Marilyn Manson: Heaven Upside Down (Loma Vista Recordings)
Close to three years since his return to form with Pale Emperor, the 'God Of Fuck' has delivered a quite astonishingly good 10th album. Regardless of whether you like the man himself, this is pure quality. Rammed full of gritty industrial riffs, I’d wager that this is close to Antichrist Superstar in quality. It’s snarling, unnerving and disturbing; everything that you’d want from Manson at his best. There is violence, smouldering in the powerful opener Revelation 12 and lead single We Know Where You Fucking Live, the uncomfortableness of Say10, and the powerful pomp of Jesus Crisis. Backed by his trusty trio of Tyler Bates, Twiggy Rameirez and Gil Sharone, this is Manson turning the clock back whilst retaining a fresh outlook on a totally fucked up world.
Saturnalia, full of astrological and mythological references also references his father who passed away during the recording. The punk lust is present, sitting comfortably with the industrial grind on tracks such as Kill4Me and the edgy title track. As I write Manson is recovering in hospital after giant stage props (two pistols apparently) collapsed on him during a show in New York. Fingers crossed for a speedy recovery. If you’ve been wise enough to grab a ticket for his forthcoming UK tour then it could be something special. A contender for one of the albums of the year. 10/10
Bob Kulick: Skeletons In The Closet (Vanity Music)
He’s been in the business for 40 years. He’s a well-regarded guitar master who has worked with many rock giants. Skeletons In The Closet is amazingly, Bob Kulick’s first solo album and he’s called in a wealth of talent to help him out. Unsurprisingly the guitar work is first class. This is the man who did work for Kiss, Alice Cooper. Lou Reed and Meat Loaf, who I saw him play with at St David’s Hall in November 1984. Robin McAuley does sterling work on Not Before You, whilst Dee Snider’s snarl makes the homage to Sweeny Todd on London more sinister and twisted (sorry!). Andrew Freeman (currently fronting Last In Line) appears on the bombastic Player and is reminiscent of Glenn Hughes in parts but it’s the bizarre cover of Shirley Bassey’s Gold Finger with some godawful vocals from Vic Wright (ex-Tokyo Blade?) which got me scratching my head in bemusement.
David Glenn Eisley adds his melodic rock style to the middle Eastern themed India, which features a coral sitar solo from Kulick, as well as the title track and Can’t Stop before Dennis St James brings the remaining tracks home. However, it’s Guitar Commandos that is the real show stopper here, mainly because of the guitar duel Kulick has with brother Bruce, not because of the rather mundane song itself. Other musicians that feature include bassists Rudy Sarzo and Chuck Wright, drummers Vinnie Appice, Quiet Riot’s Franki Banali and Kiss main man Eric Singer. It’s not a bad album, and it is certainly well played. Middle of the road hard rock with a melodic edge and some sweet guitar work. 7/10
Lynch Mob: The Brotherhood (Rat Pak Record)
Studio album number ten for the US hard rockers Lynch Mob, whose parts are probably greater than their sum. As well as legendary guitarist George Lynch cutting shapes and trading riffs, Lynch Mob’s current line-up includes original singer Oni Logan, bassist Sean McNabb (whose CV longer than Mr Tickle’s arm and includes time on Sons Of Anarchy) and drummer Jimmy D’Anda. Once again Lynch flings his guitar around with ease, adding chunky fat riffs to the opening few tracks. However, it’s formulaic stuff, the type which Lynch has churned out his whole career.
Logan appears at times to be doing his best Dave Lee Roth impression at times, such as the bubble gum rock of I’ll Take Miami. Last Call Lady is a horrible track with a ghastly chorus and from here on in the album blends into one. Rather forgettable riffs and ponderous paced tracks like Where We Started and cock-rock slow burn of The Forgotten Maiden’s Pearl all merge into that white noise that is the sound of the Dokken era hair metal. If you like bands like The Dead Daises then you’ll probably love this. Me, it’s just a bit dull and leaden and oh so dated. 5/10
Travelin Jack: Commencing Countdown (SPV)
Whilst Berlin based four-piece Travelin Jack make a decent enough classic rock sound, steeped very much in the 70s hard rock of Thin Lizzy, Deep Purple and certainly an edge of Scorpions and even that era UFO, Commencing Countdown does little to impress over the course of the album. Alia Spaceface (Yes, really) has a decent enough voice, but she pales when compared with the likes of Blues Pills Elin Larsson. The songs on Commencing Countdown quickly become repetitive and Spaceface’s voice (I can’t type that again) has a monotony about it that quickly wears. Songs like Metropolis belong in the 1970s for a reason. 5/10
Wednesday, 11 October 2017
Tuesday, 10 October 2017
Reviews: The Darkness, Dave Kerzner, Niviane, Regulus
The Darkness: Pinewood Smile (Cooking Vinyl)
Steel Panther...the elephant in the room has been addressed, The Darkness are not and will never be Steel Panther, one they are far too English, two they are lyrically cleverer and finally they are all proper musicians. So thank goodness for that as I hate Steel Panther but The Darkness have always held a special place in my heart. Their songs are always over the top but nuanced with the glam rock riffs of Dan Hawkins, Frankie Poullain and new boy Rufus Taylor (son of Queen's Roger) hiding devilish lyrics sung in the instantly recognisable shrieking falsetto of Justin Hawkins. They have had something of rebirth in the last few years with Hot Cakes, Last Of Our Kind bringing back those glory days when they were number one, however now they do it on their own terms not for major label kudos (and the chemical rewards they indulged in back in the day).
They take a swipe at these early days on opening track All The Pretty Girls as Hawkins sings about the titular girls and their "M-m-m-m-m-mums" loving you when you're number one but less so when you're not, it's just another song in The Darkness's tongue in cheek repertoire which continues with Solid Gold. They get political on Southern Trains an embody all of frustration levelled towards the train company, swashbuckle their way through Buccaneers Of Hispaniola, ask Why Don't Beautiful Cry in a way Lionel Ritchie would with Rufus harmonising perfectly. As I said earlier it's the music that sets The Darkness apart, Japanese Prisoner Of Love has mad lyrics but the riffs are huge and Lay Down With Me Barbara to has thrusting 70's edge and uses the word candelabra as a rhyming couplet (seriously). Pinewood Smile is a bit lighter than their previous record, it's not as overtly riff friendly as Last Of Our Kind but then Thin Lizzy weren't all about rocking your socks off, they too brought in the warm Olde England folky touches that permeates Pinewood Smile.
