Reviews: Birthday Massacre, Ye Banished Privateers, Doll Skin (Reviews By Stief)

The Birthday Massacre: Under Your Spell (Metropolis Records)

The seventh full-length album from Canadian Darkwave sextet The Birthday Massacre, Under Your Spell is yet another great album. Having seen them in The Fleece last year, it was already obvious the band had not only retained their talents, but had gotten better with age. From the music box opening of One to the final chime of Endless, Chibi and company send the listener on a journey across a sea of synths, distorted guitars and haunting vocals. Every member of the band works together perfectly: Chibi's vocals, almost ethereal at times whilst easily breaking into vicious growls without a thought, soar around the oft distorted guitars of Rainbow and Falcore.

Rhim's drums provide a steady or heavy beat, often switching during the course of a song while Nate Manor's bass guitar provides the meaty foundation of their sound. However, it's Owen's Keyboards that help the band stand out from the rest, arguably just as iconic in their sound as Chibi's vocals, the synths and keys Owen weaves through each song paint a different picture each time. If you've ever been a fan of The Birthday Massacre, then you'll know exactly what to expect, and if you're not a fan, then I would definitely implore you to give them a try, as this is a cracking album. 9/10

Ye Banished Privateers: First Night Back in Port (Napalm Records)

Whenever the word 'Pirate' is mentioned within the music circles, it immediately brings to mind bands such as Alestorm, RedRum and LagerStein, with their comedic and often heavy synth-laden metal. When listening to Ye Banished Privateers, a 20-person crew from Sweden, I found myself often wondering if they aren't actually pirates, with their sea shanties, names such as Scurvy Ben, Bloody Liz, Eva The Navigator and the use of classical instruments such as Irish Banjos, a Kalimba, accordions and fiddles to name but a few. 

Although Ye Banished Privateers are nowhere near the heaviness we've come to expect from 'pirate metal' I have to say it's a delight to listen to. Some songs have a great upbeat tempo with jaunty toe-tapping music; First Night Back In Port being one of the best, while others bring to mind artists such as Nick Cave in places, the album closer Mermaid's Kiss, reminiscent of Cave and Kylie Minogue's duet Where The Wild Roses Grow is a nearly 20-minute tale with some beautiful instrumentals woven throughout. I definitely suggest you listen to this if you're looking for something a bit different. 9/10

Doll Skin: Manic Pixie Dream Girl (EMP)

It's easy to compare pop-punk bands to their peers, but some manage to break away from that. Arizonian quartet Doll Skin are one of those bands. Although on first listen, many (including myself) would compare the sound of Doll Skin to bands such as Paramore, who seem to be continually falling and embracing the pop half of pop-punk, these ladies manage to plant themselves firmly in the punk side, with heavy guitars, rhythmic drumming and kick-ass vocals.

It's not all fast paced however, with Doll Skin showing a slower side with songs such as Sweet Pea and Uninvited. Being honest, if Megadeth's David Ellefson decided these ladies are good enough to sign to his label, I'm not going to argue their talents! Looking forward to future projects from them! 8/10

Review: Anathema (Review By Paul)

Anathema: The Optimist (KScope)

It seems it was only yesterday that Anathema delivered Distant Satellites, a stunning piece of work that still resonates, its melancholic themes and use of electronica and loops moving the band further towards the progressive rock that their sound has slowly metamorphosed towards since the turn of the century. Last year's short and select UK tour provided those of us lucky enough to get tickets with the opportunity to hear four of the songs that feature on The Optimist which was sufficient to whet the appetite. Combined with an increasingly savvy internet presence, this made the new release highly anticipated.

With a concept that follows on from the story in 2001's A Fine Day To Exit, the album opens with the sound of the sea and possibly our hero (?) returning to the car. The coordinates 32. 63N 117.14W take you to Silver Strand Beach, San Diego and the location of the cover of A Fine Day To Exit. What follows for the next hour is the the next chapter of a band who are well over a quarter of a century into their career. Subtle layered alt-rock with more in common with Radiohead than the doom of their early peers. The Optimist is worth the wait.

