15 years in the making, Re-Evolution the fourth studio album from New Zealand metal crew Devilskin sees them in celebratory but future-looking position. Since their debut album We Rise they have been gaining plenty of national and international acclaim, their songwriting improves with every record and they have gained some massive support slots in their native country, including with Halestorm, who’s Joe Hottinger appears on this record. Now Devilskin play a groove-heavy style of metal, metalcore breakdowns are joined by flashes of thrash all through some bottom heavy alt metal riffs and stellar vocals.
What has bred consistency in the Devilskin sound is that the line up hasn’t altered since the debut. Tony 'Nail' Vincent is still in charge of the riffs chugging mightily, until Paul Martin’s bass takes over when Nail shifts toward melodies and solos, the latter have slowly made their way into more songs since the debut, showcasing the expanding soundscape of the band. Locking down the grooves with dad Paul is drummer Nic Martin again his drumming gets better with each record, check out the percussion on final track Twenty-Eight.
However for many, myself included without Jennie Skulander’s vocals, Devilskin may not have the sheer force that they do. The music is catchy but filled with complexity but it’s Jennie’s massive vocal range that really delivers their message, captivating you with the personal lyricism the band are known for as she shifts between soaring highs, guttural growls and soulful power in her mids.
So then this fourpiece have always had the goods to go far but while they have massive success in their native country they don’t seem to have broken free too often, though I’ve seen them twice in the UK, both times they’ve been impressive. Hopefully then after 15 years and with the promise of their most expansive album yet will they finally break through and show the international audience what they are missing. Well Re-Evolution continues the theme of having a track named after the previous album, kicking off with the confrontational Red, the production of long-time collaborator Dave Rhodes highlighting the bigger and nastier sound to this album, in a moment of nostalgia, Red has the same “yeah” refrain as Dirt the final track on debut album We Rise.
Then though we go into the future with the breakbeat nu-metal assault of Swelter or the electro prog thump of Desiderium (an ardent desire or longing, especially for something lost) but Devilskin still keep a lot of what made them such a revered band, a track such as Have I Come Undone not only having a bit more nostalgia lyrically but showing the more emotional side of the band as Jennie duets with Nik Baker of Twelve Foot Ninja. Re-Evolution does a lot of shaking up of what Devilskin do, Half Life Of Dreams for instance goes further down the alt/emo/pop punk route, Celestial even going as far as venturing into AOR, but much of this record is Devilskin refined and re-energised.
It’s their most consistent and experimental record, 15 years on and Devilskin are still delivering quality music. 8/10
Mädhouse – Plead The Fifth (ROAR) [Cherie Curtis]
Mädhouse has brought us back to the early 90s with 13 hard rock bangers. Plead The Fifth has everything we love from the older classics like the signature piercing guitar solos and sleazy hard rocking vocals and harmonies producing scream worthy choruses.
Midnight Fever has a compelling groove with a memorable harmonic chorus and We Run Riot follows with dynamic build of an electrical organ and a lilting guitar intro before heading full throttle into a rebellious yet almost sweet- toned track. Bring On The Night and Shot Gun Rider opens cold and cues a whammy filled guitar lead like a car engine textured with a pulsating drum rhythm and flattering harmony lines which elevates these tracks further to then end on a heavy breakdown just in case you weren’t already impressed. So far, everyone has remarkable skill, and this album builds on and escalates excitement to continually rock our socks off.
Wicked Hearts, Get A Grip and Live And Tease, provides the meat of the album. All songs here have exceptional instrumentals, but these tracks specifically highlight Lovelace’s talent as a singer, these tracks are catchy enough to be a classic in years to come. Same goes for the later tracks Mad To The Bone, I Die Alone and You Got The Tail Down, these are easy listens and technical marvels exactly what you’d want your glam metal or hard rock to be like.
It’s A Monster In My Head is more experimental than the rest; it has intricated guitar leads, faster drums and…cowbells? Lovelace gives a theatrical performance which reminds me of early Alice Cooper. Just when you think the album might be getting repetitive, I’ll See You In My Dreams is more of an affectionate anthem with soaring vocals, heavy drums and a velvety guitar playing throughout, I’m getting a hint of Scorpions here. Loveplace is more anguished and darker than the former, but both are a complete change of pace for the album but appropriate and refreshing.
I rate this one highly there’s a song for every mood and everything from recording, Instrumental skill and vocals are outstanding. Midway through the tracks get slightly repetitive then it offers a change of pace it’s a fantastic production and is a new favourite of mine. 10/10
Eternal Idol – Behind A Vision (Frontiers Music) [Cherie Curtis]
Behind A Vision features a new line-up for Eternal Idol, we now have Gabriele Gozzi and Letizia Merlo as vocalists and Andrea Buratto on bass with Enrico Fabris on the drums.
Behind A Vision is ethereal, it feels like it’s been plucked from an astral realm and every track is as shadowy and rich as the next. It feels like a soundtrack for a Sci-fi / Fantasy film more than a casual listen. The electrifying dynamic between the Gozzi and Merlo makes for a great new edition to the band and their outstanding, almost operatic voices complement each other perfectly.
This album does justice to the symphonic genre. For their opening track Amnesia, they feature a choir and some stirring string composition from an orchestra before exploding into a stunning duet, this isn't new in the genre however it feels very pristine and advanced. The Enemy Is Me opens with a John Carpenter - esque piano tune which makes for an extremely effective way of creating a thirst for the rest of the album as well as creating a memorable introduction.
Throughout the album the crisp and complex solos, textured rhythms, rich and booming vocals are powerfully evocative of torment and longing, this album is at its best on a particularly dark day to revel in something fiery and fantastical and it would certainly be sight to behold live.