The biggest riffs of the record are saved for the bonus songs which means that it's worth seeking out the limited edition, pick of the bunch is Rack of Glam which is probably the ultimate tribute to both glam rock and boobs. The Darkness don;t need to justify what they do, they are currently experiencing their second life as a band with legendary history but playing the music they want to play not what some suit wants, tip my hat to them, roll on December's tour. 8/10
Dave Kerzner: Static (Self Released)
Dave Kerzner is name familiar to numerous prog fans, he's a keyboardist and runs the Sonic Reality studio, plays numerous instruments, is instrumental in Sound Of Contact and Mantra Vega and has collaborated with a lot of prog's elite. Static is his second solo album and this one is "a progressive rock concept album and a "rock opera" about the distractions, chaos and clutter in everyday life and about navigating past this "static interference" in our heads toward clarity and happiness" apparently I mean it's a typical prog trope but there are few musicians that have the wealth of experience Kerzner has. He contributes lead vocals, keyboards, guitar, drums, bass to the record using many of his created soundscapes to give the record an expansive sound. His main collaborators for this project are Fernando Perdomo who plays guitar, bass, drums, Derek Cintron who plays drums and Randy McStine who plays guitar and adds to the FX.
These men could be considered to be the 'band' of the record with former Pink Floyd singer Durga McBroom and her sister Lorelei adding backing vocals as Ruti Celli provides cello. The Pink Floyd influence is writ large all over this record, Kerzner's keys bring Syd Barrett trippiness to Hypocrites but his vocals are so similar to David Gilmour it's uncanny, even taking the more restrained approach of Dave on the beautiful title track. Due to Kerzner's session career there are a lot of guests on this record, Dirty Soap Box features Steve Hackett on guitar and Nick D'Virgilio on drums, the title track has Porcupine Tree bassist Colin Edwin making an appearance and Chain Reaction has his Mantra Vega bandmates Alex Cromarty (drums) Stuart Fletcher (bass) and Chris Johnson (guitar). Static is the sort of album you'd expect from Kerzner it's full of expansive prog sounds and has to be listened to numerous time to be fully appreciated. 8/10
Niviane: The Druid King (Pitch Black Records)
US band Niviane hail from Sacramento California and rather than going down the normal route of Cali thrash, they are a power metal band blending classic metal with an European edge, the clashing of swords opens this record and we're off into galloping with dual guitar attacks with gritty vocals. The music is pretty standard fayre and the vocals do get a little annoying coming across like a weaker Tobias Sammet or Matt Barlow without the range, what also lets down is the scratchy production. There's a theme running through the record which is the tale of The Druid King and while the music is acceptable and in places gets your head nodding it's nothing spectacular, although give it a listen if you're a power metal fan. 6/10
Regulus: Quadralith (Off Yer Rocka Recordings)
Sheffield space rockers Regulus play self described riff-drenched heavy blues, Regulus have been in relentless pursuit of the ultimate riff-fuelled groove. Named after a star cluster Regulus certainly have riffs, liking them soupy, heavy and reverbed to hell and back, Dominion the first track on this record delivers the riffs in fine style, with the low end of Martyn giving groove to the big six strings of Luke and Thomas who splice shredding solos with big stomping rhythms, they rub some funk on Seven Tales Told, things take a slower deliberate stoner metal turn on Bones and Heart Of Stone is dowsed in Southern smokiness. Regulus can be favourably compared to The Sword, Clutch and Orange Goblin, Poor Man's Grave being the song most similar to Ben Ward and co. Luke's raw vocal bark over the harmonized leads and dirty bass work, all of which is anchored by Joe's drumming. The band have been carving a hole in the live shows they've been a part of and this record shows that they know exactly what they are doing in the riffing, bluesy groove stakes. 7/10
Steel Panther...the elephant in the room has been addressed, The Darkness are not and will never be Steel Panther, one they are far too English, two they are lyrically cleverer and finally they are all proper musicians. So thank goodness for that as I hate Steel Panther but The Darkness have always held a special place in my heart. Their songs are always over the top but nuanced with the glam rock riffs of Dan Hawkins, Frankie Poullain and new boy Rufus Taylor (son of Queen's Roger) hiding devilish lyrics sung in the instantly recognisable shrieking falsetto of Justin Hawkins. They have had something of rebirth in the last few years with Hot Cakes, Last Of Our Kind bringing back those glory days when they were number one, however now they do it on their own terms not for major label kudos (and the chemical rewards they indulged in back in the day).
They take a swipe at these early days on opening track All The Pretty Girls as Hawkins sings about the titular girls and their "M-m-m-m-m-mums" loving you when you're number one but less so when you're not, it's just another song in The Darkness's tongue in cheek repertoire which continues with Solid Gold. They get political on Southern Trains an embody all of frustration levelled towards the train company, swashbuckle their way through Buccaneers Of Hispaniola, ask Why Don't Beautiful Cry in a way Lionel Ritchie would with Rufus harmonising perfectly. As I said earlier it's the music that sets The Darkness apart, Japanese Prisoner Of Love has mad lyrics but the riffs are huge and Lay Down With Me Barbara to has thrusting 70's edge and uses the word candelabra as a rhyming couplet (seriously). Pinewood Smile is a bit lighter than their previous record, it's not as overtly riff friendly as Last Of Our Kind but then Thin Lizzy weren't all about rocking your socks off, they too brought in the warm Olde England folky touches that permeates Pinewood Smile.
The biggest riffs of the record are saved for the bonus songs which means that it's worth seeking out the limited edition, pick of the bunch is Rack of Glam which is probably the ultimate tribute to both glam rock and boobs. The Darkness don;t need to justify what they do, they are currently experiencing their second life as a band with legendary history but playing the music they want to play not what some suit wants, tip my hat to them, roll on December's tour. 8/10
Dave Kerzner: Static (Self Released)
Dave Kerzner is name familiar to numerous prog fans, he's a keyboardist and runs the Sonic Reality studio, plays numerous instruments, is instrumental in Sound Of Contact and Mantra Vega and has collaborated with a lot of prog's elite. Static is his second solo album and this one is "a progressive rock concept album and a "rock opera" about the distractions, chaos and clutter in everyday life and about navigating past this "static interference" in our heads toward clarity and happiness" apparently I mean it's a typical prog trope but there are few musicians that have the wealth of experience Kerzner has. He contributes lead vocals, keyboards, guitar, drums, bass to the record using many of his created soundscapes to give the record an expansive sound. His main collaborators for this project are Fernando Perdomo who plays guitar, bass, drums, Derek Cintron who plays drums and Randy McStine who plays guitar and adds to the FX.