With the emphasis on additional piano and keyboards, there is even more focus on Daniel Cavanagh's song construction, allowing room to breath and develop into huge, epic pieces, full of dramatic peaks and uplifting elements. Leaving It Behind allows Vincent Kavanagh the immediate opportunity to illustrate his amazing heartfelt vocal, the loops providing the backing before the rest of the band kick in to raise the tempo immediately. Endless Ways, the first of several tracks to feature the beautiful voice of Lee Douglas has some stunning string sections whilst the title track sees Vincent Cavanagh and Lee Douglas duet, the song rising to a crescendo before the piano takes over, combining once more with the strings and some crystal clear guitar lines.

It's not all structured and controlled, and whilst title track The Optimist starts with a repeated piano chord and Vincent's solo vocal, before Lee adds echoing backing vocals. It soon transforms into a full blooded, magnificently climbing track which takes the breath away. Springfield, despite its slow pace is a cracker, Lee Douglas giving a beautiful performance, the smouldering intro climbing to a crescendo before dipping slowly back to the serenity of the start whilst Ghosts is simply stunning, Lee Douglas once more allowed time as the track evolves around her.

The electronica influence of bands like Depeche Mode really comes to the fore on the pacey Can't Let Go, Vincent taking the vocals whilst the rest of the band combine with some thumping bass and percussion. The sheer depth and impact of this album necessitates repeated listens, which concludes with the emotional Back To The Start.

The Optimist provides as much or as little as you want to take from it. Read deeply into the concept, or enjoy each track individually. Anathema has evolved. The band are surely one of the country's most innovative and imaginative rock bands around today. Their music deserves wider audiences. How they will fare on the windswept expanse of the Zippo Stage at Download I'm not sure, but when it comes to the start of their European tour in Belfast I have no doubt it will be fantastic. 10/10

Reviews: The Ferrymen, Dream Evil, Nitrogods

The Ferrymen: The Ferrymen (Frontiers Records)

As we've mentioned before Frontiers Records have their stock in trade with melodic metal supergroups usually featuring in house performers and members of other bands signed to the label and not, collaborating together. The Ferrymen is the most recent record from the label that does this, formed by Magnus Karlsson, who is long term session man for Frontiers having contributing to the such projects as Allen/Lande, Starbreaker and Kiske/Sommerville along with his dayjob of axe-wielding for Primal Fear and his band Freefall. (He also frequently collaborates with Mat Sinner on many of his multiple projects). This project also features drummer Mike Terrana who smashes the skins in Rage and with Karlsson taking up nearly everything else all that is needed is vocalist and my my what a vocalist they have, Frontiers Records signee Lords Of The Black's Ronnie Romero is the man behind the mic.

It's an inspired choice as Karlsson's work on the Allen/Lande project shows he can write very well for strong gruffer voices and here he reinforces that with the songwriting not to dissimilar to those found on the Jorn albums and indeed the latter Dio records. Romero has been compared to Dio so many time that repeating it would be lazy, there is a reason why he is the now the singer of Ritchie Blackmore's Rainbow, in his own band he deals with straight up classic/heavy metal but here there are more melodic touches that liken the sound to the post Sacred Heart albums and it means Romero is allowed more versatility. check out the song The Ferrymen which is a stomping rocking track with a huge chorus, Romero really lets rip on Fool You All which is very Dio.

The structures and songwriting of Karlsson are top notch, his playing is immense with lush orchestrations and ripping solos throughout. Some of these collaborations can be a bit hit and miss but this is brilliant melodic metal album, if you love Dio, Jorn, Eden's Curse etc pick it up. 9/10

Dream Evil: Six (Century Media) [Review By Paul]

Unsurprisingly Six is the sixth full release from Gothenburg's Dream Evil, a band well respected in the power metal movement. The band's current line up comprises founding members Fredrick Nordstrom on rhythm guitar, Nicklas Isfeldt on vocals and bass player Peter Stalfors along with long term drummer Pat Power and returning lead guitarist Markus Friestedt. It is the long anticipated follow up to 2010's In The Night and it does exactly what you want a Swedish power metal outfit to do. Cheesy fantasy lyrics, racing speeds, galloping bass lines and pounding drums all combined with some slashing guitar work.

