Planet Of Zeus: Loyal To The Pack (ihaveadrum)
Greek metal has a bit of an obsession with the stoner scene, some of the country's biggest bands appeal to the beer drinking, bong hitting, beard wearing members of the metal audience. Planet Of Zeus have been doing their thing for 16 years sharing the stage with Hermano and Brant Bjork, Monster Magnet, Karma To Burn, Eyehategod, Church Of Misery and more recently Clutch on their European tour. The band have a hardcore following in their native country and with luck this will extend outside of Greece, due to the high profile support and indeed their own headline UK tour at the end of the year and of course it will be bolstered by this their fourth album, Loyal To The Pack which once again is heavy slice of Southern Stoner rock but one that sees the band shake things up a bit, the record sounds more complete than previous efforts adding some melody to the oppressive riff assault the band usually favour.
Much of this more melodic sound is driven by frontman Babis focusing more on his cleaner delivery rather than the growls he has used in the past although these still crop up on the rallying cry of Scum Alive. This new dynamic sound means that Loyal To The Pack is the bands best and most varied album so far. Opening up with the title track that grabs you around the collar with the immediacy of the riffs and the off-kilter southern sound, it's a strong first song that is followed by the Clutch-like Devil Calls My Name which has the sound Neil Fallon and Co have made their own. Babis' vocals are very good his roar is still powerful but it's his clean vocal that's a revelation, he has and American tinge to it that helps on the Southern rocking Them Nights and the atmospheric Retreat and the attitude filled Makes Me Want To Hurt Myself which also has nod to Volbeat with Babis and Stellios cranking out riff after riff. Then the lighter side of returns on Sea Bastards and is blown away by White Shroud which has one of the records best swaggering riff. As I said Loyal To The Pack is Planet Of Zeus' most accomplished record to date and I'm a little annoyed I've got to wait until November to see them kill it live! 8/10
Chris Ousey: Dream Machine (Escape Music)
Chris Ousey is probably best known as the the vocalist of Heartland and Snakecharmer, his smooth hard rock vocals have always been perfect for the melodic rock spectrum his soulful and passionate vocal delivery is one of the best in the UK. Dream Machine is his newest solo album and he has teamed up AOR guitarist supreme Tommy Denander who has famous played with numerous AOR projects since the 1980's. He and Ousey write all of the songs on this record and you can hear the quality in the song-writing this is hard rocking melodic music with Ousey's perfect rock voice matching in synchronicity with the fleet fingered virtuoso guitar playing of Deander, who also adds keys and plays all the rhythm guitar tracks allowing Chris Green show his six string prowess.
The opening three songs on the record set the tone for the rest of it, from the harder edged This Is The Life has very Deep Purple vibe to it due to the driving riff and the heavy organs from Snakecharmer bandmate Adam Wakeman, Another Runaway is more melodic number bringing the Journey style repeating synth and a big sing along chorus, a theme that carries on for the next few. Gone Long Gone has Whitesnake sound to it with a big chorus that Coverdale would be proud of, this surely is Ousey's application for when David retires next year and it's followed by the driving Better Time To Come which ramps the album back up again leading into the swaggering Eager To Please a track that you can practically feel the leather trousers and lust.
Dream Machine is a melodic rock album with more of an emphasis on the rock, so if you always felt the AOR scene was a little lightweight & laughable then this album will be right up your street it's wedged right in the 80's glory days with double tapped guitar solos, songs about ladies, cars (the title track) and rocking out it's a fabulous celebration of rock music from the first moment. Yes there is oodles of cheese on the record, that's a given, but the songs speak for themselves every single one is prime quality melodic rock. Filled with catchy hook filled writing, impressive musicianship and Ousey's spectacular vocals, demonstrating why they quite rightly give him the nickname "The Man With The Golden Voice". If you love classy, melodic tinged hard rock sung with passion then Dream Machine will be for you, it's quite frankly one of the best melodic rock releases of the year! 9/10
Lonewolf: The Heathen Dawn (Napalm)
I really wanted to like the latest album by speed/heavy metallers Lonewolf and musically I do, it's galloping, chest beating metal that reminds me of Manowar with the toughness of Amon Amarth added to it, the drums rampage at full speed with Bubu Brunner doing what he does best on Rise To Victory while the guitars slice and dice with lightspeed riffs and intricate widdly leads and solos, this is proper power metal that usually would get my engine running however there is a problem with the French metal troop. I just don't like the singer's voice it's too reminiscent of Grave Digger's Chris Boltendahl for my liking, I'm always ready to welcome grizzled vocals with power metal as I know it's not all high shrieks and glass shattering but I can't warm to the vocals at all, songs like When The Angels Fall are the best evidence for this as when he tries to go into a higher register it falls painfully flat, he's not a bad vocalist and fans of Grave Digger or Grim Reaper will love them but personally they don't do anything for me at all. Still musically the band are a competent experienced prospect and they do write powerful trad metal but I just can't past the vocals. 5/10
Sunday, 5 June 2016
Friday, 3 June 2016
Reviews: Volbeat, Death Angel, Tarja
Volbeat: Seal The Deal & Let's Boogie (Universal)
Elvis metal is back folks! Three years since the album that saw them take off to the wider metal world and has made them bonafide headliners Danish metal n roll band Volbeat have come back with their new album that moves them away from the outlaw country influence that was present on their previous release and deals with voodoo, the spirit world and darker subjects but still done in the bands trademark Metallica, meets rockabilly sound. This is the second album with former Anthrax axe slinger Rob Caggiano on lead guitar and the first record without founding bassist Anders Kjølholm (who has subsequently been replaced by Kaspar Boye Larsen but doesn't appear on this record. So the record what does it sound like, well Volbeat, such is the bands unique style, they have successfully bookended the record with heavier moments starting with the riff tastic The Devil's Bleeding Crown that is a heavyweight call to arms and closing it with The Loa's Crossroad which sounds a lot like Lars & Co (no bad thing for a band aiming for arenas), with Seal The Deal just snuck in for some rapid thrash action.
In the bulk of the record there is snotty tongue in cheek punk Rebound (a Teenage Bottlerocket cover) some tough lovelorn ballads like the Goodbye Forever which marries acoustic verses with an almost neo-classical leads from Caggiano, For Evgit which sung in English by frontman Michael Poulsen and in Danish by Johan Olsen (from Dutch band Magtens Korridorer) and the percussive Let It Burn which has a huge chorus holding it all together. Once again Poulsen's rhythms are the driving force for the songs like Iced Earth's John Schaffer everything is built around his riffs but Caggiano's leads give the band more scope to do things like the harmonic Gates Of Babylon that has a Egyptian/Persian sound theme to it but the band are still at their best with the heavy riffing songs such as Black Rose which has their metal meets doo-wop style choruses and features some gutsy co-lead vocals from Danko Jones along with backing ooh's.
I know The Devils... and For Evgit are the albums first to singles but Mary Jane Kelly has to be it's everything Volbeat do best in one song and my favourite on the record, with a swaggering riff and massive hook it's just excellent all round. Seal The Deal & Let's Boogie is the culmination of Volbeat's history so far and is the sort of album a festival headliner should release, hell even the Georgia Satellites cover is delivered with class. With this album and indeed a strong back catalogue in tow I'm waiting for a tour as soon as possible so yes sir I can boogie. 9/10
Death Angel: The Evil Divide (Nuclear Blast) [Review By Paul]
I’ve been lucky enough to catch the Bay Area legends brilliant live shows a number of times in the last few years and their last release, the excellent The Dream Calls For Blood certainly reminded the metal community that Death Angel remain a vital cog in the thrash machine. Follow up The Evil Divide picks up where The Dream... left off. Galloping along at the obligatory 150mph, The Evil Divide takes no prisoners. Openers The Moth and Cause For Alarm really maintain the bar with the technical riffage of Rob Cavenstany and Ted Aquilar leaving no prisoners. Lost moves to a different beat with the vocal performance of Mark Osegueda particularly impressive. If you want a contender for thrasher of the year, get involved with Hell To Pay. Crushing riffs, superb vocals, driving bass and the most aggressive drumming; it’s all here and it feels good. Hatred United, United Hate maintains the crushing assault with some of the band’s trademark slicing vicious guitar work top class. In fact, there is nothing bad about this release at all. It’s aggressive, its tight and it’s damn fine. Miss it at your peril. 9/10
Tarja: The Brightest Void (earMUSIC)
The Brightest Void is former Nightwish vocalists fourth album of rock music and serves as a precursor to her new album The Shadow Self. Turunen herself says that the album as "an idea for a big surprise and gift to her fans containing material recorded but not being included on the main album". For most this would be an EP but what we get is a sort of pick n mix of new songs, remixes and covers along with some guests helping out. First I'll deal with re/alternative mixes, these are the single/videoclip mix for new song No Bitter End which is a shorter edited version of the song that will appear on The Shadow Self but doesn't lose anything because of it as it's still a heavy rocking opening salvo filled with guitars galore.
The second remix is an alternative version of Paradise (What About Us) which originally featured on the last Within Temptation album Hydra which is a more orchestral version than the original. In terms of new songs An Empty Dream and Witch Hunt are bubbling electronica with Tarja reigning in the higher register for a darker sound although the best song on the record is Your Heaven And Your Hell which features Michael Monroe duetting on the albums heaviest fastest song, for the most part it borders on power metal except for the middle section that shows Monroe's saxophone playing that means the track takes a Pink Floyd meets Beverly Hills Cop turn. Covers wise they are interesting with House Of Wax originally by Paul McCartney, taken into a heavyweight menacing metal song that has all three of Tarja's octaves casting a spell over the metallised version of the McCartney song.
Following it is Goldfinger yes the Bond theme made famous by Wales' own Shirley Bassey, now as a proud Welshman I have to by law say it's not as good as Shirley's but it's a very good effort not overly different to the original but more operatic and with heavier riff. As somewhat of a stopgap release this is pretty good actually, with a nice mix of fan pleasing mixes and covers and hint to the heavy new record, The Brightest Void is almost essential as the next Tarja record coming later this year. 7/10
Elvis metal is back folks! Three years since the album that saw them take off to the wider metal world and has made them bonafide headliners Danish metal n roll band Volbeat have come back with their new album that moves them away from the outlaw country influence that was present on their previous release and deals with voodoo, the spirit world and darker subjects but still done in the bands trademark Metallica, meets rockabilly sound. This is the second album with former Anthrax axe slinger Rob Caggiano on lead guitar and the first record without founding bassist Anders Kjølholm (who has subsequently been replaced by Kaspar Boye Larsen but doesn't appear on this record. So the record what does it sound like, well Volbeat, such is the bands unique style, they have successfully bookended the record with heavier moments starting with the riff tastic The Devil's Bleeding Crown that is a heavyweight call to arms and closing it with The Loa's Crossroad which sounds a lot like Lars & Co (no bad thing for a band aiming for arenas), with Seal The Deal just snuck in for some rapid thrash action.
In the bulk of the record there is snotty tongue in cheek punk Rebound (a Teenage Bottlerocket cover) some tough lovelorn ballads like the Goodbye Forever which marries acoustic verses with an almost neo-classical leads from Caggiano, For Evgit which sung in English by frontman Michael Poulsen and in Danish by Johan Olsen (from Dutch band Magtens Korridorer) and the percussive Let It Burn which has a huge chorus holding it all together. Once again Poulsen's rhythms are the driving force for the songs like Iced Earth's John Schaffer everything is built around his riffs but Caggiano's leads give the band more scope to do things like the harmonic Gates Of Babylon that has a Egyptian/Persian sound theme to it but the band are still at their best with the heavy riffing songs such as Black Rose which has their metal meets doo-wop style choruses and features some gutsy co-lead vocals from Danko Jones along with backing ooh's.