These men could be considered to be the 'band' of the record with former Pink Floyd singer Durga McBroom and her sister Lorelei adding backing vocals as Ruti Celli provides cello. The Pink Floyd influence is writ large all over this record, Kerzner's keys bring Syd Barrett trippiness to Hypocrites but his vocals are so similar to David Gilmour it's uncanny, even taking the more restrained approach of Dave on the beautiful title track. Due to Kerzner's session career there are a lot of guests on this record, Dirty Soap Box features Steve Hackett on guitar and Nick D'Virgilio on drums, the title track has Porcupine Tree bassist Colin Edwin making an appearance and Chain Reaction has his Mantra Vega bandmates Alex Cromarty (drums) Stuart Fletcher (bass) and Chris Johnson (guitar). Static is the sort of album you'd expect from Kerzner it's full of expansive prog sounds and has to be listened to numerous time to be fully appreciated. 8/10
Niviane: The Druid King (Pitch Black Records)
US band Niviane hail from Sacramento California and rather than going down the normal route of Cali thrash, they are a power metal band blending classic metal with an European edge, the clashing of swords opens this record and we're off into galloping with dual guitar attacks with gritty vocals. The music is pretty standard fayre and the vocals do get a little annoying coming across like a weaker Tobias Sammet or Matt Barlow without the range, what also lets down is the scratchy production. There's a theme running through the record which is the tale of The Druid King and while the music is acceptable and in places gets your head nodding it's nothing spectacular, although give it a listen if you're a power metal fan. 6/10
Regulus: Quadralith (Off Yer Rocka Recordings)
Sheffield space rockers Regulus play self described riff-drenched heavy blues, Regulus have been in relentless pursuit of the ultimate riff-fuelled groove. Named after a star cluster Regulus certainly have riffs, liking them soupy, heavy and reverbed to hell and back, Dominion the first track on this record delivers the riffs in fine style, with the low end of Martyn giving groove to the big six strings of Luke and Thomas who splice shredding solos with big stomping rhythms, they rub some funk on Seven Tales Told, things take a slower deliberate stoner metal turn on Bones and Heart Of Stone is dowsed in Southern smokiness. Regulus can be favourably compared to The Sword, Clutch and Orange Goblin, Poor Man's Grave being the song most similar to Ben Ward and co. Luke's raw vocal bark over the harmonized leads and dirty bass work, all of which is anchored by Joe's drumming. The band have been carving a hole in the live shows they've been a part of and this record shows that they know exactly what they are doing in the riffing, bluesy groove stakes. 7/10
Monday, 9 October 2017
Reviews: Ensiferum, Pänzer, Wolves In The Throne Room, Game Over (Reviews By Paul)
Ensiferum: Two Paths (Metal Blade)
I must admit that the Finns folk metal has never really grabbed me that intensely in the past although I’ve always enjoyed their appearances at festivals. Two Paths is album number seven for the band, and the follow up to 2015’s One Man Army. It’s a thoroughly enjoyable listen with the powerful King Of Storms, the gloomy God Is Dead and the accordion led Feast Of The Valkyries encouraging you to get up and jig around the office whilst banging the head. It’s full of chunky riffs and the jolly bouncing sing-a-long stuff you expect from the folk metal crews around these days. This would be even more enjoyable with a few beers on board, a field filled with metal fans and the sun beating down. Technically superb, with Markus Toivonen’s guitar work particularly neat, the band interchange vocals to great effect on tracks like Don’t You Say and the crazy opener For Those About To Fight For Metal. 8/10
Pänzer: The Fatal Command (Nuclear Blast)
Take Schmier of Destruction, ex-Accept drummer Stefan Schwarzmann, Hammerfall guitarist Pontus Norgren and Vo Pulver (ex-Messiah) and what do you get? 53 minutes of pumping testosterone Germanic heavy metal that will hit home with fans of Accept, Destruction, Kreator and the like. This is solid, raging metal which batters from start to finish. Pulsing with high speed drumming, lightning fast guitar work and guttural vocals, The Fatal Command looks at the chaos facing the world in modern times. We Can Not Be Silenced is anthemic and urges rebellion, challenging those in power to listen to their people. With the world going to shit at break neck speed this album hammers home the seriousness we face with the dictators and power hungry fools in charge. Stomping beasts such as The Decline (And The Downfall) make up for any lack of originality in pure power. If you like your metal with a Teutonic tint then this will be a must listen. 8/10
Wolves In The Throne Room: Thrice Woven (Artemisia Recors)
Washington’s Wolves In The Throne Room return with their first record for three years and their first unconnected release since Celestial Lineage. Featuring long-time touring guitarist Kody Keyworth as a full-time member of the band for the first time, Thrice Woven is a quite magnificent piece of aggressive black metal which immerses the listener from start to finish. The pummelling sound that was captured in their earlier records, particularly 2009’s Black Cascade, is evident throughout as are the signature riffs which are such a trademark of the band.
Guest appearances by Swedish vocalist Anna Von Hausswolff on Born From The Serpent’s Eye and Mother Owl, Father Ocean, and Neurosis’ Steve Von Till on The Old One Are With Us enhance the release which features themes of pagan nature throughout. Whilst all tracks are impressive, the atmospheric album closer Fires Roar In The Palace Of The Moon with the climatic waves crashing may take pride of place. Thrice Woven is a mountainous piece of work, one that should really be heard. 9/10
Game Over: Claiming Supremacy (Scarlet Records)
It was about 18 months ago that Crimes Against Reality, the third release from these Italian thrash merchants hit the decks here. I called it ‘a comforting package of old school thrash and fresh enthusiasm’. The band haven’t stopped since then with an EP Blessed Are The Heretics arriving earlier in the year, followed by album number 4. Claiming Supremacy continues in the same pattern of their previous releases. It’s fast, furious and totally old school. With a production sound that is reminiscent of the 1980s, the band deliver 40 minutes of fine thrash which sits comfortably in the early Testament era. Lots of aggressive shouty choruses’ ala Anthrax and the like, with the six minute plus Blessed Are The Heretics probably winning most interesting track on the album. Game Over’s game plan is clearly to maintain the status quo whilst producing piledriving thrash which will appeal to many. 7/10
I must admit that the Finns folk metal has never really grabbed me that intensely in the past although I’ve always enjoyed their appearances at festivals. Two Paths is album number seven for the band, and the follow up to 2015’s One Man Army. It’s a thoroughly enjoyable listen with the powerful King Of Storms, the gloomy God Is Dead and the accordion led Feast Of The Valkyries encouraging you to get up and jig around the office whilst banging the head. It’s full of chunky riffs and the jolly bouncing sing-a-long stuff you expect from the folk metal crews around these days. This would be even more enjoyable with a few beers on board, a field filled with metal fans and the sun beating down. Technically superb, with Markus Toivonen’s guitar work particularly neat, the band interchange vocals to great effect on tracks like Don’t You Say and the crazy opener For Those About To Fight For Metal. 8/10
Pänzer: The Fatal Command (Nuclear Blast)
Take Schmier of Destruction, ex-Accept drummer Stefan Schwarzmann, Hammerfall guitarist Pontus Norgren and Vo Pulver (ex-Messiah) and what do you get? 53 minutes of pumping testosterone Germanic heavy metal that will hit home with fans of Accept, Destruction, Kreator and the like. This is solid, raging metal which batters from start to finish. Pulsing with high speed drumming, lightning fast guitar work and guttural vocals, The Fatal Command looks at the chaos facing the world in modern times. We Can Not Be Silenced is anthemic and urges rebellion, challenging those in power to listen to their people. With the world going to shit at break neck speed this album hammers home the seriousness we face with the dictators and power hungry fools in charge. Stomping beasts such as The Decline (And The Downfall) make up for any lack of originality in pure power. If you like your metal with a Teutonic tint then this will be a must listen. 8/10
Wolves In The Throne Room: Thrice Woven (Artemisia Recors)
Washington’s Wolves In The Throne Room return with their first record for three years and their first unconnected release since Celestial Lineage. Featuring long-time touring guitarist Kody Keyworth as a full-time member of the band for the first time, Thrice Woven is a quite magnificent piece of aggressive black metal which immerses the listener from start to finish. The pummelling sound that was captured in their earlier records, particularly 2009’s Black Cascade, is evident throughout as are the signature riffs which are such a trademark of the band.
