Metal maniacs, rejoice! I'm proud to present to you: SHAWN JAMES & THE SHAPESHIFTERS; signed independently, performing Hard Rock - on their debut album entitled "The Gospel According To..." (released April 7^th, 2015).

Since formation in 2013; the quintet in question have 7 albums in their discography so far, I'm introduced to their 6^th deliverance: "The Gospel According To...". The quartet provide a solid slab of diverse instrumentation and musicianship, and a very distinctive array of intricately designed varieties that's marvellously intriguing. 10 tracks ranging at around 37:24, "No Gods" opens this classy record yet delights with a distinguishable balance of unprecedented characteristics and an enlightening sound production/songwriting process. The main man himself - Shawn James, arranges unique developments in his vocalization which amalgamates from clean singing to yelling shrieks which contrast with savagely sinister orchestration which are admirably epic. The guitar playing is full of chugging exhilarations – with enormously thunderous distortion which, if you like your music louder than hell like I do, this will provide a delightful experience to the fullest.

Consisting of Baker, who organizes the Tenor Banjo element - this unique component is well implemented in the song "Like Father Like Son", it showcases groovy punchlines which surprisingly supplies a complex structure and is executed profusely. It opens with a relentlessly paced riff which is captivatingly raw, while juxtaposed with amazingly organic voice capabilities which flourishes with dextrous efficiency all round. "Lost" consistently exhibits bluesy rock aesthetics as violinist Chris Overcash performs with cleverly invented composing expertise, and more of those dirty, grungy substances which utilizes a mixture of Folk/Rock/Heavy styles constructively. "Wild Man" has hastened rhythms and craftsmanship that's proficiently dominant, powerhouse drummer Zach Coger sufficiently smashes his set with hard-hitting measurements - this band consecutively manifests with a grandiose of epic orchestrations so far.

"Strange Days" compiles more meaty hooks as it begins with a speedy riff and excels with a glamorous component involving more of the tenor banjo performances which rapidly hastes with exciting leaps and significance. "Lake Of Fire" has relaxed rhythms in which shines with prominent adequacy, while the folk melodies in "Just Because" follow suit with more delicate salubriousness. The band coherently utilizes the use of filthy grunge mechanics which flair with groundbreaking methods - "Back Down" is another laid back track which manages to distribute country style renditions that sound delightfully welcoming. "Lilith" keeps the aforementioned indifferences in check, while the vocals near the end get more intense with immense grunts and supreme adroitness profusely. Overall concluding this record with the calming "The Sandbox", I am compelled to say this was a fantastic record that all music fans will enjoy.