I know The Devils... and For Evgit are the albums first to singles but Mary Jane Kelly has to be it's everything Volbeat do best in one song and my favourite on the record, with a swaggering riff and massive hook it's just excellent all round. Seal The Deal & Let's Boogie is the culmination of Volbeat's history so far and is the sort of album a festival headliner should release, hell even the Georgia Satellites cover is delivered with class. With this album and indeed a strong back catalogue in tow I'm waiting for a tour as soon as possible so yes sir I can boogie. 9/10
Death Angel: The Evil Divide (Nuclear Blast) [Review By Paul]
I’ve been lucky enough to catch the Bay Area legends brilliant live shows a number of times in the last few years and their last release, the excellent The Dream Calls For Blood certainly reminded the metal community that Death Angel remain a vital cog in the thrash machine. Follow up The Evil Divide picks up where The Dream... left off. Galloping along at the obligatory 150mph, The Evil Divide takes no prisoners. Openers The Moth and Cause For Alarm really maintain the bar with the technical riffage of Rob Cavenstany and Ted Aquilar leaving no prisoners. Lost moves to a different beat with the vocal performance of Mark Osegueda particularly impressive. If you want a contender for thrasher of the year, get involved with Hell To Pay. Crushing riffs, superb vocals, driving bass and the most aggressive drumming; it’s all here and it feels good. Hatred United, United Hate maintains the crushing assault with some of the band’s trademark slicing vicious guitar work top class. In fact, there is nothing bad about this release at all. It’s aggressive, its tight and it’s damn fine. Miss it at your peril. 9/10
Tarja: The Brightest Void (earMUSIC)
The Brightest Void is former Nightwish vocalists fourth album of rock music and serves as a precursor to her new album The Shadow Self. Turunen herself says that the album as "an idea for a big surprise and gift to her fans containing material recorded but not being included on the main album". For most this would be an EP but what we get is a sort of pick n mix of new songs, remixes and covers along with some guests helping out. First I'll deal with re/alternative mixes, these are the single/videoclip mix for new song No Bitter End which is a shorter edited version of the song that will appear on The Shadow Self but doesn't lose anything because of it as it's still a heavy rocking opening salvo filled with guitars galore.
The second remix is an alternative version of Paradise (What About Us) which originally featured on the last Within Temptation album Hydra which is a more orchestral version than the original. In terms of new songs An Empty Dream and Witch Hunt are bubbling electronica with Tarja reigning in the higher register for a darker sound although the best song on the record is Your Heaven And Your Hell which features Michael Monroe duetting on the albums heaviest fastest song, for the most part it borders on power metal except for the middle section that shows Monroe's saxophone playing that means the track takes a Pink Floyd meets Beverly Hills Cop turn. Covers wise they are interesting with House Of Wax originally by Paul McCartney, taken into a heavyweight menacing metal song that has all three of Tarja's octaves casting a spell over the metallised version of the McCartney song.
Following it is Goldfinger yes the Bond theme made famous by Wales' own Shirley Bassey, now as a proud Welshman I have to by law say it's not as good as Shirley's but it's a very good effort not overly different to the original but more operatic and with heavier riff. As somewhat of a stopgap release this is pretty good actually, with a nice mix of fan pleasing mixes and covers and hint to the heavy new record, The Brightest Void is almost essential as the next Tarja record coming later this year. 7/10
Thursday, 2 June 2016
Reviews: Primitai, Wings Of Destiny, Scarblade
Primitai: Night Brings Insanity (Self Released)
Well they're back folks, the Sandhurst based classic metal warriors Primitai return with their fourth full length album. Night Brings Insanity was released in conjunction with PledgeMusic and saw the band smash their target within a very short period of time. Night Brings Insanity brings together all that's come before it running the gamut of 80's metal with a joyous celebration of that era's most influential bands and sounds. From the NWOBHM, through the sleaze of the Sunset Strip, to Bay Area thrash fury everything is catered for on the bands most ambitious and accomplished record yet. The dual guitar assault of Srdjan Bilic and Tom Draper is in full effect throughout with riffs galore infecting each an every moment with flashes of brilliance, the widdling on Night Hunter would make Dokken gawk at it's neon fluorescence, while My Last Escape has more heavyweight groove managing to sound like Pantera but with huge hook of a chorus.
This last element has always been one of Primitai's major plus points, they know how to write a shout along chorus that always go down a treat on the stage, much of this is due to the brawny gruff vocal delivery of Guy Miller who has a voice similar to Avenged's M Shadows but is a far stronger prospect; giving the music some muscle is the rhythm section of Chris Chilcott and Jamie Lordcastle who are the devastating boiler room. The music featured here is grin inducing, denim clad opulence full of razor sharp metal riffage and fist-in-the-air anthems but the band do slow the pace with Conclusion Forgone which is a massive metal ballad that shows Guy's more emotive side and features a thrilling guitar solo from Srdjan that was surely played atop of mountain (i.e November Rain) such is it's pomp. With touches of Priest, Maiden, Guns N Roses and a decided modern influence too Night Brings Insanity is the album Primitai have been threatening to make since their debut. Where they go from now is in their hands as Night Brings Insanity is the perfect album to capitalise on demonstrating what Primitai do when they are at their very best. 9/10
Wings Of Destiny: Kings Of Terror (Power Prog)
Wings Of Destiny started their career as Destiny and released their debut album Time in 2014, since then they have adopted the moniker Wings Of Destiny and re-released the debut album in 2015, now they have moved onto their second record that is more of the same the band are a proper power metal band taking their cues from Angra, Stratovarius and Helloween so expect blast beat drumming, speedy guitar playing, sing along choruses and solos galore. With all these influences and the particular style they play in you'd expect WOD to hail from Germany but no the band are from the sunnier climes of Costa Rica but they definitely have a Teutonic sound mixed with fellow South Americans Angra mainly due to Anton Darusso having a vocal similar to Andre Matos going from a rougher lower range to a soaring higher range. The album has two heavyweight metal songs to start it off but they add some synth laced symphonic metal on Kings Of Terror which has some popping keys behind it the symphonic style continues through the dramatic Eye Of The Storm and the operatic Siren's Song which has a female soprano adding to the dramatic song. WOD don't add anything new to the overcrowded power metal genre but if you are big power metal fan then Kings Of Terror is worth picking up as it has elements of all the bands mentioned as well as touches of Savatage meaning that for genre heads it will more than satisfy your appetite, however there are a lot of bands doing this kind of thing better. 6/10
Scarblade: The Cosmic Wrath (No Remorse)
Scarblade once again are a band that began their career with another name, they were called Ruthless Steel in Athens Greece after just one EP and two compilation appearances frontwoman Aliki and bassist Nikos relocated to Gothenburg Sweden and shed the rest of the band members, however they then recruited Kalle on drums, Jonatan on guitar on Stefan on keys and changed the bands name to Scarblade. The Cosmic Wrath is their debut record and is honest true metal with nods to speed metal and classic bands such as Judas Priest, opener Die In The Night does sound an awful lot like Electric Eye as well as bands such as Firewind, Mystic Prophecy and Silent Force who add the keys and synths to their classic metal sound. What Scarblade have that these bands don't is a female vocalist in the shape of Aliki who snarls and screams on the tracks, showing that not every single female vocalist has to be a classically trained, however maybe some training would be good as Aliki does have a tendency to go a bit flat, quite a lot actually. Point Of No Return is a glaring example and this does detract a little from the albums overall impact. There is really not much more I can say about Scarblade, they are a good band but it's just I wish the vocals could be a bit better as it would just enhance the album that little bit more. 4/10
Well they're back folks, the Sandhurst based classic metal warriors Primitai return with their fourth full length album. Night Brings Insanity was released in conjunction with PledgeMusic and saw the band smash their target within a very short period of time. Night Brings Insanity brings together all that's come before it running the gamut of 80's metal with a joyous celebration of that era's most influential bands and sounds. From the NWOBHM, through the sleaze of the Sunset Strip, to Bay Area thrash fury everything is catered for on the bands most ambitious and accomplished record yet. The dual guitar assault of Srdjan Bilic and Tom Draper is in full effect throughout with riffs galore infecting each an every moment with flashes of brilliance, the widdling on Night Hunter would make Dokken gawk at it's neon fluorescence, while My Last Escape has more heavyweight groove managing to sound like Pantera but with huge hook of a chorus.
This last element has always been one of Primitai's major plus points, they know how to write a shout along chorus that always go down a treat on the stage, much of this is due to the brawny gruff vocal delivery of Guy Miller who has a voice similar to Avenged's M Shadows but is a far stronger prospect; giving the music some muscle is the rhythm section of Chris Chilcott and Jamie Lordcastle who are the devastating boiler room. The music featured here is grin inducing, denim clad opulence full of razor sharp metal riffage and fist-in-the-air anthems but the band do slow the pace with Conclusion Forgone which is a massive metal ballad that shows Guy's more emotive side and features a thrilling guitar solo from Srdjan that was surely played atop of mountain (i.e November Rain) such is it's pomp. With touches of Priest, Maiden, Guns N Roses and a decided modern influence too Night Brings Insanity is the album Primitai have been threatening to make since their debut. Where they go from now is in their hands as Night Brings Insanity is the perfect album to capitalise on demonstrating what Primitai do when they are at their very best. 9/10
Wings Of Destiny: Kings Of Terror (Power Prog)
Wings Of Destiny started their career as Destiny and released their debut album Time in 2014, since then they have adopted the moniker Wings Of Destiny and re-released the debut album in 2015, now they have moved onto their second record that is more of the same the band are a proper power metal band taking their cues from Angra, Stratovarius and Helloween so expect blast beat drumming, speedy guitar playing, sing along choruses and solos galore. With all these influences and the particular style they play in you'd expect WOD to hail from Germany but no the band are from the sunnier climes of Costa Rica but they definitely have a Teutonic sound mixed with fellow South Americans Angra mainly due to Anton Darusso having a vocal similar to Andre Matos going from a rougher lower range to a soaring higher range. The album has two heavyweight metal songs to start it off but they add some synth laced symphonic metal on Kings Of Terror which has some popping keys behind it the symphonic style continues through the dramatic Eye Of The Storm and the operatic Siren's Song which has a female soprano adding to the dramatic song. WOD don't add anything new to the overcrowded power metal genre but if you are big power metal fan then Kings Of Terror is worth picking up as it has elements of all the bands mentioned as well as touches of Savatage meaning that for genre heads it will more than satisfy your appetite, however there are a lot of bands doing this kind of thing better. 6/10
Scarblade: The Cosmic Wrath (No Remorse)
Scarblade once again are a band that began their career with another name, they were called Ruthless Steel in Athens Greece after just one EP and two compilation appearances frontwoman Aliki and bassist Nikos relocated to Gothenburg Sweden and shed the rest of the band members, however they then recruited Kalle on drums, Jonatan on guitar on Stefan on keys and changed the bands name to Scarblade. The Cosmic Wrath is their debut record and is honest true metal with nods to speed metal and classic bands such as Judas Priest, opener Die In The Night does sound an awful lot like Electric Eye as well as bands such as Firewind, Mystic Prophecy and Silent Force who add the keys and synths to their classic metal sound. What Scarblade have that these bands don't is a female vocalist in the shape of Aliki who snarls and screams on the tracks, showing that not every single female vocalist has to be a classically trained, however maybe some training would be good as Aliki does have a tendency to go a bit flat, quite a lot actually. Point Of No Return is a glaring example and this does detract a little from the albums overall impact. There is really not much more I can say about Scarblade, they are a good band but it's just I wish the vocals could be a bit better as it would just enhance the album that little bit more. 4/10
Wednesday, 1 June 2016
Reviews: Mudcrutch, Band Of Skulls, Staticland
Mudcrutch: 2 (Reprise)
Eight years between records is a long time for most bands, however when you take into consideration that Mudcrutch was formed in 1970 and didn't release their debut album until 2008 it puts everything into perspective. This is due to the fact that Mudcrutch was formed by Tom Leadon and Tom Petty, the band released a few singles and then went their separate ways with Petty going on to form the more recognisable and successful Heartbreakers and band he still fronts to this day. In 2008 he reconnected with Leadon so long with him drummer Randall Marsh and fellow Heartbreakers Benmont Tench and Mike Campbell on keys and guitars respectively.