Guest appearances by Swedish vocalist Anna Von Hausswolff on Born From The Serpent’s Eye and Mother Owl, Father Ocean, and Neurosis’ Steve Von Till on The Old One Are With Us enhance the release which features themes of pagan nature throughout. Whilst all tracks are impressive, the atmospheric album closer Fires Roar In The Palace Of The Moon with the climatic waves crashing may take pride of place. Thrice Woven is a mountainous piece of work, one that should really be heard. 9/10
Game Over: Claiming Supremacy (Scarlet Records)
It was about 18 months ago that Crimes Against Reality, the third release from these Italian thrash merchants hit the decks here. I called it ‘a comforting package of old school thrash and fresh enthusiasm’. The band haven’t stopped since then with an EP Blessed Are The Heretics arriving earlier in the year, followed by album number 4. Claiming Supremacy continues in the same pattern of their previous releases. It’s fast, furious and totally old school. With a production sound that is reminiscent of the 1980s, the band deliver 40 minutes of fine thrash which sits comfortably in the early Testament era. Lots of aggressive shouty choruses’ ala Anthrax and the like, with the six minute plus Blessed Are The Heretics probably winning most interesting track on the album. Game Over’s game plan is clearly to maintain the status quo whilst producing piledriving thrash which will appeal to many. 7/10
Sunday, 8 October 2017
Reviews: Black Stone Cherry, Matt Cameron, R.I.P, V1
Black Stone Cherry: Black To The Blues (Mascot Records)
On their third EP Black Stone Cherry, have done something a little different while their fan base wait for their new album. Off the back of their most recent world tour the band have put together a compilation of their versions of blues standards, you may think Joe Bonamassa has probably got this market cornered, but BSC speak to probably a younger audience who will now be exposed to the blues standards of old. BSC play it reasonably safe covering songs that have been covered by numerous artists over the years, the two most recognizable being Muddy Waters' Hoochie Coochie Man which is given a heavier BSC overhaul and Albert King's Born Under A Bad Sign that features some parping brass. The songs are fairly faithful to the originals but with a heaviness that BSC themselves have been lacking somewhat lately, Built For Comfort has a punching riff and a funky synth that Howlin Wolf could only dream of, they unsurprisingly bring some stoner touches to Waters' Champagne & Reefer and give a big Southern riff to Freddie King's Palace Of The King. To hear a band like this jamming old blues tunes in their own style is interesting, the covers are a little too well known but this is a record for the band and it's fans nothing more. 6/10
Matt Cameron: Cavedweller (I'm A Seahorse Music)
There aren't many musicians who can claim to be in four of the most influential bands in a genre, Matt Cameron is one of those people, a founder member of Skin Yard, Temple Of The Dog and Soundgarden in 1998 after Soundgarden split he joined Pearl Jam and has split his time between both of grunges heavy hitters ever since. Now he has tried his hand at being a frontman, guitarist, producer and writer for his first solo record, joining him are drummer Mark Giuliana and bassist Tim Lefebvre both of whom are from David Bowie's most recent backing band that played on Blackstar.
I can say that this experiment has been a hit, vocally he's more than capable having a nicely melodic vocal that means this record is a far away from his day jobs as possible and as a guitarist too he can hold his own layering synths and acoustic strumming with bluesy electrics on Blind. If you've heard Taylor Hawkins solo records then you'll get a hint as to what Cavedweller sounds like, Cameron indulges in psychedelic hard rock for Time Won't Wait, air guitar friendly riffs on All At Once a song that has cool drum outro to it, he dabbles with buzzing electronics and ambient textures for One Special Lady and goes deeper still on Real And Imagined. It's an interesting record this, some of these songs date back to the 80's but nothing sounds dated, equally it also stands on it's own merit by not being anywhere similar to either Soundgarden or Pearl Jam. Solo projects can be a shambles but this just adds another string to Matt Cameron's already huge bow. 7/10
R.I.P: Street Reaper (Riding Easy Records)
Portland, Oregon must be a scary place to live, at least that's the impression you get from R.I.P's second record. They play what they like to call sleazy street doom, this is doom metal that doesn't run over the same old tropes of wizards, goblins, no Street Reaper is horror movie occultism with dirty fuzzy riffs from Angel Martinez and Jon Mullett thundering in at every opportunity as Willie D bashes out a meaty rhythm and Fuzz hollers. It's classic doom that sits as a bridge between the occult doom of Electric Wizard and the sleazy proto-metal of Admiral Sir Cloudseley Shovell. Mother Road's snarling riff brings the bite back to doom metal, it makes the music unsettling and heavy but never falls into the so often used troupe of extended lumbering riffs, the pace is fairly brisk, if Mastodon were influenced more by Pentagram and Saint Vitus than Neurosis this is what they would sound like. Doom metal can be fairly repetitive but R.I.P are taking it back to it's grimy roots riff by riff, a good second album from the Oregon band but I think where they really shine is live, let's hope they make it to these shores soon. 7/10
V1: Armageddon - End Of The Beginning (Frog Juice Production)
The press release for this record says V! was formed by former Iron Maiden men Dennis Willcock (vocals/frontman) and Terry Wapram (guitars) in 1978 both men left the band to form V1. Former vocalist of Iron Maiden is a stretch, he never recorded anything with the group and as far as I'm aware never wrote any of the songs that would feature on their single releases. V1 are the latest in a long line of reinvigorated NWOBHM bands, reformed when the members are re-living their glory days in their latter years. Unfortunately it follows the trend for these projects to be depressingly average with middle of the road songwriting, basic performances and no real spark never mind any fire. There are so many bands both contemporaries and young upstarts that are far superior to this and I suggest you exhaust yourself seeking them out first before you even spin this disc. If this is really is the end then Armageddon out of here. 4/10
On their third EP Black Stone Cherry, have done something a little different while their fan base wait for their new album. Off the back of their most recent world tour the band have put together a compilation of their versions of blues standards, you may think Joe Bonamassa has probably got this market cornered, but BSC speak to probably a younger audience who will now be exposed to the blues standards of old. BSC play it reasonably safe covering songs that have been covered by numerous artists over the years, the two most recognizable being Muddy Waters' Hoochie Coochie Man which is given a heavier BSC overhaul and Albert King's Born Under A Bad Sign that features some parping brass. The songs are fairly faithful to the originals but with a heaviness that BSC themselves have been lacking somewhat lately, Built For Comfort has a punching riff and a funky synth that Howlin Wolf could only dream of, they unsurprisingly bring some stoner touches to Waters' Champagne & Reefer and give a big Southern riff to Freddie King's Palace Of The King. To hear a band like this jamming old blues tunes in their own style is interesting, the covers are a little too well known but this is a record for the band and it's fans nothing more. 6/10
Matt Cameron: Cavedweller (I'm A Seahorse Music)
There aren't many musicians who can claim to be in four of the most influential bands in a genre, Matt Cameron is one of those people, a founder member of Skin Yard, Temple Of The Dog and Soundgarden in 1998 after Soundgarden split he joined Pearl Jam and has split his time between both of grunges heavy hitters ever since. Now he has tried his hand at being a frontman, guitarist, producer and writer for his first solo record, joining him are drummer Mark Giuliana and bassist Tim Lefebvre both of whom are from David Bowie's most recent backing band that played on Blackstar.
