In 2015, The Murder of My Sweet released a terrible concept album called ‘Beth Out of Hell‘ which their record company likened to ELO and Queen. A brave but foolish claim: in reality, the album sounded a fourth rate Nightwish and it’s hard to imagine even the most staunch Euro metal fan would’ve enjoyed such a charmless, generic set of songs. Its follow up, 2017’s ‘Echoes of The Aftermath‘, was much better in that it actually gave a concession to some more melodic material, but even so, it still wasn’t the kind of record that would set the world alight. None of the band’s shortcomings lay with singer Angelica Rylin. She has a great voice, and as demonstrated on her solo album from 2013, she’s capable of using it far better than The Murder of My Sweet’s general bombast ever seemed to allow.
Paradise Asylum released their debut EP ‘The Storm Queen Cometh’ in 2013. The release was recorded on a meagre budget and vocalist Carla Warnes sang fairly flat throughout, but a couple of tracks demonstrated a can-do attitude that showed that even when they got it wrong, the band clearly loved playing together. Subsequent releases trod pretty much the same path.
It very much seemed that by the end of 2016 there were very few places across the globe that hadn’t been affected by a plague of black metal. Bands were springing up in some very unlikely places and seemingly on a weekly basis. No longer just the product of various Scandinavian territories and a few other places, for such a niche genre, black metal seemed to be big business (relatively speaking, of course). While many bands seemed happy to screech and hiss their way down a familiar path, there genre still had other avenues to explore.