Mudcrutch had their renaissance, so after more Heartbreakers records the men have reconvened again for the second record some eight years later. Yes with Petty and two of his Heartbreakers part of the band there is a distinctly Heartbreakers vibe to the songs see opener Trailer and the propulsive Beautiful World (which was one of the few tracks not written by Petty) mainly due to Petty's unmistakable drawl but Mudcrutch are a a Southern rock band at heart drawing from bands such as The Eagles, The Allman's and the much missed Quicksilver Messenger Service. The Eagles link is the biggest one to influence the songs as Petty, Tench and Leadon all share vocals between the track Beautiful World is the best example of this and Beautiful Blue which could easily be a Henley crooned ballad.
Mudcrutch are traditional southern music by a band that are old hats at the genre, I Forgive It All is stripped back number that sounds like Mark Knopfler at his most introspective but it is quickly washed away by the banjo/slide guitar led on The Other Side Of The Mountain which has a railroad shuffle to it. 2 picks up where Mudcrutch left off with the kind of mature Southern rock you'd expect from a band made up of veterans of the American music scene, the dual channeled guitars, analogue feel and direct songwriting are all retained from the debut, with Eagles now over (I should think) it's good to see that Petty, Leadon and their assorted "Crutchbreakers" are their to carry the country rock torch. 8/10
Band Of Skulls: By Default (BMG)
Here's a band that are a bit of an enigma when it comes to rock music, they seem to be too indie for many rockers and to heavy for a lot of indie kids, despite this they play sold out concerts and are regularly featured in TV shows and Ads as well as getting playback on Radio 1. Personally I've always really enjoyed their heavyweight modern blues rock that straddles stoner and garage rock. The Southampton trio have toured relentlessly for the five years preceding this their fourth album, frontman/guitarist Russell Marsden declared that By Default is a "new beginning" and that he believes that the first three records were "part of one trilogy" so with the trilogy now complete have Band Of Skulls massively reinvented themselves? Well the answer is no if anything Band Of Skulls are more focussed than they have been doing away with the more progressive touches to their music that were present on their last record Himalayan.
For this record the band took up residence in a Baptist church and the freedom of this venue along with no looming tour means that despite the songs being shorter and more direct they are more considered with the band supposedly having written over 100 songs for the record before being able to knock it down to the 12 tracks on this record. Opener Black Magic starts with a snappy snare from Matthew Hayward before it's funk meets Zep groove kicks in with Emma Richardsons bass driving it letting Marsden uses some quiet-loud dynamics with his guitars ramping up at the end, Black Magic gives way to the surf rock of Back Of Beyond which is an up tempo cut with Killer ramping things up again with a lot of bass rhythms and shuddering riffs and huge hook to the chorus.
The theatrical Tropical Disease sees things get darker and is followed by the funk-rock of So Good which is Emma Richardson's first vocal performance on the record. By Default sees Band Of Skulls expand their remit incorporating cinematic themes later on the album and streamlining their approach making this the most direct album to date. 7/10
Jeff Angell's Staticland: Staticland (UDR)
Jeff Angell is formerly of The Missionary Position but is probably more well known as part of The Walking Papers supergroup that featured Screaming Tree's Barrett Martin and G'N'R bassist Duff McKagan. Angell was the vocalist and guitarist of the band and his live presence, his soulful vocals and intricate but savage guitar playing all won me over when I saw the band supporting Alice In Chains. The band are now on hiatus (perhaps indefinitely due to McKagan returning to G'N'R) meaning that Angell has formed a new project along with two of his main contributors. This project is Staticland and the album of the same name is their debut effort, once again Angell takes the vocals and guitars with long term writing/performing partner Benjamin Anderson on keys and bass and drummer Joshua Faunt who was in Angell's Post Stardom Depression (the band Angell formed before The Missionary Position).
The album is packed with modern blues rock, with post punk edge and an alternative bent, think any of Jack White's bands fronted by the strutting snarl of Scott Weiland and you'd be pretty close. The Staticland record slips and slides with a slinky blues rock sound, with cutting, melodic guitars, churning organs, some interesting drum patterns and some honest autobiographical lyrics. One listen to direct opener Everything Is Wrong along with Never Look Back and you'll get the picture pretty soon, the song builds and builds into a stylish solo at it's climax, it's followed by Band-Aid On A Bullet Hole which is built upon a repetitive drum and bass riff, the organ sitting in the background making for a disconcerting track with an element of hopelessness to it.
The band are their core a blues rock band but they try to avoid the normal cliches relying more on sonic impact than the 12 bar although The World Is Gonna Win could have easily pass as Springsteen at his darkest. The lyrics are mainly introspective and drawn from real-life but they are not a miserable band using the realism to their advantage adding a bit of gravitas to the rockier tracks when they need to; Phantom Limb has distorted punky riff at it's heart that echoes in feedback at the songs end, Nola is a more traditional blues track that's backed with a song with yet more Springsteen. Staticland is a great album of impressive modern blues rock, with no sign of The Walking Papers any time soon Staticland will satisfy that part that needs slinky, soulful, alternative blues rock. 8/10
Eight years between records is a long time for most bands, however when you take into consideration that Mudcrutch was formed in 1970 and didn't release their debut album until 2008 it puts everything into perspective. This is due to the fact that Mudcrutch was formed by Tom Leadon and Tom Petty, the band released a few singles and then went their separate ways with Petty going on to form the more recognisable and successful Heartbreakers and band he still fronts to this day. In 2008 he reconnected with Leadon so long with him drummer Randall Marsh and fellow Heartbreakers Benmont Tench and Mike Campbell on keys and guitars respectively.
Mudcrutch had their renaissance, so after more Heartbreakers records the men have reconvened again for the second record some eight years later. Yes with Petty and two of his Heartbreakers part of the band there is a distinctly Heartbreakers vibe to the songs see opener Trailer and the propulsive Beautiful World (which was one of the few tracks not written by Petty) mainly due to Petty's unmistakable drawl but Mudcrutch are a a Southern rock band at heart drawing from bands such as The Eagles, The Allman's and the much missed Quicksilver Messenger Service. The Eagles link is the biggest one to influence the songs as Petty, Tench and Leadon all share vocals between the track Beautiful World is the best example of this and Beautiful Blue which could easily be a Henley crooned ballad.
Mudcrutch are traditional southern music by a band that are old hats at the genre, I Forgive It All is stripped back number that sounds like Mark Knopfler at his most introspective but it is quickly washed away by the banjo/slide guitar led on The Other Side Of The Mountain which has a railroad shuffle to it. 2 picks up where Mudcrutch left off with the kind of mature Southern rock you'd expect from a band made up of veterans of the American music scene, the dual channeled guitars, analogue feel and direct songwriting are all retained from the debut, with Eagles now over (I should think) it's good to see that Petty, Leadon and their assorted "Crutchbreakers" are their to carry the country rock torch. 8/10
Band Of Skulls: By Default (BMG)
Here's a band that are a bit of an enigma when it comes to rock music, they seem to be too indie for many rockers and to heavy for a lot of indie kids, despite this they play sold out concerts and are regularly featured in TV shows and Ads as well as getting playback on Radio 1. Personally I've always really enjoyed their heavyweight modern blues rock that straddles stoner and garage rock. The Southampton trio have toured relentlessly for the five years preceding this their fourth album, frontman/guitarist Russell Marsden declared that By Default is a "new beginning" and that he believes that the first three records were "part of one trilogy" so with the trilogy now complete have Band Of Skulls massively reinvented themselves? Well the answer is no if anything Band Of Skulls are more focussed than they have been doing away with the more progressive touches to their music that were present on their last record Himalayan.
For this record the band took up residence in a Baptist church and the freedom of this venue along with no looming tour means that despite the songs being shorter and more direct they are more considered with the band supposedly having written over 100 songs for the record before being able to knock it down to the 12 tracks on this record. Opener Black Magic starts with a snappy snare from Matthew Hayward before it's funk meets Zep groove kicks in with Emma Richardsons bass driving it letting Marsden uses some quiet-loud dynamics with his guitars ramping up at the end, Black Magic gives way to the surf rock of Back Of Beyond which is an up tempo cut with Killer ramping things up again with a lot of bass rhythms and shuddering riffs and huge hook to the chorus.
The theatrical Tropical Disease sees things get darker and is followed by the funk-rock of So Good which is Emma Richardson's first vocal performance on the record. By Default sees Band Of Skulls expand their remit incorporating cinematic themes later on the album and streamlining their approach making this the most direct album to date. 7/10
Jeff Angell's Staticland: Staticland (UDR)
Jeff Angell is formerly of The Missionary Position but is probably more well known as part of The Walking Papers supergroup that featured Screaming Tree's Barrett Martin and G'N'R bassist Duff McKagan. Angell was the vocalist and guitarist of the band and his live presence, his soulful vocals and intricate but savage guitar playing all won me over when I saw the band supporting Alice In Chains. The band are now on hiatus (perhaps indefinitely due to McKagan returning to G'N'R) meaning that Angell has formed a new project along with two of his main contributors. This project is Staticland and the album of the same name is their debut effort, once again Angell takes the vocals and guitars with long term writing/performing partner Benjamin Anderson on keys and bass and drummer Joshua Faunt who was in Angell's Post Stardom Depression (the band Angell formed before The Missionary Position).
The album is packed with modern blues rock, with post punk edge and an alternative bent, think any of Jack White's bands fronted by the strutting snarl of Scott Weiland and you'd be pretty close. The Staticland record slips and slides with a slinky blues rock sound, with cutting, melodic guitars, churning organs, some interesting drum patterns and some honest autobiographical lyrics. One listen to direct opener Everything Is Wrong along with Never Look Back and you'll get the picture pretty soon, the song builds and builds into a stylish solo at it's climax, it's followed by Band-Aid On A Bullet Hole which is built upon a repetitive drum and bass riff, the organ sitting in the background making for a disconcerting track with an element of hopelessness to it.
The band are their core a blues rock band but they try to avoid the normal cliches relying more on sonic impact than the 12 bar although The World Is Gonna Win could have easily pass as Springsteen at his darkest. The lyrics are mainly introspective and drawn from real-life but they are not a miserable band using the realism to their advantage adding a bit of gravitas to the rockier tracks when they need to; Phantom Limb has distorted punky riff at it's heart that echoes in feedback at the songs end, Nola is a more traditional blues track that's backed with a song with yet more Springsteen. Staticland is a great album of impressive modern blues rock, with no sign of The Walking Papers any time soon Staticland will satisfy that part that needs slinky, soulful, alternative blues rock. 8/10
Tuesday, 31 May 2016
Reviews: Hatebreed, Sixx A.M, Messenger (Review By Paul)
Hatebreed: The Concrete Confessional (Nuclear Blast)
Sixx A.M: Prayers For The Damned (Eleven Seven Music)
Let's be fair. You either love Hatebreed or they do fuck all for you. The Concrete Confessional isn’t going to change that opinion. This is full on in your face aggression and it really hits the buttons. A.D. Opens proceedings, Jamie Jasta’s emotional outpourings right at the fore, riffs galore and a total assault on the senses. Plentiful riffs cascade through every track, urgency the name of the game. Looking Down the Barrel Of Today is the metal equivalent of blitzkrieg, no place to hide as all gauges are set to destroy. And so it continues; Seven Enemies, In The Walls and From Grace We’ve Fallen all follow the same formula.