Classic power metal always follows the early blueprint laid down by bands like Helloween, Primal Fear and Hammerfall, and Dream Evil certainly do that. Antidote thunders along at 100mph, whilst Too Loud is an absolute battery with slicing riffs. Isfeldt's vocals hit the spot perfectly, his higher range blending well. It's predictable, unoriginal, cheesy and thoroughly enjoyable if you like power metal. If you don't, you'll hate this. I can't see this album raising the band's UK profile but it's a perfectly solid release. 7/10

Nitrogods: Roadkill BBQ (SPV/Steamhammer)

Oimel, Henry and Klaus are the Nitrogods and from their album covers to their high voltage speed/punk/metal the band have all the trappings of Lemmy and Co at their dirtiest. The bluesy boogie is merged with snarling riffs for an album of 14(!) songs. The Nitrogods are a three piece (obviously) from Germany formed by guitarist Henry Wolter and drummer Klaus Sperling after both left Primal Fear they were joined by Oimel Larcher who takes the vocal/bass role an it's his rasp and amp bursting basslines that remind you of the Lemmy. Opening with Rancid Rock he drawls over the sleazy riff, they change tact on the boogielicious title track which takes cues from ZZ Top.

Now the quality of this record does vary, My Love's A Wire Brush is terrible like The Nuge at his worst and I Hate is bog standard punk. However when they are in the the Motorhead groove on Boogeyman, the blasting Bad Place Wrong Time, drum heavy Wheelin' and A Los Muertos they are at their best. The varying quality is probably due to the number of tracks on this record it's 14 songs long and many of them a hard to differentiate between due to Oimel's limited vocal croak and the punky blues of Henry. With a bit more quality control Roadkill BBQ  as it could have garnered a bigger score as it stands it's perfectly perfunctory, they are Nitrogods and they play rock n roll and they remind you of better days and they acknowledge this on Where Have The Years Gone? 7/10

A View From The Back Of The Room: Vintage Trouble (Live Review By Paul)

Vintage Trouble - Tramshed Cardiff

More reliable than an Electric Six winter tour, the ever impressive Vintage Trouble returned to Cardiff a mere 11 months after their previous visit and once again left the venue sweaty, happy and full of joy.

VT has a reputation for pulling some decent talent along with them on their tours. Last year it was Slydigs, this year, 2014's British Blues Young Artist of the Year Laurence Jones (8) and his band. With a mix of influences from Clapton to Hendrix to Tony McPhee, Jones is another in the long line of exciting blues guitarists and his 40 minutes absolutely flew past as he indulged his talent on the stage. Clad in a simple t-shirt and leather jacket, flanked by the enthusiastic bass of Greg Smith and the rampant drumming of Mike Wilson, Jones played a rather decent set of new tunes from his latest release What's It Gonna Be alongside more established tracks from his previous three releases. Yes, the Stratford Upon Avon born guitarist is also a prolific recorder. His easy style warmed the audience up nicely and a generous round of applause was no more than he deserved.

I struggle to find superlatives to cover Vintage Trouble (10). Every time I see them, the band up the level again. For much of the evening, everything I wrote about the band's previous visits to Cardiff and Bristol over the years rings true. It's been six years since we first saw the band impress at Sonisphere whilst they also impressed the Ed before that when he saw them support Brian May and Kerry Ellis a few weeks before that. Since then, they have been on UK shores every year and we continue to go back. Maybe I should end the review there. We keep going back to see them.

But now there is even more maturity about the band. Polished to within an inch of their lives, still as snappily dressed although the cream suit of Ty Talyor's soon soaked through with sweat such is the effort the front man puts into his shows, VT are just consummate professionals. With the addition of Brian London on keys and backing vocals giving more depth and warmth to their sound, the band galloped through a set crammed with old classics from The Bomb Shelter Sessions, more recent stuff from 1 Hopeful Road and four new songs shoehorned into the middle of the set.

As I've said before, Ty has the crowd where he wants them, although even he couldn't get the big gobbed fools near us to shut up during the gentle Not Alright By Me (Ha! The irony!) and Doin' What You Were Doin'. Luckily there was enough raucousness in the likes of Pelvis Pusher, Run Like The River and set closer Knock Me Out to drown them out. The inimitable Nalle Colt continues to impress on the guitar with his work just stunning at times, Rick Barro Dill is the epitome of cool in his three piece suit and subtle bass lines whilst Richard Danielson is an amazing drummer.