I can say that this experiment has been a hit, vocally he's more than capable having a nicely melodic vocal that means this record is a far away from his day jobs as possible and as a guitarist too he can hold his own layering synths and acoustic strumming with bluesy electrics on Blind. If you've heard Taylor Hawkins solo records then you'll get a hint as to what Cavedweller sounds like, Cameron indulges in psychedelic hard rock for Time Won't Wait, air guitar friendly riffs on All At Once a song that has cool drum outro to it, he dabbles with buzzing electronics and ambient textures for One Special Lady and goes deeper still on Real And Imagined. It's an interesting record this, some of these songs date back to the 80's but nothing sounds dated, equally it also stands on it's own merit by not being anywhere similar to either Soundgarden or Pearl Jam. Solo projects can be a shambles but this just adds another string to Matt Cameron's already huge bow. 7/10
R.I.P: Street Reaper (Riding Easy Records)
Portland, Oregon must be a scary place to live, at least that's the impression you get from R.I.P's second record. They play what they like to call sleazy street doom, this is doom metal that doesn't run over the same old tropes of wizards, goblins, no Street Reaper is horror movie occultism with dirty fuzzy riffs from Angel Martinez and Jon Mullett thundering in at every opportunity as Willie D bashes out a meaty rhythm and Fuzz hollers. It's classic doom that sits as a bridge between the occult doom of Electric Wizard and the sleazy proto-metal of Admiral Sir Cloudseley Shovell. Mother Road's snarling riff brings the bite back to doom metal, it makes the music unsettling and heavy but never falls into the so often used troupe of extended lumbering riffs, the pace is fairly brisk, if Mastodon were influenced more by Pentagram and Saint Vitus than Neurosis this is what they would sound like. Doom metal can be fairly repetitive but R.I.P are taking it back to it's grimy roots riff by riff, a good second album from the Oregon band but I think where they really shine is live, let's hope they make it to these shores soon. 7/10
V1: Armageddon - End Of The Beginning (Frog Juice Production)
The press release for this record says V! was formed by former Iron Maiden men Dennis Willcock (vocals/frontman) and Terry Wapram (guitars) in 1978 both men left the band to form V1. Former vocalist of Iron Maiden is a stretch, he never recorded anything with the group and as far as I'm aware never wrote any of the songs that would feature on their single releases. V1 are the latest in a long line of reinvigorated NWOBHM bands, reformed when the members are re-living their glory days in their latter years. Unfortunately it follows the trend for these projects to be depressingly average with middle of the road songwriting, basic performances and no real spark never mind any fire. There are so many bands both contemporaries and young upstarts that are far superior to this and I suggest you exhaust yourself seeking them out first before you even spin this disc. If this is really is the end then Armageddon out of here. 4/10
Saturday, 7 October 2017
Reviews: Sons Of Texas, Lloth, Colour Haze, Opposing Motion
Sons Of Texas: Forged By Fortitude (Razor &Tie)
Sons Of Texas have A Vulgar Display Of Power if you know what I mean. They are from Texas and they play groove metal that is heavily influenced by Dime, Vinny, Phil and Rex, the riffs bounce and the vocals are haggard from shouting and whiskey. It's not all Pantera a worship although Feed The Need is pretty close, they shoot for the radio audience too with a dose of Stone Sour on Down In The Trenches, some stop/start riffs on the A7X sounding Cast In Stone before really lightening up on Beneath The Riverbed which could be a Black Stone Cherry song. This record has colossal grooves throughout, a thunderous percussive battery, flashy six stringing but most of all great songs with big hooks, ok so the influences are so audible you could get lawyers involved but this is a fun record that's full of big ballsy songs that have a Southern swagger, these boys from the Lone Star state really rock. 8/10
Lloth: Athanati (Sleazy Rider Records)
Hellenic black metal for me is as defining as anything from the Northern reaches of Europe, it seems that the more ingrained a country's religious dogma the better their black metal is. Rotting Christ are probably the most recognisable name but there a numerous acts that are still flying the black metal flag as strongly as Babis' men. One of these is Athenians Lloth who have been around since 1995, formed by bass player Tristessa, who went on to change the name of the band to Astarte they released numerous albums and disbanded in 2014 due to Tristessa sadly succumbing to leukemia. In 2014 Lloth reformed (with the T more prominent in their logo in tribute) by Tristessa's husband, vocalist Nicolas Maiis in 2014.
This means that Athanati (The Undead) is the band's debut record and it's a eye wateringly heavy but melodic tribute to their fallen comrade, the title track starts the record with some precision black metal mastery, the intense riffs of Setesh, Vaelor and Panthimis let Nicolas growl with malice as the band create epic and folk influenced black metal. The creeping Archos and Pan are the slower more deliberate tracks that are exhibit the bands more epic tendencies. There are some high profile guests at work on this record as well Nightfall's Efthimis Karadimas gives his death growls to In The Name Of Love (Sacrifice) and Rotting Christ frontman Sakis pops up on the furious Emptiness which unsurprisingly sounds like Rotting Christ.