It's pit stomping stuff, crashing and rampaging all over the place. From Grace We've Fallen contains a Testament style chorus which moves slightly away from the usual ‘Breed style but otherwise this is a continuation of the Hatebreed onslaught. It's brutal, unforgiving and ideal for venting that anger following a hard day in your mundane existence. Anthems Of Oppression and Rebellion, born from a million frustrations with the state of the world manifest in the themes that run through this release. Us Against Them, Something’s Off (which departures from the usual fare in no uncertain terms) and Dissonance all shout rebellion and to be fair, who can argue. It may not contain the immediacy of their earlier anthems but The Concrete Confessional still kicks your arse from start to finish. Sure, it may not grab you in the same way that Destroy Everything or Become The Fuse did, but by my white beater (a vest no UK folks) is it heavy. Get your arse in the pit and enjoy. 8/10
Sixx A.M: Prayers For The Damned (Eleven Seven Music)
Sixx A.M is the side turned full-time project of Motley Crue’s Nikki Sixx and it is probably the most accessible of the band’s three releases. With the first album a companion to The Heroin Diaries, Sixx’s cathartic account of his descent into heroin addiction, and their second release a mixture of more radio friendly tunes, Prayers For The Damned moves the band fully into the ‘real’ status. It is pretty standard radio friendly fare but it ticks all the boxes if you like this type of routine polished rock. Opener Rise and You Have Come To The Right Place both have Planet Rock airtime stamped on the underside, whilst I'm Sick maintains the pomp stomp.
The title track threatens to unleash an epic, a heartfelt emotive rocker with a large dose of catchy hooks to attract those in need of a good dose of short catchy anthems. Musically it's pretty generic. The likes of Better Man steal riffs from a billion other tunes; Can't Stop maintains the simplicity, enhanced by some heavier chords, singalong chorus and synthesiser layers to pad it out. Of course, there is the obligatory power ballad, this time When We We Gods which is average at best. Belly Of The Beast was clearly intended to be a brooding, smouldering monster and whilst it has an edge to it the final effect falls short. As the album reaches its conclusion the fare remains pretty average although Everything Went To Hell is one of the better tracks. It's listenable middle of the road hard rock. It just doesn't grab you by the lapels and scream “Listen to me!!” I'll be interested to see if the band can hold my attention for their full set at Download. Somehow I doubt it. 6/10
Messenger: Thredonies (InsideOut)
The London outfit’s first album Illusory Blues was one of the albums of the year when it was released in 2014 and a stunning live support slot for Hevy Devy’s Casualties Of Cool at the Union Chapel in London demonstrated that promise could be delivered in the live setting. Follow up Thredonies has been long anticipated at MOM towers. Clocking in at just shy of 50 minutes for eight tracks, Thredonies demands attention and commitment. Allocating your time to listen to this beautiful album is well worth it. Thredonies contains a kaleidoscope of intricate and delicious tunes which cascade and immerse the listener in an ethereal musical journey from beginning to end.
The London outfit’s first album Illusory Blues was one of the albums of the year when it was released in 2014 and a stunning live support slot for Hevy Devy’s Casualties Of Cool at the Union Chapel in London demonstrated that promise could be delivered in the live setting. Follow up Thredonies has been long anticipated at MOM towers. Clocking in at just shy of 50 minutes for eight tracks, Thredonies demands attention and commitment. Allocating your time to listen to this beautiful album is well worth it. Thredonies contains a kaleidoscope of intricate and delicious tunes which cascade and immerse the listener in an ethereal musical journey from beginning to end.
Opener Calyx is light and complex with shades of Muse springing to mind. Messenger flex their muscles on the eight minute epic Oracles Of War, which contains some delicious riffs and a harder edge than many of their other tracks. Musically Messenger are on stunning form and this track demonstrates their progression, full of stomp and swagger and an indie edge many of that genre would die for. It also illustrates exactly why the band were such a perfect fit for the Von Hertzen Brothers on their March tour. Balearic Blue cements the band firmly into their progressive sound, layered guitars and keyboards merging with the frantic drum beat and James Leach’s rolling bass lines. The guitars and vocals of Khaled Lowe and Barnaby Maddick are just stunning with the Floyd and Opeth fusion of sound incredibly appealing.
Indeed, throughout the album snippets of the Swedes complex sound regularly catch the attention. This is breathtaking in both composition and performance. Celestial Spheres continues the complexity with a large dose of funk and some chunky Hammond organ riffs transporting you not only back to Opeth but to the 1970s, albeit with a fresh and modern sound. In fact, I’ll stop listing the tracks and invite you to head onto the band’s website and pick up a copy immediately. Thredonies is a superior release to Illusory Blues and a more ambitious one too. However, it is also more accessible; check out Nocturne; instant, simple yet beautifully intricate. I can’t praise this album enough. Khaled Lowe, Barnaby Maddick, Jamie Gomez Arellano Daniel Knight and James Leach take a bow. One of the releases of 2016. 9/10
Monday, 30 May 2016
Reviews: Whispered, Spell, Black Magic Fools
Whispered: Metsutan - Songs Of The Void (Inverse Records)
Finland has a bit of a history with progressive, symphonic folk, melodic death metal bands with Wintersun, Ensiferum, Finntroll as well as Insomnium, Children Of Bodom and Norther. Whispered are the latest in line of bands that follow this style and they are somewhere between Wintersun and Children Of Bodom with razor sharp almost power metal riffs, played in progressive music that takes a lot influence from Japanese culture and music, they call it "Samurai Metal" and it's hard to argue otherwise. Opener Strike! gets you going sounding like the soundtrack to a Samurai film played by Bodom, the balstbeats are lightning fast, no way has drummer Jussi just got four limbs, while bassist Kai gets to show off his talent in the middle of the track building up to the epic solos that are shared between Mikko and Jussi, with Jussi also adding the harsh vocals, that are thankfully intelligible meaning that personally I was more drawn to the band than I am normally to melo-death.
The pace stays similar to a bullet train on second track Exile Of The Flooding World which once again has inhuman drumming and a heroic chorus choir before it slips into the middle section of solos and circuses. The lyrics and themes revolve around Samurai, Bushido and Japanese Mythology and this is audible in the music at every turn with some traditional Japanese instruments present throughout, yes it is a bit gimmicky but the band play so well it can be forgiven. Much like compatriots Wintersun the songs are complicated intense pieces that take you on a journey for their duration with the shorter numbers coming in between the album's longer more progressive tales.
I just have to mention the drumming again as it is continually astounding just how good it is but doesn't detract from the stellar performances of the rest of the band, it seems to me that while Japan does have a lot of power metal bands there doesn't seem to be an abundance of bands that deal with countries rich mythology meaning that Whispered have sort of taken the initiative and all the better for it, they also have contributed a theme to the newest Megaman video game which for a band that are not Japanese is kudos indeed.
Why be stuck with Babymetal and Karate when you can have Whispered bringing fire, honour and Katana to songs such as Kensei and Our Voice Shall Be Heard? They merge complexity with atmosphere providing a very strong set of ten songs that climax with the immense eleven minute final cut Bloodred Shores Of Enoshima which like the tales of Yūrei from Japanese legend rise from auspicious beginnings to evoke you with their power. Metsutan - Songs Of The Void is yet another superb album from the Finnish band (their third) and by rights it should get them the plaudits they deserve, or at least onto the Bloodstock bill, in the meantime you'll just have to play this record to death as it is brilliant! 9/10
Spell: For None And All (Bad Omen Records)
Spell hail from Vancouver British Columbia and along with what seems to be a new band every week they are firmly part of the NWOTHM that seems to be coming from the country, obviously the leaders of traditional Canadian metal scene are the unkillable Anvil but more recently bands like Cauldron and Striker have taken the spiked gauntlet and made the music their own. Up until 2013 Spell were called Stryker but probably due to the recognition of the other band with a similar name and the number of bands with the same name, their debut was released and 2014 and now 2 years later they have followed it up with For None And All.
By the negative tone of the title you can tell this is not going to be a tongue-in-cheek metal record with occult, dark references in the lyrics the band sound a lot like Cauldron due to their three piece bass heavy set up, the songs are proto-metal with nods to doom and psychedelia, however with music like this it is difficult not to be repetitive and unfortunately Spell do fall into that trap as a number of the songs on this record do sound very similar, yes there are some keys employed on Whipping Sigils and Seance and the band really tackle the stoner doom with River Of Sleep but tracks like Madame Psychosis and The Veil just have almost identical riffs and they are not the only songs that do this. For None And All is not a bad album but it is just a little too lacking in progression and scope to make much of mark. 5/10
Black Magic Fools: Soul Collector (Self Released)
Folk metal seems to be the genre that will never day, right the way back Skyclad in the 90's the mix of crunching guitars and folk instruments seems to stir something in even the most hardened metal fan, meaning that usually the gigs end in much jigging, dancing and of course ale quaffing. Black Magic Fools hail from Sweden and play what is essentially medieval folk with the metallic backline so expect powerful drumming, guitar riffs and solos mixed with the bands dual violin/fiddles from Ida and Katja as well as bagpipes, flutes and jew harps from frontman Pontus.
One look at the press release and you can see the band go all out dressing the part and blending the two genres together especially on Lies which has modern metal breakdowns and the dual violins doing their work in an almost shanty style song. There is almost a Pirates Of The Caribbeanesque sound to many of the tracks, due to the mix of traditional and electric instruments, with Black Jig a morbid tale of torture and death, infact this is a theme that goes through the album especially on the title track.
Unlike Whispered the songs on this record are shorter and more direct similar to Korpiklaani or indeed a folkier Breed 77 as Black Magic Fools have a similar modern groove metal sound setting the rhythm for the folk instruments to built upon, they even dabble with acoustic guitars on A Jester's Confession. Soul Collector is BMF's debut full length and it has enough on it to appeal to folk metal fans, it's let down a little by the muffled production but it's a jolly good start moving away from the happy clappy nature of normal folk metal and adding a touch of darkness to proceedings. 7/10
Finland has a bit of a history with progressive, symphonic folk, melodic death metal bands with Wintersun, Ensiferum, Finntroll as well as Insomnium, Children Of Bodom and Norther. Whispered are the latest in line of bands that follow this style and they are somewhere between Wintersun and Children Of Bodom with razor sharp almost power metal riffs, played in progressive music that takes a lot influence from Japanese culture and music, they call it "Samurai Metal" and it's hard to argue otherwise. Opener Strike! gets you going sounding like the soundtrack to a Samurai film played by Bodom, the balstbeats are lightning fast, no way has drummer Jussi just got four limbs, while bassist Kai gets to show off his talent in the middle of the track building up to the epic solos that are shared between Mikko and Jussi, with Jussi also adding the harsh vocals, that are thankfully intelligible meaning that personally I was more drawn to the band than I am normally to melo-death.
The pace stays similar to a bullet train on second track Exile Of The Flooding World which once again has inhuman drumming and a heroic chorus choir before it slips into the middle section of solos and circuses. The lyrics and themes revolve around Samurai, Bushido and Japanese Mythology and this is audible in the music at every turn with some traditional Japanese instruments present throughout, yes it is a bit gimmicky but the band play so well it can be forgiven. Much like compatriots Wintersun the songs are complicated intense pieces that take you on a journey for their duration with the shorter numbers coming in between the album's longer more progressive tales.
I just have to mention the drumming again as it is continually astounding just how good it is but doesn't detract from the stellar performances of the rest of the band, it seems to me that while Japan does have a lot of power metal bands there doesn't seem to be an abundance of bands that deal with countries rich mythology meaning that Whispered have sort of taken the initiative and all the better for it, they also have contributed a theme to the newest Megaman video game which for a band that are not Japanese is kudos indeed.