The inevitable journey by Ty Taylor to the balcony managed to finally grab the attention of even the most talkative members of the audience before the band took a deserved bow. A double song encore, the brilliant Blues Hand Me Down and the beautiful Nobody Told Me closed yet another fantastic evening for the assembled troublemakers and as the band dived off the stage through the crowd to their usual post-gig merchandise signing position once again we were left to marvel at why these guys are not headlining much bigger venues.

Reviews: Tankard, Final Coil, Excalion (Reviews By Rich)

Tankard: One Foot In The Grave (Nuclear Blast)

German thrash legends and 'alcohol metal' pioneers Tankard return with new album One Foot In The Grave. Tankard are one of the hardest working bands in thrash metal with a new album every 2-3 years with One Foot In The Grave being their seventeenth album! Even on album number seventeen the band show they are far from running out of steam as One Foot In The Grave is an absolute corker!

The band take a slightly different approach with this album taking their classic thrash sound and mixing it with a traditional heavy metal influence resulting in a perfect marriage of aggression and melody which is very evident in the more anthemic metal tunes on here such as Arena Of The True Lies and the title track. The band does also let rip such as on speedy opener Pay To Pray and the absolutely tearing closing track Sole Grinder. Lyrically the band stray away further from their main lyrical subject of alcohol taking swipes at religion and internet trolls though the subject of alcohol is present on Secret Order 1516.

Tankard have crafted a superb album with One Foot In The Grave which whilst a lot more melodic than much of their previous work still packs a punch. The formula of mixing thrash with more melodic traditional heavy metal may not be a new one but Tankard are masters of their craft and the songwriting and riffs are so good you will be too busy banging your head to care. Seventeen album in and Tankard are showing no signs of slowing down. 8/10

Final Coil: Persistence Of Memory (Wormhole Death)

Persistence Of Memory is the debut album from Leicester-based progressive rockers Final Coil. The band has previously released a couple of EP's which gained them some publicity and attention but this is my first exposure to the band. Persistence Of Memory is an interesting album with a myriad of influences running throughout from classic progressive rock to modern dark prog to 90's alternative rock and grunge. The result is a band which sounds like a cross between Porcupine Tree, Tool and Alice In Chains. 

The music on the album is very dark and atmospheric helped by the understated vocals by frontman Phil Styles. The sound throughout the album isn't very varied though it ranges from more atmospheric songs such as Dying and Lost Hope to heavier more riff based songs such as Spider Feet and Myopic. Final Coil have released a highly impressive debut album with a brilliant atmospheric sound which sits comfortably between alternative rock and progressive rock and should appeal to fans of both genres. 8/10

Excalion: Dream Alive (Scarlet Records)

This seems to be the year where I discover lots of new power metal bands having already discovered Kaledon, Bare Infinity and Vandroya so far in 2017. The trend continues with Finnish band Excalion and the release of their fourth album Dream Alive. Excalion play a very melodic style of power metal with keyboards very much at the forefront (much like many Finnish power metal bands). 

The album starts off incredibly well with the fast and catchy Divergent Falling and the similar Centenarian but from here onwards the album seems to take a bit of a slump with the band falling into a middling pace which on some songs works but on others ends up feeling drawn out and boring. With Dream Alive Excalion haven't released a terrible album but one which rapidly loses steam and rapidly lost my interest as it progressed. The album could have been improved with more variation in the songwriting. It started very well but by the end I was glad it was over. 6/10

Reviews: Biters, Taberah, Burning Witches (Reviews By Paul)

Biters: The Future Ain’t What It Used To Be (Earache Records)

Biters hail from Atlanta, Georgia and are being touted for big things. If you like T-Rex, Cheap Trick, The New York Dolls and Alice Cooper, the early 1970s glam rock sound, then you should really appreciate this band. Led by Tuk Smith, whose voice varies between Marc Bolan and Robin Zander, The Future Ain’t What It Used to Be is a real retro journey and follows on from 2015’s debut Electric Blood. Now I don’t particularly like this type of music, and tracks like Stone Cold Love and Callin’ You Home don’t change my opinion.

