbridled, in you face attitude. We also see the more guttural vocals for the first time on this song. The lead at 1:03 is pretty darn good.

Lazer Assault
I love the opening guitar work and animalistic drums that gets this next song going. It’s evil and speedy — a great combination in my book. More deep vocals make an appearance in here as well as some group shouts that once you figure out how to keep up with the band are nice enough to shout along with.

All In All
There’s a bit of a beefier feel and thicker sound to this one as the guys bludgeon their way through chugging riffs and steady drum work. I’m digging the vocal work throughout the album. You can tell dude isn’t holding back in putting as much in his shouts and snarls as he can.

Shane Embury Is The Brad Pitt Of Grindcore
Besides having the best song title on the album, this one will also beat the fuck out of you with a more aggressive grind feel. The deep, guttural vocals certainly don’t hurt either. This is a wild track.

Bogus Facade
A slick bit of riffing gets “Bodus Facade” off to a sweet start with steady drum work and a more mid-range shout. This is just one of those songs that is just too much damned fun to listen to. It’s speedy, aggressive and neck-snapping awesomeness. There’s plenty of opportunity for you to shout along with the band on this one.

Sound The Alarm
Mmmmm… reverb. The start of this next one certainly sounds like alarms going off — which really isn’t helping my hangover any. The guitars on this song are huge as they build to the chugging riffs that the band eventually settle into for this mostly instrumental track. The lead that dominates the middle of the song is hellified good just before the guys let loose with everything they have in a blinding whirlwind of riffs and drums.

Immigrant Song
Nope, this certainly isn’t a cover of the classic by Led Zeppelin. In fact, it’s something so far removed from the original, but goddamned if it doesn’t punch you in the balls repeatedly with driving riffs, grinding drums and gnarly layered vocals. This is a violent ride for sure.

Political Party
“Political Party” fades in quickly after the end of the previous track with punk tinged riffs and barbaric drum work. This is pretty much straightforward in both terms of the lyrics and the means with which the band deliver their message.

Man vs. Machine
Big drums and reverb get this next one off to another rabid start as the drums erupt into a frenzied pace. Violent, aggressive thrash through and through, “Man vs. Machine” will beat you bloody and wanting more. There are also some nice gang vocals before the lead at 1:28.

Arrested Development
The overall tone to the guitars on this besides their furious delivery is a bit darker. This one hits the accelerator hard and never lets up as the guys plunder your ears with caustic riffs, pile driving drums and aggressive vocals. I love the hell out of this song.

A Modern Myth
“A Modern Myth” starts off with a classic bit of punk drum work before the guys get into their burly thrash groove as the vocals come in. This is a beefy song that will leave you winded and unsure if you can take the final song.

Heavy Metal Thunder
I’m pretty sure that this is a Saxon cover, but I didn’t notice anything in the press release that came with the disc. It’s definitely an old school song.

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Additional Notes:
N/A