Why be stuck with Babymetal and Karate when you can have Whispered bringing fire, honour and Katana to songs such as Kensei and Our Voice Shall Be Heard? They merge complexity with atmosphere providing a very strong set of ten songs that climax with the immense eleven minute final cut Bloodred Shores Of Enoshima which like the tales of Yūrei from Japanese legend rise from auspicious beginnings to evoke you with their power. Metsutan - Songs Of The Void is yet another superb album from the Finnish band (their third) and by rights it should get them the plaudits they deserve, or at least onto the Bloodstock bill, in the meantime you'll just have to play this record to death as it is brilliant! 9/10
Spell: For None And All (Bad Omen Records)
Spell hail from Vancouver British Columbia and along with what seems to be a new band every week they are firmly part of the NWOTHM that seems to be coming from the country, obviously the leaders of traditional Canadian metal scene are the unkillable Anvil but more recently bands like Cauldron and Striker have taken the spiked gauntlet and made the music their own. Up until 2013 Spell were called Stryker but probably due to the recognition of the other band with a similar name and the number of bands with the same name, their debut was released and 2014 and now 2 years later they have followed it up with For None And All.
By the negative tone of the title you can tell this is not going to be a tongue-in-cheek metal record with occult, dark references in the lyrics the band sound a lot like Cauldron due to their three piece bass heavy set up, the songs are proto-metal with nods to doom and psychedelia, however with music like this it is difficult not to be repetitive and unfortunately Spell do fall into that trap as a number of the songs on this record do sound very similar, yes there are some keys employed on Whipping Sigils and Seance and the band really tackle the stoner doom with River Of Sleep but tracks like Madame Psychosis and The Veil just have almost identical riffs and they are not the only songs that do this. For None And All is not a bad album but it is just a little too lacking in progression and scope to make much of mark. 5/10
Black Magic Fools: Soul Collector (Self Released)
Folk metal seems to be the genre that will never day, right the way back Skyclad in the 90's the mix of crunching guitars and folk instruments seems to stir something in even the most hardened metal fan, meaning that usually the gigs end in much jigging, dancing and of course ale quaffing. Black Magic Fools hail from Sweden and play what is essentially medieval folk with the metallic backline so expect powerful drumming, guitar riffs and solos mixed with the bands dual violin/fiddles from Ida and Katja as well as bagpipes, flutes and jew harps from frontman Pontus.
One look at the press release and you can see the band go all out dressing the part and blending the two genres together especially on Lies which has modern metal breakdowns and the dual violins doing their work in an almost shanty style song. There is almost a Pirates Of The Caribbeanesque sound to many of the tracks, due to the mix of traditional and electric instruments, with Black Jig a morbid tale of torture and death, infact this is a theme that goes through the album especially on the title track.
Unlike Whispered the songs on this record are shorter and more direct similar to Korpiklaani or indeed a folkier Breed 77 as Black Magic Fools have a similar modern groove metal sound setting the rhythm for the folk instruments to built upon, they even dabble with acoustic guitars on A Jester's Confession. Soul Collector is BMF's debut full length and it has enough on it to appeal to folk metal fans, it's let down a little by the muffled production but it's a jolly good start moving away from the happy clappy nature of normal folk metal and adding a touch of darkness to proceedings. 7/10
Saturday, 28 May 2016
Reviews: Frost*, Lacuna Coil, No Sinner
Frost*: Falling Satellites (InsideOut)
Excuse while I get abit nerdy at the beginning of this review. Frost* is the brainchild of Jem Godfrey who in a previous life wrote songs for Blue, Atomic Kitten, Holly Valance and Shayne Ward (that bloke from X Factor) however thankfully he stepped away from the forces of evil and embrace the good by following his heart and forming Frost* in 2004. Their debut record Milliontown in my opinion is one of the best examples of post-millennial progressive rock there has ever been and pips their second record Experiments In Mass Appeal to the accolade just because it was the debut. However things never ran smoothly in the frost* camp and the band broke up just after Experiments...only to reform several times for live tours but no actual studio albums.
Around 2012 however Godfrey confirmed that their would be a new Frost* album and in true to the bands way of doing things this has finally been released in 2016. So what if anything has changed? Well I'd say this could be the best Frost* album yet, it's just as ambitious and intensely musical as it's predecessors but these songs sound like they have had time spent on them, they've been able to mature over the album's long gestation period. What has stayed the same is the talent of those involved, Jem Godfrey is still the band and be default the albums Commander-In-Chief with his melodic Gilmour-like vocal style, the beautiful production work and the swathes of keys, piano and synths that drive this album forward and make up the bulk of the bands sound, happily the keys work in perfect synchronicity with the impressive guitar work (and vocals) of Godfrey's long term collaborator John Mitchell (It Bites, Arena, Lonely Robot) the two match each other throughout riff for riff, solo for solo which means that they are the focus of the record. For the first time Mitchell has collaborated on the songwriting with Godfrey meaning that both men can add their own mark to the record.
Now with the excellent lead instrumentation leading what can be quite technical pieces you need an engine room that can cope and luckily Godfrey has one in the shape of Craig Blundell (Steven Wilson) who is no stranger to the prog sphere and adds a powerful but deft touch to the record behind the kit, aided by the son of possibly one of the best bassists in the world Level 42's Mark King, Nathan King has all the talent of his father as he fleshes out the songs with his virtuoso plucking. So with four of the best musicians in Britain together on a record (and a guest spot by one Mr Satriani) the album has to be good, luckily Falling Satellites is better than good, it's phenomenal, split into two parts from track six, the synth heavy Heartstrings until track 11 the reflective Last Day you get a 6 song suite that moves between instrumentals and vocal tracks with ease defining it as one long piece that sees Mitchell and Godfrey duelling with keys and guitars and on the pulsing electro pop of Closer To The Sun sees Joe Satriani rip one of his trademark solos which is matched by Jem.
Away from the suite which also features the rocky The Raging Against The Dying Of The Light Blues In 7/8 (showcasing that excellent basswork), the euphoric Hyperventilate and as I've already said climaxes with the haunting Last Day, we come on to the stand alone tracks, First Day serves as an intro, albeit one that harks to David Gilmour's solo work, to Numbers which has distinct Marillion flavour, this is before they go darker and more angular with the sample heavy, twitchy, industrially sparse Towerblock that builds up to dubstep drop with the synths rattling the speakers, some might call this a misstep but personally I like the experimental factor of the song it is totally different to the rest of the album and is better because of it as it shows the band are in a place where they aren't afraid to take risks. With the darkness abated Signs has a Muse-like quality full of twisting electronics, but not as much as on the synth pop of Lights Out which sees Godfrey duet with Tori Beaumont adding a new dynamic to the song and bearing witness to Godfrey's pop career as this track could be on any modern chart.
Falling Satellites is the culmination of Frost*'s immense talent a triumph of progressive but accessible music, even the CD only bonus tracks are well above many bands best shots, Lantern is a folky romantic simple but effective song while British Wintertime encompasses all the melancholia of what that title brings and finishes Falling Satellites perfectly. I'm so glad I've got a ticket to see this band live at the end of July as one I get to see them perform tracks from the genre beating first two albums but also their equally as fantastic new record, my advice is to play this album often as each time it reveals more of itself meaning you fall in love a little more. 10/10
Lacuna Coil: Delirium (Centrury Media)
Lacuna Coil have always played with their Gothic Metal tag adding industrial and even some pop touches to records but never straying far from their normal style, they have always been a safe bet for New Rock sporting, eyeliner wearing Gothic rockers the world over. Well no more after long term drummer Cristiano "Criz" Mozzati along with guitarist Cristiano "Pizza" Migliore left the band on February last year, followed by guitarist Marco "Maus" Biazzi, the band have found their inner brutality.
As the House Of Shame starts off the thrash/groove metal battery is laid down by new drummer Ryan Blake Folden which means that founding frontman Andrea Ferro now screams and growls with haunting vocals of Cristina Scabbia acting as the perfect counterpoint. Ferro's vocals have always been hit and miss for me but I think he has found his niche with the screams as he is a very good harsh vocalist leaving the cleaner stuff to Christina's sublime soaring pipes. This change of style also means that the album features many guitar solos from various guitarists the most high profile being Myles Kennedy on the majestic sounding Downfall with the rest of the musical backing supplied by bassist Marco Colti Zelati who plays bass, guitar, keys and also produces and is the album's renewed creative spark.
This sounds like the album Lacuna Coil have wanted to make for a while, there last couple of records have been darker but this one is their darkest and heaviest, only the title track and Take Me Home both with their bouncing electronic influenced bass driven style harks back to their early years meaning that the sound change is more pronounced on tracks like Blood, Tears, Dust and Broken Things ramping up the more modern metal style with a tip of the hat to Lamb of God or Machine Head with touches of the In This Moment driving industrial metalcore on You Love Me Cause I Hate You. Lacuna Coil have taken a big step in their evolution this album seems more deliberately targeted at turning the band into a more powerful aggressive beast and it's all the better for it. Delirium is the band's best album in a while, let's hope they stick with the newer style as it has reinvigorated Lacuna Coil. 8/10
No Sinner: Old Habits Die Hard (Mascot)
Coleen Rennison the vocalist of Canadian blues rockers No Sinner has a few habits that she can't break, luckily she has an album full of blues rock to tell the world about it. No Sinner burst on to the scene a few years ago with a debut album that centred around driving blues rock riffs and Coleen's impressive vocal performance somewhere between Janis Joplin and Robert Plant with the attitude and passion of those two and many besides. As she explains on the opener All Woman she is indeed that but this album slinks it's way in and out of several stories with sultry and sometime explosive style every song recounted by the powerful, husky pipes of their frontwoman. This second record builds upon the first by adding some more blues influences see the parping mouth harp infecting the stomp of Leadfoot, working through the Southern harmony of Tryin (very Susan Tedeschi) the bayou march of Mandy Lyn and the strutting Fading Away.
The whole album sounds a bit more worked at with the band adding more flavours to their work, this is no 'difficult second album' no it's as good as if not better than their debut and has a greater amount of influences throughout all driven by some top-class musicianship and and Rennison's stunning vocals. When The Bell Rings adds a Zep-style rock out, whereas the homesick Lines On The Highway and barroom ballad Hollow slow things down and allow the powerhouse voice to croon a bit, the percussive filthy One More Time has the hip-shaking groove of The Stones while we go right back with duck walking Chuck Berry Rock N Roll on Saturday Night and the new protocol of soul Vintage Trouble loom large on bonus track Wait.
No Sinner have once again produced a sterling effort putting Rennison up there with some of the best blues rock vocalists in the business her sass and supreme talent are this bands main focal point but with a great backing band bolstering her performance and giving the tracks one hell of a licking as they mesh together with power and passion. If you love your blues rock filthy, flirty and full of excellent talent then pick up Old Habits, Die Hard and get your boogie on. 8/10
Excuse while I get abit nerdy at the beginning of this review. Frost* is the brainchild of Jem Godfrey who in a previous life wrote songs for Blue, Atomic Kitten, Holly Valance and Shayne Ward (that bloke from X Factor) however thankfully he stepped away from the forces of evil and embrace the good by following his heart and forming Frost* in 2004. Their debut record Milliontown in my opinion is one of the best examples of post-millennial progressive rock there has ever been and pips their second record Experiments In Mass Appeal to the accolade just because it was the debut. However things never ran smoothly in the frost* camp and the band broke up just after Experiments...only to reform several times for live tours but no actual studio albums.
Around 2012 however Godfrey confirmed that their would be a new Frost* album and in true to the bands way of doing things this has finally been released in 2016. So what if anything has changed? Well I'd say this could be the best Frost* album yet, it's just as ambitious and intensely musical as it's predecessors but these songs sound like they have had time spent on them, they've been able to mature over the album's long gestation period. What has stayed the same is the talent of those involved, Jem Godfrey is still the band and be default the albums Commander-In-Chief with his melodic Gilmour-like vocal style, the beautiful production work and the swathes of keys, piano and synths that drive this album forward and make up the bulk of the bands sound, happily the keys work in perfect synchronicity with the impressive guitar work (and vocals) of Godfrey's long term collaborator John Mitchell (It Bites, Arena, Lonely Robot) the two match each other throughout riff for riff, solo for solo which means that they are the focus of the record. For the first time Mitchell has collaborated on the songwriting with Godfrey meaning that both men can add their own mark to the record.