Having said that, the band demonstrate throughout the release why they’ve been making waves in the classic rock world, with their rock ‘n’ roll shtick sticking closely to the formula which served so many bands before them so well. There is nothing original here, with riffs stolen from many others; Don’t Turn This Good Heart Bad has the riff from BTO’s Ain’t Seen Nothing Yet running through it whilst Gypsy Rose is pure Cheap Trick.

Given the response the band received during their support slot for Blackberry Smoke recently, where for me they were a bit too much show without substance, I’m expecting them to increase in popularity. They aren’t for me but if you like this kind of music then Biters will be a real find. 7/10

Taberah: Sinners Lament (Rocket Distribution)

Hobart, Tasmania isn’t that well known for metal outfits but that may well change with the third release from power metallers Taberah. Sinners Lament is a fine release, full of classic charging anthems, sword and sorcery themes and duel guitars and the added female vocals adding to tracks such as the epic title track. In fact, every track is played in the true power metal style, harmonies on the choruses, subtle synths embellishing the tracks.

There is an underlying steel which surges through the album, such as the thrashy Child Of Storm with its razor-sharp riffs. Think Blind Guardian and Helloween and you aren’t far away. The Final March For Men is a storming track, almost orchestral in its construction and delivery with shades of Iron Maiden and Judas Priest. The only let down on a very competent album is the god-awful cover of the Eagles Hotel California, which did nothing but raise the hackles. If you can get past that, then Sinners Lament is well worth a listen, especially if you enjoy the might of proper power metal. 8/10

Burning Witches: Self Titled (Pledge Music)

After our recent review of Swiss outfit Sideburn, lo and behold another Swiss band drops onto the mat. This time it is the all-female outfit Burning Witches with their very solid self-titled release. 45 minutes of powerful hard hitting heavy metal which really goes for the jugular and doesn’t let up from the opening strains of Black Widow. Vocalist Seraina Telli possesses a powerful voice, hitting huge screams during the title track.

With themes of death, the occult and the underworld it’s no surprise that most of the tracks here are rampaging and anthemic. The playing is competent, with the duel guitar work of Alea Wyss and founder member Romana Kalkuhl excellent. Whilst the occasional track is a little predictable, Such as Creatures Of The Night, overall this is a very listenable chunk of metal and for their debut release it’s a fine effort. Full marks for the cover of Priest’s Jawbreaker, which captures the sheer heaviness of the original. 8/10

A View From The Back Of The Room: Nargaroth, Absu, Hate (Live Review By Paul)

Nargaroth/Absu/Hate - Fuel Rock Club, Cardiff

It is a credit to the team behind Eradication Festival that this gig went ahead in the Capital. Only a couple of weeks before the event was pulled from Clwb Ifor Bach, allegedly due to poor ticket sales. Eradication stepped in, Fuel providing the host venue and with some strong social media campaigning a reasonable turn out witnessed an evening of rare Welsh appearances from some of the black and death metals heavy hitters. Full respect to Eradication Festival for their efforts.

Belgians Nekrodelerium and Swedes Bloodrocuted were on too early for me to catch them so apologies to them for that. It was Hate (9) that had stimulated my interest in this gig in the first place so I made sure I was in place as the band took to the stage. The biggest turnout of the evening without a doubt witnessed a masterclass in extreme metal from the Polish leviathans.

Crushingly heavy, curiously melodic and at all times intense as hell, ATF Sinner, Pavulon, the imposingly corpse painted bassist Kain and lead guitarist Domin laid waste to the venue with 40 minutes of brutal metal. I'm not an expert on this band by any means, but their new album Tremendum is an epic slab of death metal, with a couple of tracks standing comfortably alongside their older tunes. An excellent reception from the assembled throng made Hate a difficult act to follow.

A thinning of the crowd saw Americans Absu (7) give not one fuck. Opening with a huge entrance, the band's appearance is "interesting" to say the least. Formed in the late 1980s these guys are veterans of the scene and combine massive riffs, doom infected death and thrash with an element of pantomime. With frontman Proscriptor McGovern confined to the drum kit for the opening few numbers, it was initially left to guitarist Vis Crom and bassist Ezezu to provide the visual stimulation. Both had some kind of apocalyptic S&M outfits on with Ezezu playing his bass in what appeared to be a pair of latex bondage gloves!