They really play from the heart on this 'debut' it's powerful Hellenic Black metal at it's best, if you can't wait for the next Rotting Christ or indeed Amon Amarth album then Athanati will become close to being your record of the year, reanimated, reinvigorated and regal. 8/10
Colour Haze: In Her Garden (Elektrohasch Records)
Colour Haze have been peddling psychedelic trippiness over the course of 11 records they have turned from a Sabbath worshipping stoner band into a more ethereal interdimensional outfit who owe as much to fellow German's Tangerine Dream as they to jam merchants Grand Funk Railroad and The Grateful Dead. The trio of singer and guitarist Stefan Koglek, drummer Manfred Merwald and bassist Philipp Rasthofer don't cast their musical net outside of the 1970's but that's ok their mostly instrumental jams all blend reverbed guitar riffs, jazz drumming and deft bass work to the the record as they play through the 13 songs on this record with no gaps, each song melds into the next meaning that it's best enjoyed on headphones, the Allman Brothers sounding Arbores leads into a New Orleans trumpet break before Lavatera is slow creeping, percussive piece. I'm not sure what the titular she is growing in her garden but it's going to be some strong stuff, Colour Haze let their freak flag fly like it's the Summer Of Love. 7/10
Sons Of Texas have A Vulgar Display Of Power if you know what I mean. They are from Texas and they play groove metal that is heavily influenced by Dime, Vinny, Phil and Rex, the riffs bounce and the vocals are haggard from shouting and whiskey. It's not all Pantera a worship although Feed The Need is pretty close, they shoot for the radio audience too with a dose of Stone Sour on Down In The Trenches, some stop/start riffs on the A7X sounding Cast In Stone before really lightening up on Beneath The Riverbed which could be a Black Stone Cherry song. This record has colossal grooves throughout, a thunderous percussive battery, flashy six stringing but most of all great songs with big hooks, ok so the influences are so audible you could get lawyers involved but this is a fun record that's full of big ballsy songs that have a Southern swagger, these boys from the Lone Star state really rock. 8/10
Lloth: Athanati (Sleazy Rider Records)
Hellenic black metal for me is as defining as anything from the Northern reaches of Europe, it seems that the more ingrained a country's religious dogma the better their black metal is. Rotting Christ are probably the most recognisable name but there a numerous acts that are still flying the black metal flag as strongly as Babis' men. One of these is Athenians Lloth who have been around since 1995, formed by bass player Tristessa, who went on to change the name of the band to Astarte they released numerous albums and disbanded in 2014 due to Tristessa sadly succumbing to leukemia. In 2014 Lloth reformed (with the T more prominent in their logo in tribute) by Tristessa's husband, vocalist Nicolas Maiis in 2014.
This means that Athanati (The Undead) is the band's debut record and it's a eye wateringly heavy but melodic tribute to their fallen comrade, the title track starts the record with some precision black metal mastery, the intense riffs of Setesh, Vaelor and Panthimis let Nicolas growl with malice as the band create epic and folk influenced black metal. The creeping Archos and Pan are the slower more deliberate tracks that are exhibit the bands more epic tendencies. There are some high profile guests at work on this record as well Nightfall's Efthimis Karadimas gives his death growls to In The Name Of Love (Sacrifice) and Rotting Christ frontman Sakis pops up on the furious Emptiness which unsurprisingly sounds like Rotting Christ.
They really play from the heart on this 'debut' it's powerful Hellenic Black metal at it's best, if you can't wait for the next Rotting Christ or indeed Amon Amarth album then Athanati will become close to being your record of the year, reanimated, reinvigorated and regal. 8/10
Colour Haze: In Her Garden (Elektrohasch Records)
Colour Haze have been peddling psychedelic trippiness over the course of 11 records they have turned from a Sabbath worshipping stoner band into a more ethereal interdimensional outfit who owe as much to fellow German's Tangerine Dream as they to jam merchants Grand Funk Railroad and The Grateful Dead. The trio of singer and guitarist Stefan Koglek, drummer Manfred Merwald and bassist Philipp Rasthofer don't cast their musical net outside of the 1970's but that's ok their mostly instrumental jams all blend reverbed guitar riffs, jazz drumming and deft bass work to the the record as they play through the 13 songs on this record with no gaps, each song melds into the next meaning that it's best enjoyed on headphones, the Allman Brothers sounding Arbores leads into a New Orleans trumpet break before Lavatera is slow creeping, percussive piece. I'm not sure what the titular she is growing in her garden but it's going to be some strong stuff, Colour Haze let their freak flag fly like it's the Summer Of Love. 7/10
Opposing Motion: Inertia (Lion Music)
This record coming out on the Lion music label is instantly a give away to what Opposing Motion do. This Lyon based band play progressive power metal that sits down in the heavier sounds of Evergrey and also the UK's own Intense due to the vocal similarity. Musically the band are tight as you'd guess with the bass guitar running roughshod over the riffs and the drumming expressive. This is progressive metal as I've said with only the vocals, keys and widdly solos adding melodic touches to the distorted riffs. It's not groundbreaking and they don't have that epic touch of Evergrey but there's no faulting them this is their second full length and they are established in their sound, a great record for fans of prog/power metal. 7/10
This record coming out on the Lion music label is instantly a give away to what Opposing Motion do. This Lyon based band play progressive power metal that sits down in the heavier sounds of Evergrey and also the UK's own Intense due to the vocal similarity. Musically the band are tight as you'd guess with the bass guitar running roughshod over the riffs and the drumming expressive. This is progressive metal as I've said with only the vocals, keys and widdly solos adding melodic touches to the distorted riffs. It's not groundbreaking and they don't have that epic touch of Evergrey but there's no faulting them this is their second full length and they are established in their sound, a great record for fans of prog/power metal. 7/10
Friday, 6 October 2017
Reviews: Von Hertzen Brothers, Grave Pleasures, 10 Years, Set The Charge
Von Hertzen Brothers: War Is Over (Mascot Records)
If you use the analogy of Star Wars films, Von Hertzen Brothers's seventh record could be subtitled The Prog Awakens opening and closing with magnificent 10 minute plus songs it sees them rediscovering the elongated classic prog songs of their earlier albums, but with the new stadium confidence they brought to their more recent efforts, much like Episode VII re-discovered the magic of the original Star Wars while maintaining their post Millennial blockbuster styling. Following New Day Rising the trio wanted to invert themselves, strip everything back and except for drums, play all of the instruments and produce the record themselves. “We wanted to re-invent the inspiration and energy in our doing" Kie says and it looks like a successful experiment, they've reverted back to the band I fell in love with on Approach off-kilter prog with 70's pop explorations, they've even drafted in Approach drummer Sami Kuoppamäki to maintain the sound of that early period.
As I said earlier the record opens with the 10 minute euphoric, magisterial title track, all the VHB trademarks are their, Mikko's light airy vocals, the triple threat backing vocals, melodic keys, rocking oddly timed riff, but what stands out are Kie's bringing back searing guitar solos to nearly every song, something that was missing form their last couple of more straightforward records. They don't shy away from their arena rock styling though, the gutsy To The End Of The World is driven by Jonne's bass, first single The Arsonist is one of the records weaker tracks but it retains the albums theme that peace and love which is nowhere better displayed than on Jerusalem which features guest keys from HIM's Janne ‘Burton’ Puurtinen and much like how ELP covered the hymn of the same name this is as much a homage to Keith Emerson as anything else VHB have done, it's and epic track built around keyboards, keyboards and more keyboards, while Who Are You has the ethereal nature.