Eternal Idol’s Behind A Vision is more polished and measured than what I'm used to, though I enjoyed myself and was surprised by the level of catharsis this album offered. Each track has a memorable hook and great production and overall, it’s good but a bit garden variety at times. It wouldn’t be an everyday listen for me personally as I didn't find it as engaging as I hoped but I do see myself revisiting it sometime in the future. 7/10
Lorentzen – Leave Nobody Behind (Apollon Records) [Matt Bladen]
“An evocative fusion of minimalist prog and classical elegance” it’s going to take a certain type of person to review this one I think! Especially when the music created by Eivind Lorentzen (Gentle Knife) is “interspersed by Rainer Maria Rilke’s poetry” the latter recited by Brian M. Talgo’s, deep Iggy Pop-like spoken word delivery, close to the mic with a whispered resonance.
Mädhouse – Plead The Fifth (ROAR) [Cherie Curtis]
Mädhouse has brought us back to the early 90s with 13 hard rock bangers. Plead The Fifth has everything we love from the older classics like the signature piercing guitar solos and sleazy hard rocking vocals and harmonies producing scream worthy choruses.
Midnight Fever has a compelling groove with a memorable harmonic chorus and We Run Riot follows with dynamic build of an electrical organ and a lilting guitar intro before heading full throttle into a rebellious yet almost sweet- toned track. Bring On The Night and Shot Gun Rider opens cold and cues a whammy filled guitar lead like a car engine textured with a pulsating drum rhythm and flattering harmony lines which elevates these tracks further to then end on a heavy breakdown just in case you weren’t already impressed. So far, everyone has remarkable skill, and this album builds on and escalates excitement to continually rock our socks off.
Wicked Hearts, Get A Grip and Live And Tease, provides the meat of the album. All songs here have exceptional instrumentals, but these tracks specifically highlight Lovelace’s talent as a singer, these tracks are catchy enough to be a classic in years to come. Same goes for the later tracks Mad To The Bone, I Die Alone and You Got The Tail Down, these are easy listens and technical marvels exactly what you’d want your glam metal or hard rock to be like.
It’s A Monster In My Head is more experimental than the rest; it has intricated guitar leads, faster drums and…cowbells? Lovelace gives a theatrical performance which reminds me of early Alice Cooper. Just when you think the album might be getting repetitive, I’ll See You In My Dreams is more of an affectionate anthem with soaring vocals, heavy drums and a velvety guitar playing throughout, I’m getting a hint of Scorpions here. Loveplace is more anguished and darker than the former, but both are a complete change of pace for the album but appropriate and refreshing.
I rate this one highly there’s a song for every mood and everything from recording, Instrumental skill and vocals are outstanding. Midway through the tracks get slightly repetitive then it offers a change of pace it’s a fantastic production and is a new favourite of mine. 10/10
Eternal Idol – Behind A Vision (Frontiers Music) [Cherie Curtis]
Behind A Vision features a new line-up for Eternal Idol, we now have Gabriele Gozzi and Letizia Merlo as vocalists and Andrea Buratto on bass with Enrico Fabris on the drums.
Behind A Vision is ethereal, it feels like it’s been plucked from an astral realm and every track is as shadowy and rich as the next. It feels like a soundtrack for a Sci-fi / Fantasy film more than a casual listen. The electrifying dynamic between the Gozzi and Merlo makes for a great new edition to the band and their outstanding, almost operatic voices complement each other perfectly.
This album does justice to the symphonic genre. For their opening track Amnesia, they feature a choir and some stirring string composition from an orchestra before exploding into a stunning duet, this isn't new in the genre however it feels very pristine and advanced. The Enemy Is Me opens with a John Carpenter - esque piano tune which makes for an extremely effective way of creating a thirst for the rest of the album as well as creating a memorable introduction.
Throughout the album the crisp and complex solos, textured rhythms, rich and booming vocals are powerfully evocative of torment and longing, this album is at its best on a particularly dark day to revel in something fiery and fantastical and it would certainly be sight to behold live.
Eternal Idol’s Behind A Vision is more polished and measured than what I'm used to, though I enjoyed myself and was surprised by the level of catharsis this album offered. Each track has a memorable hook and great production and overall, it’s good but a bit garden variety at times. It wouldn’t be an everyday listen for me personally as I didn't find it as engaging as I hoped but I do see myself revisiting it sometime in the future. 7/10
Lorentzen – Leave Nobody Behind (Apollon Records) [Matt Bladen]
“An evocative fusion of minimalist prog and classical elegance” it’s going to take a certain type of person to review this one I think! Especially when the music created by Eivind Lorentzen (Gentle Knife) is “interspersed by Rainer Maria Rilke’s poetry” the latter recited by Brian M. Talgo’s, deep Iggy Pop-like spoken word delivery, close to the mic with a whispered resonance.
So yeah this isn’t your typical metal publication fodder but we’ve always tried to be open minded with what we cover and this takes a very open mind. You know the bits of the King Crimson discography where it isn’t songs you know? Like most of Lizard or Islands or Larks Tongue In Aspic? Well Lorentzen dwells there, jazz fusion, Nordic folk and prog that has oscillating synths and classical strings, building on repetition and the spoken word moments, these are all just mini suites in their own way, uniquely using the instrumentation to entice you without shouting about it.
Lorentzen is joined a host of high profile artists including a virtuoso cellist and violinist while ex-Gentle Knife brass player Charlotte Valstad Nilsen brings her skills as well. This is record that will be an acquired taste but if you like your prog wrapped in jazz with minimal vocals and lots of ‘feel’ then you’ll enjoy Leave Nobody Behind. 7/10
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