 McGovern informed us, "Cardiff, we bring you 39 minutes of mythological occult metal", and the band proceeded to do just that. Once McGovern was freed from his percussion duties, the focus was very much on the frontman whose theatrical image (don't mention Ben Stiller in Tropic Thunder) was reminiscent of a death metal Dave Bower. Musically the band are an interesting mix of thrash, death and elements of progressive technical metal. Making use of backing tracks including bagpipes at one stage, tracks such as Circles Of The Oath, She Cries The Quiet Lake and Stone Of Destiny were impressive.

Nothing unimpressive about headliners Nargaroth (8). The German legends are black metal through and through and despite the protestations of main man Rune Ash Wagner that the band are "German hateful and misanthropic metal" these guys delivered a black metal set in all but name. With dry ice and dramatic stage entrances and exits, the band blistered through 50+ minutes of new and old music, including one of the highlights of the evening, the awesome Possessed By Fucking Black Metal from 2001's Black Metal Ist Krieg. This drew in some of the old school who punched the air and formed a small but brutal pit in the tight area front of stage. 

Nargaroth deserve huge credit for delivering a full show, despite the relatively small turnout and the reception was enthusiastic. Pleasingly for all involved, the evening appeared to go down well. Eradication Festival has shown that there is a taste for the more extreme side of metal in South Wales, although as I left a little before the close of the main set, I once more noticed that fewer punters were watching the bands than were outside drinking. For the price of three pints, this was an event which deserved more attention.

Reviews: Divine Element, Time Collapse, Simplefast

Divine Element: Thaurachs Of Borsu (I, Voidhanger Records)

The second album from Greek/Hungarian melodic death/black metal act Divine Element is one that really taps into the best parts of the genre leaders such as Dimmu Borgir and Behemoth, it skillfully blends orchestral atmospheric backing tracks with razor-sharp riffs and demonic vocals. Flurries of blastbeats kick off the title track with supersonic shredding coming from Ayloss who handles all stringed and keyed instruments leaving the roars to Antonis, joining the duo on drums for this record is Hannes Grossmann who works his Bavarian ass off behind the kit.

This record has been seven years in the making and it's paid off, the tracks are multi-layered, brilliantly heavy but without the nonsensical vocals and poor production that affect the genre every lyric is audible as Antonis barks them and the production means that nothing outweighs anything else. Clocking in at just 40 minutes it doesn't outstay it's welcome but the tracks are made to hold the attention especially longer ones such as Onto The Trail Of Betrayal which has numerous changes and some killer soloing at it's end.

I'm unsure whether this album is a concept record as it does seem to have a defined beginning, middle and end identified by the three instrumentals that split the album, there is an epic tone to the album, with the sort of triumphant war-like themes found in battle/Viking metal, they can be heard best on the bombastic Beyond This Sea and the ravenous riffage of Call Of The Blade. Sailing towards the genres leaders at pace sword drawn high, Divine Element are ready to conquer and rule. 8/10

Time Collapse: Night To Day (Self Released)

Another band from Athens but unlike Divine Element, Time Collapse take a much more melodic sound, there is metal but it's used to augment the atmospheric progressive rock and make soundscapes that have their influence in the darker themes of Tool, King Crimson and Porcupine Tree, the complex drum patterns of Babis that drive Time Bound and Time Collapse are from the Danny Carey bag of tricks poly rhythmic and lead instrument in their own right, when paired with the low bass of Giannis it gives the record chunky riffs as the guitars of Nikos and Christos float over top with the melodic dexterity of Alex Lifeson and Robert Fripp.

It's one of those albums where the songs blend into one and other taking the listener on a audio journey through the band's 3 years of work. Stavros is like a glue holding the soundscapes in place with his synths and keys as Christos' deep vocals resonate like Jonas Renske or Maynard himself, especially on the monumental title track which also features some clarinet to give a more rounded sound. The album culminates in the 3 part Messiah Complex suite which ends the album with both the most progressive and heaviest material. Night To Day is well worth the three years it's taken to make, an ideal record if you, like me, enjoy Tool, Porcupine Tree et al and as an extra bonus it's available as a name your price album on the bands bandcamp. 8/10

Simplefast: Apocalypse (Amadea Music)