Mikko spent a month in India writing the lyrics for this record and those influences are obvious on Blindsight and the glorious finale of Beyond The Storm. This record stands as a milestone for the Finnish brothers, they have tirelessly adapted their sound to get a wider audience, this has seen them play festivals and get wider critical acclaim without becoming too stale then on the back of probably their most 'mainstream' record they are now at a point where their fanbase will happily accept them as 'proper' prog band again. 9/10
Grave Pleasures: Mother Blood (Century Media)
Apocalyptic post punk, built on a nihilist mentality but riddled with 80's pop hooks, the record is a fast paced, breathless stab at the heart of all things good but conjures a romanticism for misery. The deep, sexy, resonance in the vocals of Mat McNerney will tickle your lovely bits, like Depeche Mode's Dave Gahan, as the Juho Vanhanen plays jangly angular Telecaster riffs, while the rest of the band thunder along with aplomb bringing the sing along choruses many of the post punk crowd would have killed for, swaddling the music in a Gothic velveteen at times, getting you to dance to its death-rock rhythms before laying more esoteric aural stimulation and some good old fashioned fang bearing punk. The record whizzes by in haze of joyous melancholy as Doomsday Rainbows, Infatuation Overkill and Joy Through Death all juxtapose light with dark, elsewhere though Be My Hiroshima belies the title for what is a thoroughly romantic song a trick repeated on Falling For An Atom Bomb.
I loved the first Grave Pleasures album and before them I was always welcomed Beastmilk with open arms despite them not being in my normal spectrum of listening. The ten tracks on this record fly by at speed probably due to the punk background of the band but they sink in, none are throwaway and need a few spins to really get their teeth into you. I've always had an ear to the obscure and the unique, Grave Pleasures are that, owing as much to Ghost, Danzig and The Doors as they do to The Cure, Siouxsie And The Banshees and even the throbbing electronic preening of Duran Duran they pick sounds, from a very short but influential part of British music history, they are an will always be more Bauhaus and Bowie than Purple and Zeppelin but when the music is this good no matter what you classify it as it's still dazzling. 9/10
10 Years: [How We Live] As Ghosts (Mascot Records)
After the Knoxville alt-metal bands previous album From Birth To Burial it felt as if they were done, founder members guitarist/drummer Brian Vodinh and guitarist Matt Wantland had left the group before it's release for personal reasons and it seemed as if this record was closure singer Jesse Hasek puts it like this "I thought it was our final record because it just didn't feel like 10 Years without Brian and Matt" however roll forward to 2017 and both Brian and Matt have returned to the band, theri return has had a regenerating effect on this band as (How We Live) As Ghosts is probably the most organic vital sounding record the band have done. Working with acclaimed producer Nick Raskulinecz (Foo Fighters, Alice In Chains, Deftones) he coerced them into coming out of their collective shells and trying new ideas, one of these was stripping back the usually layered vocals of Jesse, who delivers an excellent performance.
The music on this record has number of roots but mostly stays true the bands alternative/post grunge ethos relying on emotive, anthemic, heartfelt modern metal songs with reflective lyrics and a lighter more optimistic feel casting away the gloom of their previous record with a sneer of Placebo and the muscular all for one ethos of Shinedown on Novocaine. I hadn't heard much of 10 Years before this but after doing a bit of searching in their history I can categorically say this is my favourite album of theirs and it should be yours too. 8/10
Set The Charge: Sky Goes On (Self Released)
Have you ever seen the YouTube video series called 10 Second Songs? Basically vocalist Anthony Vincent sings a song and every 10 seconds changes the style, artist or genre of it, some of them are very good indeed, his expressive vocals mimicking the artists he's trying to sing like. He has over 2.4 million subscribers and over 139 million video views, so he's not a flash in the pan internet celebrity. He also has a band called Set The Charge and much like his genre bending videos on YouTube the record has many styles mingle throughout it at their heart they are an alternative rock band with progressive and electronic elements, think Muse, Coheed and 30STM jamming to some Queen and you'll be able to get a clearer picture of their sound, Youngin best shows this with it's vaudeville piano and swaggering drums.
Tell Me has ambient melodies driving it, Right Side Of History is an expansive rocker, with a poppy chorus, Don't Let Them In has a reggae sound to it, while Yes And No is a massive radio ballad that deserves radio play as does Betsy Brown. Anthony has found himself an impressive band for this record all playing their roles he duels six strings with Tom Dicarlucci throughout as bassist Derek Ortiz drummer Frank (Anthony's brother) support with the killer rhythm section. Every song on this record has multiple layers that peel away on each listen, it's a multi tracked, progressive record that features Vincent's expressive vocals and songs that have been crafted for maximum impact, more than just a YouTube sensation Anthony Vincent and Set The Charge are something special and in a time of so many bands doing nothing new, Set The Charge really do try to set themselves apart. 8/10
If you use the analogy of Star Wars films, Von Hertzen Brothers's seventh record could be subtitled The Prog Awakens opening and closing with magnificent 10 minute plus songs it sees them rediscovering the elongated classic prog songs of their earlier albums, but with the new stadium confidence they brought to their more recent efforts, much like Episode VII re-discovered the magic of the original Star Wars while maintaining their post Millennial blockbuster styling. Following New Day Rising the trio wanted to invert themselves, strip everything back and except for drums, play all of the instruments and produce the record themselves. “We wanted to re-invent the inspiration and energy in our doing" Kie says and it looks like a successful experiment, they've reverted back to the band I fell in love with on Approach off-kilter prog with 70's pop explorations, they've even drafted in Approach drummer Sami Kuoppamäki to maintain the sound of that early period.
As I said earlier the record opens with the 10 minute euphoric, magisterial title track, all the VHB trademarks are their, Mikko's light airy vocals, the triple threat backing vocals, melodic keys, rocking oddly timed riff, but what stands out are Kie's bringing back searing guitar solos to nearly every song, something that was missing form their last couple of more straightforward records. They don't shy away from their arena rock styling though, the gutsy To The End Of The World is driven by Jonne's bass, first single The Arsonist is one of the records weaker tracks but it retains the albums theme that peace and love which is nowhere better displayed than on Jerusalem which features guest keys from HIM's Janne ‘Burton’ Puurtinen and much like how ELP covered the hymn of the same name this is as much a homage to Keith Emerson as anything else VHB have done, it's and epic track built around keyboards, keyboards and more keyboards, while Who Are You has the ethereal nature.
Mikko spent a month in India writing the lyrics for this record and those influences are obvious on Blindsight and the glorious finale of Beyond The Storm. This record stands as a milestone for the Finnish brothers, they have tirelessly adapted their sound to get a wider audience, this has seen them play festivals and get wider critical acclaim without becoming too stale then on the back of probably their most 'mainstream' record they are now at a point where their fanbase will happily accept them as 'proper' prog band again. 9/10
Grave Pleasures: Mother Blood (Century Media)
Apocalyptic post punk, built on a nihilist mentality but riddled with 80's pop hooks, the record is a fast paced, breathless stab at the heart of all things good but conjures a romanticism for misery. The deep, sexy, resonance in the vocals of Mat McNerney will tickle your lovely bits, like Depeche Mode's Dave Gahan, as the Juho Vanhanen plays jangly angular Telecaster riffs, while the rest of the band thunder along with aplomb bringing the sing along choruses many of the post punk crowd would have killed for, swaddling the music in a Gothic velveteen at times, getting you to dance to its death-rock rhythms before laying more esoteric aural stimulation and some good old fashioned fang bearing punk. The record whizzes by in haze of joyous melancholy as Doomsday Rainbows, Infatuation Overkill and Joy Through Death all juxtapose light with dark, elsewhere though Be My Hiroshima belies the title for what is a thoroughly romantic song a trick repeated on Falling For An Atom Bomb.