Now with the excellent lead instrumentation leading what can be quite technical pieces you need an engine room that can cope and luckily Godfrey has one in the shape of Craig Blundell (Steven Wilson) who is no stranger to the prog sphere and adds a powerful but deft touch to the record behind the kit, aided by the son of possibly one of the best bassists in the world Level 42's Mark King, Nathan King has all the talent of his father as he fleshes out the songs with his virtuoso plucking. So with four of the best musicians in Britain together on a record (and a guest spot by one Mr Satriani) the album has to be good, luckily Falling Satellites is better than good, it's phenomenal, split into two parts from track six, the synth heavy Heartstrings until track 11 the reflective Last Day you get a 6 song suite that moves between instrumentals and vocal tracks with ease defining it as one long piece that sees Mitchell and Godfrey duelling with keys and guitars and on the pulsing electro pop of Closer To The Sun sees Joe Satriani rip one of his trademark solos which is matched by Jem.
Away from the suite which also features the rocky The Raging Against The Dying Of The Light Blues In 7/8 (showcasing that excellent basswork), the euphoric Hyperventilate and as I've already said climaxes with the haunting Last Day, we come on to the stand alone tracks, First Day serves as an intro, albeit one that harks to David Gilmour's solo work, to Numbers which has distinct Marillion flavour, this is before they go darker and more angular with the sample heavy, twitchy, industrially sparse Towerblock that builds up to dubstep drop with the synths rattling the speakers, some might call this a misstep but personally I like the experimental factor of the song it is totally different to the rest of the album and is better because of it as it shows the band are in a place where they aren't afraid to take risks. With the darkness abated Signs has a Muse-like quality full of twisting electronics, but not as much as on the synth pop of Lights Out which sees Godfrey duet with Tori Beaumont adding a new dynamic to the song and bearing witness to Godfrey's pop career as this track could be on any modern chart.
Falling Satellites is the culmination of Frost*'s immense talent a triumph of progressive but accessible music, even the CD only bonus tracks are well above many bands best shots, Lantern is a folky romantic simple but effective song while British Wintertime encompasses all the melancholia of what that title brings and finishes Falling Satellites perfectly. I'm so glad I've got a ticket to see this band live at the end of July as one I get to see them perform tracks from the genre beating first two albums but also their equally as fantastic new record, my advice is to play this album often as each time it reveals more of itself meaning you fall in love a little more. 10/10
Lacuna Coil: Delirium (Centrury Media)
Lacuna Coil have always played with their Gothic Metal tag adding industrial and even some pop touches to records but never straying far from their normal style, they have always been a safe bet for New Rock sporting, eyeliner wearing Gothic rockers the world over. Well no more after long term drummer Cristiano "Criz" Mozzati along with guitarist Cristiano "Pizza" Migliore left the band on February last year, followed by guitarist Marco "Maus" Biazzi, the band have found their inner brutality.
As the House Of Shame starts off the thrash/groove metal battery is laid down by new drummer Ryan Blake Folden which means that founding frontman Andrea Ferro now screams and growls with haunting vocals of Cristina Scabbia acting as the perfect counterpoint. Ferro's vocals have always been hit and miss for me but I think he has found his niche with the screams as he is a very good harsh vocalist leaving the cleaner stuff to Christina's sublime soaring pipes. This change of style also means that the album features many guitar solos from various guitarists the most high profile being Myles Kennedy on the majestic sounding Downfall with the rest of the musical backing supplied by bassist Marco Colti Zelati who plays bass, guitar, keys and also produces and is the album's renewed creative spark.
This sounds like the album Lacuna Coil have wanted to make for a while, there last couple of records have been darker but this one is their darkest and heaviest, only the title track and Take Me Home both with their bouncing electronic influenced bass driven style harks back to their early years meaning that the sound change is more pronounced on tracks like Blood, Tears, Dust and Broken Things ramping up the more modern metal style with a tip of the hat to Lamb of God or Machine Head with touches of the In This Moment driving industrial metalcore on You Love Me Cause I Hate You. Lacuna Coil have taken a big step in their evolution this album seems more deliberately targeted at turning the band into a more powerful aggressive beast and it's all the better for it. Delirium is the band's best album in a while, let's hope they stick with the newer style as it has reinvigorated Lacuna Coil. 8/10
No Sinner: Old Habits Die Hard (Mascot)
Coleen Rennison the vocalist of Canadian blues rockers No Sinner has a few habits that she can't break, luckily she has an album full of blues rock to tell the world about it. No Sinner burst on to the scene a few years ago with a debut album that centred around driving blues rock riffs and Coleen's impressive vocal performance somewhere between Janis Joplin and Robert Plant with the attitude and passion of those two and many besides. As she explains on the opener All Woman she is indeed that but this album slinks it's way in and out of several stories with sultry and sometime explosive style every song recounted by the powerful, husky pipes of their frontwoman. This second record builds upon the first by adding some more blues influences see the parping mouth harp infecting the stomp of Leadfoot, working through the Southern harmony of Tryin (very Susan Tedeschi) the bayou march of Mandy Lyn and the strutting Fading Away.
The whole album sounds a bit more worked at with the band adding more flavours to their work, this is no 'difficult second album' no it's as good as if not better than their debut and has a greater amount of influences throughout all driven by some top-class musicianship and and Rennison's stunning vocals. When The Bell Rings adds a Zep-style rock out, whereas the homesick Lines On The Highway and barroom ballad Hollow slow things down and allow the powerhouse voice to croon a bit, the percussive filthy One More Time has the hip-shaking groove of The Stones while we go right back with duck walking Chuck Berry Rock N Roll on Saturday Night and the new protocol of soul Vintage Trouble loom large on bonus track Wait.
No Sinner have once again produced a sterling effort putting Rennison up there with some of the best blues rock vocalists in the business her sass and supreme talent are this bands main focal point but with a great backing band bolstering her performance and giving the tracks one hell of a licking as they mesh together with power and passion. If you love your blues rock filthy, flirty and full of excellent talent then pick up Old Habits, Die Hard and get your boogie on. 8/10
Thursday, 26 May 2016
A View From The Back Of The Room: Haken
Haken, Special Providence & Arkentype, The Fleece Bristol
The last few gigs I've been too have been a bit of a mix style wise, from Magnum's melodic pomp, too a stripped back Virginmarys set, through hard rock of Buffalo Summer and Blind Guardian's power metal majesty, what's been missing is prog. Thankfully Haken have got that covered with their triumphant return to Bristol's The Fleece for the first show of their Affinity tour in support of their fourth full length album.
Heading to the gig post work, I dived in The Seven Stars next door for swift pint of Coffee and Vanilla Porter (which was unique but very nice indeed), however due to the allure of beer I unfortunately missed openers Arkentype but from what I heard through the walls, they seemed to be djent based band with palm muted heavy guitars and soaring vocals. I came into the venue just as they had finished their set to an applause. Due to this it would be unfair to score them so I won't, I'd say just listen to them and make up your own mind.
Special Providence
Next up we had Special Providence from Budapest, they are a totally instrumental progressive jazz band, that played four or five jazz fusion numbers that while technically impressive, were just a little dull for my taste. This maybe due to the lack of vocals but there is only so many times you can hear a fleet fingered 5-string bass and drum combo matched with jazzy keys and complex 7-string guitar playing before it all gets a bit dull. That's not to say it was bad or indeed repetitive the songs were all different but they did sort of blend into one another meaning it was a bit like one long instrumental and because Haken have so many facets to their music the band preceding them just didn't get the place as excited as they should have as the music was little too laid back for many and a bit too virtuoso for the others, still they were received by those that liked their instrumental jazz fusion style however for me there just something lacking. 6/10
Haken
Thankfully Haken's debut show of their AffiniTour v1.0 (yes folks more retro computer referencing) tour in support of their most recent album Affinity was anything but dull as affinity.exe played over the PA as an intro tape, the six piece band took to the stage and kicked off the set with rocky album opener Initiate which had the band and the crowd rocking from the word go, although the band couldn't do much rocking due to the cramped conditions on stage relegating bassist Connor Green to the back of the stage and almost invisible due to the stage lighting. Much of the stage was taken up by Diego Tejeida's massive keyboard set up, but it's him that is the key to much of Haken's sound, as shown by the synth heavy 1985 which is the most Yes song not written by Yes as it features electronic drums and even an amazing keytar solo by Diego.
Breaking these two debuting songs was a classic Haken number Eternal Rain which will be in the set eternally as it is a song that sums up much of the band's past and present very well. In the back corner of the stage was Raymond Hearne who controlled the pace with his immense percussion skills knowing when to ease off and when to apply gas to the heavier tracks, bolstered by the intricate bass playing of Green who despite not being seen could be heard anchoring the more complicated harsh and melodic tones of Richard Henshall and Charles Griffiths guitars that fire off riffs aplenty, along with the occasional lighter more deft touch and a heaving tonne of intense soloing.
The band were clearly reveling in playing the new stuff live but happily for old school Haken fans like myself they didn't forget about their early albums with debut Aquarius represented by Eternal Rain and Visions by Deathless. The rest of the set saw them drawing mainly from Affinity and The Mountain, the first song from which was the eleven minute plus, emotional epic of Falling Back To Earth which served as the first showcase for Ross Jennings incredible vocals that are all at once powerful yet fragile, he always reminds me of Yes' Jon Anderson as he has a similar style and pitch, although Jennings has a wider range.
The band's performance was enhanced greatly by the amazing light show distracted you from the semi-static performance, I say semi static as Jennings has enough energy for two full bands, considering the nature of the music he was adamant about people dancing. How you can dance to The Mountain's Cockroach King is beyond me but there was some Dad style shuffling of feet to the glorious Earthrise. Cockroach King is a real tribute to the bands talent as any band can play a long multi layered song but this song is so complicated vocally and also musically that it could go horribly wrong but manages to be one of the band's most accessible songs.
Now the previous sentence is not to say Haken haven't got longer songs, oh no sir the debuting The Architect clocks in at 15 minutes plus but takes you along for the ride, meaning you are fully invested in the song from start to finish. In a similar vein after the set closer of The Endless Knot it was time for the normal encore, with the rapturous cheers subsiding, the opening chords said it all, another cheer as the 19 minute epic Crystallized was the solitary encore piece but what an encore it was once again moving between sounds and styles balancing light and shade and generally just bewitching those that had stayed late (the show was running later that it should have been). Haken proved on their last tour that they are capable of headlining their own shows, on this one they showed that they are not only capable they are made for being top of the bill! 9/10
The last few gigs I've been too have been a bit of a mix style wise, from Magnum's melodic pomp, too a stripped back Virginmarys set, through hard rock of Buffalo Summer and Blind Guardian's power metal majesty, what's been missing is prog. Thankfully Haken have got that covered with their triumphant return to Bristol's The Fleece for the first show of their Affinity tour in support of their fourth full length album.
Heading to the gig post work, I dived in The Seven Stars next door for swift pint of Coffee and Vanilla Porter (which was unique but very nice indeed), however due to the allure of beer I unfortunately missed openers Arkentype but from what I heard through the walls, they seemed to be djent based band with palm muted heavy guitars and soaring vocals. I came into the venue just as they had finished their set to an applause. Due to this it would be unfair to score them so I won't, I'd say just listen to them and make up your own mind.