Apocalypse is the debut album of Greek modern metal mob Simplefast, their style of metal is post-millennial metal with harmonic guitars, the groove-laden rhythm section and clean/harsh vocals employed throughout. Pain is a heavy opening number with furious riffage and starts the record well with an aggressive tone, unfortunately The Escape is terrible an overly emo piece that sounds like a budget BMTH. Then they channel the slow Metallica sounds on Not Coming Home and take some Trivium,and Killswitch Engage but pair it with vocals that are a bit too weak especially the clean ones. The music is OK but it's all a bit too generic for my liking, it's just the vocals mainly they really aren't that interesting at all and it makes the album poor because of it. 4/10  

Reviews: Roger Waters, Rammstein, Orphaned Land

Roger Waters: Is This The Life We Really Want? (Colombia) [Review By Matt]

In what is his first proper album since 1992's Amused To Death Roger Waters returns with his latest solo record, that album I hold in such high regard that I'd say it's on a par with Dark Side..., The Wall and Animals (still the darkest Floyd album). Amused To Death was a politically charged record ridiculing mankind's continued self-destruction. In the interim Roger has written an opera, reformed with Pink Floyd, buried a few hatchets, disbanded Pink Floyd indefinitely, embarked on one of the most successful and ambitious tours in recent memory (The Wall) along with a whole host of things involving activism. In terms of world view though very little has changed? The human race is still it's own worst enemy so naturally this has provided plenty of inspiration (or should that be lamentation) for this Water's fourth solo album of 'rock' music. He is still making a statement politically, he ahs always worn his heart on his sleeve (a self proclaimed bleeding heart artist) and from the outset until the climax, it's politically charged. However here he also  backs up his musical credentials by re-establishing his audio history.

It's the most Floydian album of all of his solo records, with the fluidity of Rick Wright in the keys, Gilmouresque guitars and of course Roger up front his voice moving from a whisper to and anguished rasp. You can pick out the songs that sound similar, the pastiches are heard throughout with this riff sounding like this song, that keyboard part originally coming from there and even a few borrowed lyrical troupes creep in, any other band and you could claim heresy or at least copyright theft, however can you really steal musical ideas if they were your ideas in the first place? Roger has clearly become more accepting of his Floyd years yet he is still as angry, politically aware and quick to criticise what he believes (rightly) are the biggest evils facing humanity today, as he was on The Wall, The Final Cut and Amused To Death.

Trump is called a nincompoop, the refugee crisis is highlighted, the environment mourned and wars lambasted with bile, disgust and a very British melancholy. I could go through the songs but there is now point they have to speak for themselves it's an album that deserves to be listened to thoroughly, with the right amount of time given to it you can look past the crippling despair and gloom to the slithers of hope that just make it through. If you love Pink Floyd, buy this album, if you like Roger Waters, buy this album, if you enjoy well crafted, intelligent music buy this album, but most importantly if you give a shit about human beings at all. BUY THIS ALBUM. 10/10

Rammstein: Live In Paris (Spinefarm Records) [Review By Paul]

If you haven't witnessed Rammstein in the live arena then you have missed out. More pyro than the US Armed Forces, more lighting than most major cities and more dry ice than even Grand Magus at Bogiez! However, all the effects in the world mean nothing if your music is horse shit. Luckily, that is not something that you can level at the Germans, whose industrial battery has been consistently impressive since day one.

Live In Paris comes as a DVD/CD package, and whilst the invitation to have Rammstein blow up your living room on the TV is not to be sniffed at, it's on the CD where you feel the real power of this most incredible of metal outfits. Filmed and recorded in Paris way back in March 2012, this is their third live release. Astonishing in many respects, for a band that has only released double that number of studio releases in their 18 year career. However, all of their live releases are pretty special, each captures the power and intensity of the band. Live Aus Berlin remains my favourite, early and much rawer.

But what about the latest release? Well, apart from Benzin, the monster track on Rosenrot, this is pretty much as good as you could want. The tracks are just gargantuan. From opener Rammstein, through to closer Freuhling In Paris, it's a set list of epic proportions. A good percentage of the older albums are now staples in the band's set list with Sehnsucht, Du Riechst So Gut and Engel outstanding. Despite their limited back catalogue there are still tracks that would fit perfectly in this release which haven't made it. The throw away crowd-pleasers Amerika and Pussy still burn hard whilst the temperature is stoked to even higher levels with the anthems of Du Hast and Fire Frei!

