Alter Bridge: Walk The Sky (Napalm Records)
Release album, tour, dip into side projects, regroup, repeat. That appears to be the pattern which Alter Bridge has followed for the past decade. Now an established arena band and often touted as the next big Download sized headliner, the Americans are back with studio album number six, and it’s another big one with 60 minutes and 14 songs to get through. Now, I gave The Last Hero a glowing review back in 2016. That album showed a darker, heavier side to the band and Walk The Sky opens in typical bombastic style with Wouldn’t You Rather, a fist pumping anthem which will no doubt be the setlist opener for their forthcoming UK Winter arena tour. The guitar work is razor sharp, with Mark Tremonti once again showing his undoubted talent with some blistering solo work. After that though, some of this album becomes classic rock written for arenas; yes, in the manner that Alter Bridge do so well, and some may say, do so very comfortably. And maybe that’s where my problem with Alter Bridge lies. Whereas The Last Hero was explosive and memorable (for example, Show Me A Leader still resonates deeply), there is something that at times is ever so slightly lacking at first listen on Walk The Sky. In The Deep is mediocre, whilst the keyboards on Godspeed don’t enhance what is a singalong that their huge fanbase will be screaming at the top of their lungs come December.
Now don’t get me wrong. This is far from a poor album. In fact, in many respects it moves Alter Bridge directly into the ‘top’ bracket. Myles Kennedy, surely one of the best frontmen in rock remains vocally as sonic and soaring as ever. The engine room of Scott Phillips and Brian Marshall are tighter than an Extinction Rebellion protester’s hand on a tube train and Tremonti is once more throwing riffs out for fun. Native Son rocks comprehensively, a thoroughly barnstorming track which is followed by a riff heavier than a bus full of elephants on Take The Crown. These two tracks back to back immediately pick the interest up, jagged guitars and Kennedy’s soaring tenor dragging you back in, the chorus hooks clawing deep. Indoctrination roars loud and proud, although The Bitter End is routine and a little dull. Luckily this is closely followed by possibly the standout track on this album, the Metallica/Soundgarden hybrid of Forever Falling.
There is nothing here that screams “terrible” whatsoever but after about 40 minutes there is a fatigue that sets in, especially after we pass the album’s anthem, Walking On The Sky. Maybe it’s me but cramming 14 songs into an hour suggests quantity over quality on occasion. I’m in a quandary to be honest. Today’s new classic rock is generally anything but new. In Alter Bridge, we have a band that possibly represent the brightest hope to a genre that appeals to the mainstream. They are an entry level for kids to progress to the darker and heavier bands as well as providing new music in a scene that can be staler than two week old scones and yet although I’ve seen the band live several times I have little interest in ever seeing them again. This album is enjoyable. It’s just missing the wow factor that I really, desperately want Alter Bridge to deliver. Good but safe. 7/10
Cirith Ungol: I’m Alive (Metal Blade Records)
Formed in 1972, Cirith Ungol were one of the original American power metal outfits. Four albums were released before they split in 1992, including the debut Frost & Fire and 1984’s King Of The Dead, an album that mesmerised me for years (re-released by Metal Blade over two years ago - http://musipediaofmetal.blogspot.com/2017/05/reviews-cirith-ungol-night-demon-mythra.html ) The band utilised themes of sword and sorcery, fantasy and darks, and of course were named after the spider pass in Lord of the Rings. The band reformed in 2016, with three of the original quartet still firing on all cylinders. This live release (and there is an extensive box set for the super fan to purchase) captures the band at the height of their reformed power. The bulk of the live recording comes from 2017’s Hammers Festival in Athens, with additional sections from the Hammer Of Doom Festival (2017) and the Rock-Hard Festival (2018), both in Germany. The set list is massive, covering songs from their entire back catalogue.
Thick, heavy riffage cascades down from the heavens in a crushing assault which blends the power metal with the doom style which the band adopted early in their career. Tim Baker’s vocals remain as astonishingly bizarre as ever, and whilst I’ve seen quite a lot of on-line criticism of the man, his raw rasping scream is an essential part of the entire Cirith Ungol sound. Tracks such as Atom Smasher, Master Of The Pit and the closing roars on Cirith Ungol would sound dreadful without the unique vocal delivery. The dual guitar delivery of Greg Lindstrom and Jim Barrazaz lights up the album with support from Night Demon’s Jarvis Leatherby on bass and the solid powerhouse drumming of Robert Garven. Whilst this may not be to those of a more modern taste, for those who enjoy old school metal this album should definitely indulge. It’s raw, it’s still loose but above all it’s a monument to a band whose legacy continues over 45 years since they first formed. 7/10
Cybernetic Witch Cult: Absurdum Ad Nauseam (Self Released)
Time for new music from the South West spacelords Cybernetic Witch Cult. The band has made substantial strides since their 2015 demo‘Morlock Rock with their 2017 release Troglodithic Trip a highlight of recent psychedelic stoner rock. With relentless self-promotion the band has appeared across Europe with some big festival appearances (Bloodstock and HRH Doom v Stoner included). Album number 3 sees the trio pushing their talents harder and further. The roars of vocalist and guitarist Alex Wyld on Hypercomputer Part I over the sludgy, doom filled track leave you assured that CWC are on fire and ready to take you on another cosmic journey. The songs are superbly anchored by the thunderous rhythm section of bassist Doug MacKinnon and drummer Lewis May, Massive riffs crash from the sky throughout, with the Sabbath heavy Cromagnonaut and the hauntingly deep The Cetacean amongst the highlights. Another fine album, Absurdum Ad Nauseam continues the progress of one of the finest bands in this genre. Well worth taking the trip. 8/10
Sonic Moon: Usually I Don’t Care For Flowers (Self Released)
A four-piece from Aarhus in Denmark, this five-track release follows up the band’s 2018 debut Ep In Orbit. Full of dark psychedelic stoner and noise, this is raw, emotional and at times haunting. There is plenty of variation across the Ep, with the pumping open track All Things Evergreen and Epitaph amongst the more impressive songs. Switching style and pace, Usually I Don’t Care For Flowers is an emotional cocktail of sorrow, rage and nihilism. 6/10
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