Special Providence
Next up we had Special Providence from Budapest, they are a totally instrumental progressive jazz band, that played four or five jazz fusion numbers that while technically impressive, were just a little dull for my taste. This maybe due to the lack of vocals but there is only so many times you can hear a fleet fingered 5-string bass and drum combo matched with jazzy keys and complex 7-string guitar playing before it all gets a bit dull. That's not to say it was bad or indeed repetitive the songs were all different but they did sort of blend into one another meaning it was a bit like one long instrumental and because Haken have so many facets to their music the band preceding them just didn't get the place as excited as they should have as the music was little too laid back for many and a bit too virtuoso for the others, still they were received by those that liked their instrumental jazz fusion style however for me there just something lacking. 6/10
Haken
Thankfully Haken's debut show of their AffiniTour v1.0 (yes folks more retro computer referencing) tour in support of their most recent album Affinity was anything but dull as affinity.exe played over the PA as an intro tape, the six piece band took to the stage and kicked off the set with rocky album opener Initiate which had the band and the crowd rocking from the word go, although the band couldn't do much rocking due to the cramped conditions on stage relegating bassist Connor Green to the back of the stage and almost invisible due to the stage lighting. Much of the stage was taken up by Diego Tejeida's massive keyboard set up, but it's him that is the key to much of Haken's sound, as shown by the synth heavy 1985 which is the most Yes song not written by Yes as it features electronic drums and even an amazing keytar solo by Diego.
Breaking these two debuting songs was a classic Haken number Eternal Rain which will be in the set eternally as it is a song that sums up much of the band's past and present very well. In the back corner of the stage was Raymond Hearne who controlled the pace with his immense percussion skills knowing when to ease off and when to apply gas to the heavier tracks, bolstered by the intricate bass playing of Green who despite not being seen could be heard anchoring the more complicated harsh and melodic tones of Richard Henshall and Charles Griffiths guitars that fire off riffs aplenty, along with the occasional lighter more deft touch and a heaving tonne of intense soloing.
The band were clearly reveling in playing the new stuff live but happily for old school Haken fans like myself they didn't forget about their early albums with debut Aquarius represented by Eternal Rain and Visions by Deathless. The rest of the set saw them drawing mainly from Affinity and The Mountain, the first song from which was the eleven minute plus, emotional epic of Falling Back To Earth which served as the first showcase for Ross Jennings incredible vocals that are all at once powerful yet fragile, he always reminds me of Yes' Jon Anderson as he has a similar style and pitch, although Jennings has a wider range.
The band's performance was enhanced greatly by the amazing light show distracted you from the semi-static performance, I say semi static as Jennings has enough energy for two full bands, considering the nature of the music he was adamant about people dancing. How you can dance to The Mountain's Cockroach King is beyond me but there was some Dad style shuffling of feet to the glorious Earthrise. Cockroach King is a real tribute to the bands talent as any band can play a long multi layered song but this song is so complicated vocally and also musically that it could go horribly wrong but manages to be one of the band's most accessible songs.
Now the previous sentence is not to say Haken haven't got longer songs, oh no sir the debuting The Architect clocks in at 15 minutes plus but takes you along for the ride, meaning you are fully invested in the song from start to finish. In a similar vein after the set closer of The Endless Knot it was time for the normal encore, with the rapturous cheers subsiding, the opening chords said it all, another cheer as the 19 minute epic Crystallized was the solitary encore piece but what an encore it was once again moving between sounds and styles balancing light and shade and generally just bewitching those that had stayed late (the show was running later that it should have been). Haken proved on their last tour that they are capable of headlining their own shows, on this one they showed that they are not only capable they are made for being top of the bill! 9/10
Reviews: Avatar, Buffalo Summer, Mother Feather
Avatar: Feathers & Flesh (Entertainment One)
Avatar have steadily upped their game on every release, with 2012's Black Waltz announcing them to the world at large only to be improved upon greatly by 2014's Hail The Apocalypse, this is where the band varied their scope bringing together a mix of groove, death, black and even some progressive and power metal influences fusing them together to produce a unique sound, their sixth album sees them once again improving their game and expanding their sound. Feathers & Flesh is a concept record that frontman Johannes Eckerström explains: "It's about this owl who goes to war against the world to prevent the sun from rising. It's a fable inspired by the work of the famous French fable writer Jean de La Fontaine so the creatures in the fable represent a side of the human psyche or different behaviors" so a high concept piece but one that is delivered with some of Avatar's most ambitious but accessible music they've produced.
The album kicks off with the sorrowful Regret that introduces the protagonist Owl and what will become the overarching theme of the record, then we are taken back when the Owl is at the top of his game on the pure metal House Of Eternal Hunt which is rampaging power metal-like track laced with classical acoustics and insane two-hand tapping solos showing the skill of Jonas "Kungen" Jarlsby and Tim Öhrström who really impress throughout the record with their guitar skill giving the record it's modern but classic sound, House... moves into the commanding stomp of The Eagle Has Landed which has the vaudeville call of "Ladies & Gentlemen" on which Johannes Eckerström shows off his dual personality vocal and his ringleader caricature welcoming us to the rest of the album backed by a rhythmic groove-laden stomp.
Eckerström's vocals are at their very best on this record dividing their time between a sonorous, insistent clean vocal before unleashing his harsher side. New Land is one of the better tracks to show this off as it is almost choral in places with the occasional foray into screams, New Land also is driven by the progressive drumming of John Alfredsson who along with bassist Henrik Sandelin is key to the stripped back verses in heavy creeping surf rock influenced Tooth, Beak And Claw which has nearly all snarled vocals a counterpoint to the more upbeat musical backing, the rhythm section are also used to their fullest on Pray The Sun Away (do I detect cowbell?)
Feathers & Flesh is certainly the bands most progressive output so far, I'd say it has mix of Von Hertzen Brothers, Lamb Of God and Rob Zombie all meshed together but it makes for an interesting listen, because of the wide variety of styles on offer most people will be able to find something that will tickle their fancy, but at 14 songs it could be a little too complicated for those of the thrash disposition (joke) however stick with the record as you'll be rewarded by some interesting, intricate, impressive and downright heavy metal with artistic flourishes.
Tracks such as the ballad Fiddler's Farewell, the county-fied heaviness of Black Waters (very Sons Of Anarchy) along with the anthemic folky Night Never Ending all add balance to the record meaning that nothing ever grows stale over it's length right up to the gurgling, orchestral final track Sky Burial. This record is absolutely excellent and if nothing else it ensures my presence at their mainstage opening performance on the Saturday at Download, luckily it does more than that and is an album that I and hopefully you will revisit numerous time this year. 9/10
Buffalo Summer: Second Sun (UDR)
I went to the launch night of Buffalo Summer's sophomore record the day before it's official release, I heard most of the record live meaning that I sort of knew what to expect when I heard it however from the first listen the band sound a lot more accomplished their songwriting has improved significantly, although they were no slouches on their debut, their is also more a professional edge to this recording, it sounds like a major label record, possibly due to the influence of producer Barrett Martin (Screaming Trees) who also adds the percussion, hammond organ and vibraphone. As you can probably tell from that list of instruments the Neath quartet have also added more varied flavours to this second effort adding to the hard rocking their debut was packed with, although that is still there on stomping opening twosome of Money and the groovy Heartbreakin' Floorshakin' and the direct Into Your Head.
The funk comes on strong with Little Charles, there is a definite blues base to Priscilla, while High As The Pines has a stoner focus, Levitate and Water To Wine bring a country twang and they even try their hand at a ballad with Light Of The Sun which is done well avoiding smaltz and adding a touch of muscle. Still the racket is made by Gareth's powerful drumming, Darren's rhythmic grooving bass, Jonny's soaring, flowing guitars and Andrew's hollering vocals all of which lock together perfectly on the songs meaning that this record has an organic feel to it. Second Sun is a classy hard rock record that shows the band have learnt a lot from the high profile tours; it's a slickly produced, expertly played and full of accomplished songcraft. This second album that will see the band on a steep upward trajectory, do yourself a favour and pick up Second Sun as it proves Gene Simmons wrong, rock n roll is very much alive and kicking. 8/10
Mother Feather: Mother Feather (Metal Blade)
New York band Mother Feather were formed by frontwoman Ann Courtney after growing disillusioned with the scene at large, at the same time she found her kindred spirit in Elizabeth Carena or Lizzie and with one small Freudian slip while trying to swear Mother Feather's name was born. The band style themselves as pro-feminist pop cock rock and their album is glitter bomb of garage rock wrapped in a glam rock bacofoil cape and covered in face paint and ostentatious make-up.
Think The Stooges, New York Dolls or The MC5 with pop sensibilities, a distinct alt-rock edge and girl power lyrical content with a dominant, defiant purr by Courtney and her partner in crime Carena. It's the duality of the vocals that gives this record it's decided edge, the pop sensibilities of the record are heightened by the dual vocals working in tandem meaning that there are 50's doo-wop/rock n roll call and response elements as well as some more 60's style harmonizing, all of the tracks are driven by the rhythm section of Gunnar Olsen and Matt Basile who push the thumping stomps of the glam rock on the title track allowing Chris Foley to add some staccato, fuzzy guitar riffs and shimmering lead breaks while Carena handles the keys and organs that make a lot of the songs on this record have an innate danceability to them, especially the funky, filthy Trampoline with its' superb innuendo laced smile raising chorus.
Mother Feather's debut has all the hallmarks of a genre straddling classic that will appeal to wide audience as there is enough pop for those that love to shake their booty but enough grunting rock for the long hairs' listening, Mother Feather have balanced both sounds very well on their debut showing a lot of the male dominant bands what it really means to have balls! 8/10
Avatar have steadily upped their game on every release, with 2012's Black Waltz announcing them to the world at large only to be improved upon greatly by 2014's Hail The Apocalypse, this is where the band varied their scope bringing together a mix of groove, death, black and even some progressive and power metal influences fusing them together to produce a unique sound, their sixth album sees them once again improving their game and expanding their sound. Feathers & Flesh is a concept record that frontman Johannes Eckerström explains: "It's about this owl who goes to war against the world to prevent the sun from rising. It's a fable inspired by the work of the famous French fable writer Jean de La Fontaine so the creatures in the fable represent a side of the human psyche or different behaviors" so a high concept piece but one that is delivered with some of Avatar's most ambitious but accessible music they've produced.
The album kicks off with the sorrowful Regret that introduces the protagonist Owl and what will become the overarching theme of the record, then we are taken back when the Owl is at the top of his game on the pure metal House Of Eternal Hunt which is rampaging power metal-like track laced with classical acoustics and insane two-hand tapping solos showing the skill of Jonas "Kungen" Jarlsby and Tim Öhrström who really impress throughout the record with their guitar skill giving the record it's modern but classic sound, House... moves into the commanding stomp of The Eagle Has Landed which has the vaudeville call of "Ladies & Gentlemen" on which Johannes Eckerström shows off his dual personality vocal and his ringleader caricature welcoming us to the rest of the album backed by a rhythmic groove-laden stomp.
Eckerström's vocals are at their very best on this record dividing their time between a sonorous, insistent clean vocal before unleashing his harsher side. New Land is one of the better tracks to show this off as it is almost choral in places with the occasional foray into screams, New Land also is driven by the progressive drumming of John Alfredsson who along with bassist Henrik Sandelin is key to the stripped back verses in heavy creeping surf rock influenced Tooth, Beak And Claw which has nearly all snarled vocals a counterpoint to the more upbeat musical backing, the rhythm section are also used to their fullest on Pray The Sun Away (do I detect cowbell?)
Feathers & Flesh is certainly the bands most progressive output so far, I'd say it has mix of Von Hertzen Brothers, Lamb Of God and Rob Zombie all meshed together but it makes for an interesting listen, because of the wide variety of styles on offer most people will be able to find something that will tickle their fancy, but at 14 songs it could be a little too complicated for those of the thrash disposition (joke) however stick with the record as you'll be rewarded by some interesting, intricate, impressive and downright heavy metal with artistic flourishes.