Possibly the most interesting choice of the set list is the electronica tinged Mann Gegan Mann, not usually included in the staple Rammstein set. It's heavier and more powerful here than on Rosenrot. The band also deliver the goods on a couple of their lengthier and slower tracks, with Ohne Dich in particular quite spectacular. The irony of a partisan French crowd singing every word in German demonstrates to me how insular the UK is and, if I may pause for a second, what a disaster leaving the EU will be. Anyway, this is one hell of a release, capturing aurally why the band are such a huge draw. With rumours of new material and further touring to come in the next couple of years, it may be time to flame proof oneself once more. 9/10

Orphaned Land and Friends: 25th Anniversary Release (Century Media) [Review By Paul]

25 years on and the fantastic Israeli outfit Orphaned Land have released an eight track vinyl only release which comprises some rather special bonus tracks. These feature Steven Wilson on live recordings of The Beloved Cry and MI, Israeli musician Yehuda Poliker on Halon Layan Hatihon and As I Stare At The Ocean Alone. However, it's the remixes of Estarabim and the quite brilliant cover of Pearl Jam's Jeremy which are the stand out tracks. What this album does once again demonstrate is what a special band Orphaned Land are. It's been too long since All is One took our breath away. In the meantime, enjoy this release. It's something rather beautiful. 9/10

Reviews: Barrabus, Bloodthread, Promethus (Reviews By Rich)

Barrabus: Barrabus (Undergroove Records)

Prepare yourself before listening as the self-titled debut album by Barrabus is a weird listen indeed. Based in London Barrabus have been in various states of activity since 2005 with various support slots and a demo but after 12 years they have finally gotten around to releasing a debut album. The only way I can describe the music on this album is it's as if a bunch of cool guitar riffs have been put into a blender, a live grenade dropped in and the on button pressed. It's a brilliant half hour of unhinged schizo weirdness with songs that jump from the confusing to the eccentric to uncontrolled rage.

There's elements of math-rock and hardcore that can be heard throughout but the sound of Barrabus can't really be described and more has to be experienced. The drawback to this completely off the hook approach is that it's a difficult album to get into and it would take several listens for it to sink in. That being said there's no denying the genius of songs such as Porn, Kleptomania and Pre Op. Barrabus have crafted an album that is extremely unique and very left-field albeit not wholly memorable throughout. Definitely a band to keep an eye out for and I'm looking forward to seeing what they have up their sleeves for album number two. 7/10

Bloodthread: Era Of Corruuption (Self Released)

Scotland has proved to be quite a hotbed for quality death metal over the past few years and BloodThread from Glasgow are no exception to the rule as proven with their second self-released EP Era Of Corruption. Era Of Corruption is made up of four songs which are all equally rooted both in modern and old school death metal. The riffs have bagloads of groove to them and this groove carries the majority of the songs though they all do explode into violence as well with frantic riffing and blastbeats aplenty.

There are also technical and progressive elements on display as well especially with the time signatures and especially evident in ...For I Am The Butcher. BloodThread have released an impressive and enjoyable EP which is well written and performed and which will appeal to the majority of death metal fans. My only criticism is that there is nothing on display which really sets BloodThread apart from the pack. A solid effort though. 7/10

Prometheus: Consumed In Flames (Katoptron IX Records)

Consumed In Flames is the debut album by Greek black metal band Prometheus. The band formed back in 2004 and released a couple of demo's but were involved in a serious motorcycle accident which delayed things considerably for the band resulting in it not being until 2017 when their first album is finally released. They say good things come to those who wait and that is definitely the case with Consumed In Flames. The music on Consumed In Flames is very much inspired by the classic Norwegian second wave of black metal but also adds in elements of old school death metal especially in the dissonance of some of the riffs but there are also elements of thrash metal as well as a melodic sensibility running throughout the album.

The songs range from straight for the jugular black metal rippers with tremolo riffs and plenty of blastbeats to more subdued mid paced atmospheric numbers. The songs which work better in my opinion are the more violent and faster numbers which cannot fail to bring a smile to the face of any extreme metal fan. This album does not have anything new to offer the world of black metal but is an extremely well done and very overdue album. An excellent listen. 8/10