Tracks such as the ballad Fiddler's Farewell, the county-fied heaviness of Black Waters (very Sons Of Anarchy) along with the anthemic folky Night Never Ending all add balance to the record meaning that nothing ever grows stale over it's length right up to the gurgling, orchestral final track Sky Burial. This record is absolutely excellent and if nothing else it ensures my presence at their mainstage opening performance on the Saturday at Download, luckily it does more than that and is an album that I and hopefully you will revisit numerous time this year. 9/10
Buffalo Summer: Second Sun (UDR)
I went to the launch night of Buffalo Summer's sophomore record the day before it's official release, I heard most of the record live meaning that I sort of knew what to expect when I heard it however from the first listen the band sound a lot more accomplished their songwriting has improved significantly, although they were no slouches on their debut, their is also more a professional edge to this recording, it sounds like a major label record, possibly due to the influence of producer Barrett Martin (Screaming Trees) who also adds the percussion, hammond organ and vibraphone. As you can probably tell from that list of instruments the Neath quartet have also added more varied flavours to this second effort adding to the hard rocking their debut was packed with, although that is still there on stomping opening twosome of Money and the groovy Heartbreakin' Floorshakin' and the direct Into Your Head.
The funk comes on strong with Little Charles, there is a definite blues base to Priscilla, while High As The Pines has a stoner focus, Levitate and Water To Wine bring a country twang and they even try their hand at a ballad with Light Of The Sun which is done well avoiding smaltz and adding a touch of muscle. Still the racket is made by Gareth's powerful drumming, Darren's rhythmic grooving bass, Jonny's soaring, flowing guitars and Andrew's hollering vocals all of which lock together perfectly on the songs meaning that this record has an organic feel to it. Second Sun is a classy hard rock record that shows the band have learnt a lot from the high profile tours; it's a slickly produced, expertly played and full of accomplished songcraft. This second album that will see the band on a steep upward trajectory, do yourself a favour and pick up Second Sun as it proves Gene Simmons wrong, rock n roll is very much alive and kicking. 8/10
Mother Feather: Mother Feather (Metal Blade)
New York band Mother Feather were formed by frontwoman Ann Courtney after growing disillusioned with the scene at large, at the same time she found her kindred spirit in Elizabeth Carena or Lizzie and with one small Freudian slip while trying to swear Mother Feather's name was born. The band style themselves as pro-feminist pop cock rock and their album is glitter bomb of garage rock wrapped in a glam rock bacofoil cape and covered in face paint and ostentatious make-up.
Think The Stooges, New York Dolls or The MC5 with pop sensibilities, a distinct alt-rock edge and girl power lyrical content with a dominant, defiant purr by Courtney and her partner in crime Carena. It's the duality of the vocals that gives this record it's decided edge, the pop sensibilities of the record are heightened by the dual vocals working in tandem meaning that there are 50's doo-wop/rock n roll call and response elements as well as some more 60's style harmonizing, all of the tracks are driven by the rhythm section of Gunnar Olsen and Matt Basile who push the thumping stomps of the glam rock on the title track allowing Chris Foley to add some staccato, fuzzy guitar riffs and shimmering lead breaks while Carena handles the keys and organs that make a lot of the songs on this record have an innate danceability to them, especially the funky, filthy Trampoline with its' superb innuendo laced smile raising chorus.
Mother Feather's debut has all the hallmarks of a genre straddling classic that will appeal to wide audience as there is enough pop for those that love to shake their booty but enough grunting rock for the long hairs' listening, Mother Feather have balanced both sounds very well on their debut showing a lot of the male dominant bands what it really means to have balls! 8/10
Tuesday, 24 May 2016
Reviews: Crimson Fire, Silverbones, Nightmen
Crimson Fire: Fireborn (Pitch Black Records)
Well this is something I didn't expect at all. When I first saw the press release for Greek band Crimson Fire's sophomore album I expected it to be another quality power metal release that had similarities to Firewind, Innerwish etc I'm talking heavier than normal power metal with passionate vocals and virtuoso guitar playing. However from the opening few minutes of Fireborn I found that the band based in Kallithea were more than that, yes they can be categorised as power metal but they have a distinct macho hard rock vein that separates them from a lot of their countrymen and plonks them in the NWOBHM camp but with the melodic ear of The Scorpions. The band have had high profile guest spots with Canadian legends Anvil, NWOBHM survivors Tokyo Blade, Elixr, as well as American speed metal masters Helstar.
As well as The Scorpions influence that is writ large over this release the Harley riding Priest middle period slides in throughout, battling with Fighting The World style Manowar and also some Queensryche comes with both the backing vocals and on the slower numbers. Crimson Fire are a four piece with the engine room powered by Nemo's bass and Kostas' drums, the riffs and squealing solos supplied by Johnny with Stelios singing over the top, part Rob Halford, part Klaus Meine. You can just imagine the band clad in denim, leather, tasseled jackets and high tops riding motorbikes through a city at midnight on their way to a fight with a rival gang, with the songs on this record as their soundtrack.
In fact the video for (dreadfully named) Bad Girl is exactly what I've just described but it's gleefully tongue in cheek too, there is not a shred of po-faced Manowarisms, Crimson Fire know that it's all a bit of fun and it shows through with their music. On my first listen to the record I wanted to play the whole thing again from Take To The Skies, to the 80's loving Young Free, the rampaging Knightrider (sadly not about the Hasselhoff show), missing the one misstep of Her Eyes but revelling in the rest of the mad metal might. Fireborn is a great record which will see Crimson Fire jump out of the Greek scene and onto the world at large. 8/10
Silverbones: Wild Waves (Stormspell Records)
There is no other way to describe this record than sounding like Running Wild, Italian's Silverbones do such a good job of emulating the Germanic kings of Pirate Metal that really they could be a tribute act much like Swedes Blazon Stone, reviewed previously. Wild Waves has tracks such as Queen Anne's Revenge, Riders Of The New World, the title track and the epic finale of Black Bart; along with the cover art which features a solitary pirate facing down an enemy ship, Silverbones are definitely Under Jolly Roger for all of their debut album. With speed metal shredding and galloping rhythm section and raspy vocals that are part Rock N Rolf, part Chris Boltendahl sitting the band in the studs and gauntlet's of mid-80's heavy metal. Despite the blatant copyist sound Wild Waves is not a bad album, the band all play well and the songs carry the right amount of bombast for band's of their ilk, the songs will get you head nodding and your fist pumping but with pirate metal being a bit of a now-overlooked genre in the power metal pantheon Silverbones may be walking the plank commercially if they stick to the sound too rigidly. 5/10
Nightmen: Fifteen Minutes Of Pain (Lövely Records)
I have a bone to pick with Swedish garage rockers Nightmen and their debut record, if you are calling it Fifteen Minutes Of Pain then don't make the album 28 minutes long, it's false advertising. I joke of course as the Malmo rock n rollers spit out fuzzy, punky leather jacket clad riffs at a furious pace harking back to the 70's New York scene when CBGB's was the best night of your life. With 12 tracks the album fuses spiky punk, D.I.Y garage rock, surf tendencies and infectious power-pop, think Juliette & The Licks, Blondie, The Ramones, Cheap Trick, The Cars and Iggy Pop in a blender and you'll get an idea of what's to come. The four piece have a trio of vocalists with guitarist's Tony, Christine and bassist Erik all sharing the mic, separately or on a few tracks all at once, leading to many instances of playful call and response in the album's more romantic/lustful moments.
With speedy guitar stabs and sprinting basslines and drummer Nopan hammering his snare the songs on this record rarely make it past the 3 minute mark with only the final song Down And Out proving the exception clocking in at 4:02. The shortness of the songs is not a problem though, as music like this has to feel urgent, insistent, ready to explode into a shower of beer and hysteria at any point, which happily is what Fifteen Minutes Of Pain feels like, there's a sense of playfulness and filth about the record that pervades every song giving the album replay value as the soundtrack to your next beer bash with your leather-clad mates. A record that begs to be played loudly, don't disappoint folks! 8/10
Well this is something I didn't expect at all. When I first saw the press release for Greek band Crimson Fire's sophomore album I expected it to be another quality power metal release that had similarities to Firewind, Innerwish etc I'm talking heavier than normal power metal with passionate vocals and virtuoso guitar playing. However from the opening few minutes of Fireborn I found that the band based in Kallithea were more than that, yes they can be categorised as power metal but they have a distinct macho hard rock vein that separates them from a lot of their countrymen and plonks them in the NWOBHM camp but with the melodic ear of The Scorpions. The band have had high profile guest spots with Canadian legends Anvil, NWOBHM survivors Tokyo Blade, Elixr, as well as American speed metal masters Helstar.
As well as The Scorpions influence that is writ large over this release the Harley riding Priest middle period slides in throughout, battling with Fighting The World style Manowar and also some Queensryche comes with both the backing vocals and on the slower numbers. Crimson Fire are a four piece with the engine room powered by Nemo's bass and Kostas' drums, the riffs and squealing solos supplied by Johnny with Stelios singing over the top, part Rob Halford, part Klaus Meine. You can just imagine the band clad in denim, leather, tasseled jackets and high tops riding motorbikes through a city at midnight on their way to a fight with a rival gang, with the songs on this record as their soundtrack.
In fact the video for (dreadfully named) Bad Girl is exactly what I've just described but it's gleefully tongue in cheek too, there is not a shred of po-faced Manowarisms, Crimson Fire know that it's all a bit of fun and it shows through with their music. On my first listen to the record I wanted to play the whole thing again from Take To The Skies, to the 80's loving Young Free, the rampaging Knightrider (sadly not about the Hasselhoff show), missing the one misstep of Her Eyes but revelling in the rest of the mad metal might. Fireborn is a great record which will see Crimson Fire jump out of the Greek scene and onto the world at large. 8/10
Silverbones: Wild Waves (Stormspell Records)
There is no other way to describe this record than sounding like Running Wild, Italian's Silverbones do such a good job of emulating the Germanic kings of Pirate Metal that really they could be a tribute act much like Swedes Blazon Stone, reviewed previously. Wild Waves has tracks such as Queen Anne's Revenge, Riders Of The New World, the title track and the epic finale of Black Bart; along with the cover art which features a solitary pirate facing down an enemy ship, Silverbones are definitely Under Jolly Roger for all of their debut album. With speed metal shredding and galloping rhythm section and raspy vocals that are part Rock N Rolf, part Chris Boltendahl sitting the band in the studs and gauntlet's of mid-80's heavy metal. Despite the blatant copyist sound Wild Waves is not a bad album, the band all play well and the songs carry the right amount of bombast for band's of their ilk, the songs will get you head nodding and your fist pumping but with pirate metal being a bit of a now-overlooked genre in the power metal pantheon Silverbones may be walking the plank commercially if they stick to the sound too rigidly. 5/10
Nightmen: Fifteen Minutes Of Pain (Lövely Records)
I have a bone to pick with Swedish garage rockers Nightmen and their debut record, if you are calling it Fifteen Minutes Of Pain then don't make the album 28 minutes long, it's false advertising. I joke of course as the Malmo rock n rollers spit out fuzzy, punky leather jacket clad riffs at a furious pace harking back to the 70's New York scene when CBGB's was the best night of your life. With 12 tracks the album fuses spiky punk, D.I.Y garage rock, surf tendencies and infectious power-pop, think Juliette & The Licks, Blondie, The Ramones, Cheap Trick, The Cars and Iggy Pop in a blender and you'll get an idea of what's to come. The four piece have a trio of vocalists with guitarist's Tony, Christine and bassist Erik all sharing the mic, separately or on a few tracks all at once, leading to many instances of playful call and response in the album's more romantic/lustful moments.
With speedy guitar stabs and sprinting basslines and drummer Nopan hammering his snare the songs on this record rarely make it past the 3 minute mark with only the final song Down And Out proving the exception clocking in at 4:02. The shortness of the songs is not a problem though, as music like this has to feel urgent, insistent, ready to explode into a shower of beer and hysteria at any point, which happily is what Fifteen Minutes Of Pain feels like, there's a sense of playfulness and filth about the record that pervades every song giving the album replay value as the soundtrack to your next beer bash with your leather-clad mates. A record that begs to be played loudly, don't disappoint folks! 8/10
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