I loved the first Grave Pleasures album and before them I was always welcomed Beastmilk with open arms despite them not being in my normal spectrum of listening. The ten tracks on this record fly by at speed probably due to the punk background of the band but they sink in, none are throwaway and need a few spins to really get their teeth into you. I've always had an ear to the obscure and the unique, Grave Pleasures are that, owing as much to Ghost, Danzig and The Doors as they do to The Cure, Siouxsie And The Banshees and even the throbbing electronic preening of Duran Duran they pick sounds, from a very short but influential part of British music history, they are an will always be more Bauhaus and Bowie than Purple and Zeppelin but when the music is this good no matter what you classify it as it's still dazzling. 9/10
10 Years: [How We Live] As Ghosts (Mascot Records)
After the Knoxville alt-metal bands previous album From Birth To Burial it felt as if they were done, founder members guitarist/drummer Brian Vodinh and guitarist Matt Wantland had left the group before it's release for personal reasons and it seemed as if this record was closure singer Jesse Hasek puts it like this "I thought it was our final record because it just didn't feel like 10 Years without Brian and Matt" however roll forward to 2017 and both Brian and Matt have returned to the band, theri return has had a regenerating effect on this band as (How We Live) As Ghosts is probably the most organic vital sounding record the band have done. Working with acclaimed producer Nick Raskulinecz (Foo Fighters, Alice In Chains, Deftones) he coerced them into coming out of their collective shells and trying new ideas, one of these was stripping back the usually layered vocals of Jesse, who delivers an excellent performance.
The music on this record has number of roots but mostly stays true the bands alternative/post grunge ethos relying on emotive, anthemic, heartfelt modern metal songs with reflective lyrics and a lighter more optimistic feel casting away the gloom of their previous record with a sneer of Placebo and the muscular all for one ethos of Shinedown on Novocaine. I hadn't heard much of 10 Years before this but after doing a bit of searching in their history I can categorically say this is my favourite album of theirs and it should be yours too. 8/10
Set The Charge: Sky Goes On (Self Released)
Have you ever seen the YouTube video series called 10 Second Songs? Basically vocalist Anthony Vincent sings a song and every 10 seconds changes the style, artist or genre of it, some of them are very good indeed, his expressive vocals mimicking the artists he's trying to sing like. He has over 2.4 million subscribers and over 139 million video views, so he's not a flash in the pan internet celebrity. He also has a band called Set The Charge and much like his genre bending videos on YouTube the record has many styles mingle throughout it at their heart they are an alternative rock band with progressive and electronic elements, think Muse, Coheed and 30STM jamming to some Queen and you'll be able to get a clearer picture of their sound, Youngin best shows this with it's vaudeville piano and swaggering drums.
Tell Me has ambient melodies driving it, Right Side Of History is an expansive rocker, with a poppy chorus, Don't Let Them In has a reggae sound to it, while Yes And No is a massive radio ballad that deserves radio play as does Betsy Brown. Anthony has found himself an impressive band for this record all playing their roles he duels six strings with Tom Dicarlucci throughout as bassist Derek Ortiz drummer Frank (Anthony's brother) support with the killer rhythm section. Every song on this record has multiple layers that peel away on each listen, it's a multi tracked, progressive record that features Vincent's expressive vocals and songs that have been crafted for maximum impact, more than just a YouTube sensation Anthony Vincent and Set The Charge are something special and in a time of so many bands doing nothing new, Set The Charge really do try to set themselves apart. 8/10
Thursday, 5 October 2017
Reviews:, Foo Fighters, Diablo Blvd, Blazon Stone (Reviews By Paul)
Foo Fighters: Concrete And Gold (RCA)
There was a time when the Foo Fighters were so impressive. Masters of the radio rock single, they could also really hand your arse to you live. 2014’s Sonic Highways made me yawn and the nicest man in rock, Dave Grohl appeared everywhere I looked. His pearly whites flashing all over the place. The band now attract a mainstream audience and the thought of seeing them live in some soulless arena fills me with dread. This is album number nine, a rock meets pop collaboration with a massive sound, guest artists falling over themselves to get involved and as a result another collection of stadium songs which have little to hold the interest. First single Run is dreary, The Sky Is A Neighbourhood overblown in a Sergeant Pepper/ELO manner whilst La Dee Da is throwaway, with a riff pinched from the Motorhead/Girlschool epic Please Don’t Touch (originally by Johnny Kidd & The Pirates - Birth of Rock N Roll Ed). Grohl’s screams irritate quickly, adding nothing to the tracks. The lounge room feel of Dirty Water at least changes the direction quite dramatically with the band’s reliance on harmonies at the fore.
Concrete And Gold is polished, it’s classy and it’s just the same as before. Despite its despairing view of the future of humanity and the desire for escapism which form much of the subject matter, it’s nothing new musically, not remotely dangerous and little to challenge the listener. It’s music for Radio 2, department stores and those dinner parties for people who think the Foos are a little bit edgy – you know, the event wankers, those that spend all their time in the main arena at Glastonbury and who have a festival on their ‘bucket list’. The arrival of Justin Timberlake on Make It Right doesn’t, whilst the husky drawl of Taylor Hawkins and the dull thud of Paul McCartney’s drums on Sunday Rain just rubber stamps McCartney’s ghastly sound that runs through it. It’s just a bit too safe. Maybe I’m kidding myself to expect anything else. After all, everyone loves Dave Grohl. He’s a nice man. The Foo Fighters are a band in his own image. He could put out an album of his bottom burps and it would sell thousands. The inclusion of Boyz II Men’s Shawn Stockman on the grindingly tedious title track which closes the album does nothing to improve a disappointing release. 5/10
Diablo Blvd: Zero Hour (Nuclear Blast)
Now as a South Wales based outfit, we all know that there is only one album entitled Zero Hour, the mighty third release from the best line-up of Triaxis. However, the fourth release from Belgian band Diablo Blvd runs it close, in a totally different way. A superb mixture of influences, from Sabbath to Killing Joke, from Type O Negative to Godsmack, Danzig to The Cult weave their way through this release. Vocalist Alex Agnew’s vocal style is akin to the American style of Sully Erna and Aaron Lewis, clean and warm but with an edge that always says metal. The riffage is solid and meaty, courtesy of Dave Hubrechts. Each track is different, and with the industrial edge on tracks like Demonize balanced by the more straight forward hard rock of Like Rats and the classical instrumental 00 00, Zero Hour makes for enjoyable and thought-provoking listening. At times measured, at other times racing like a roller coaster ride, the Belgians have produced a gem of a release which is well worth investing the time to give it a listen. 8/10
Blazon Stone: Down in the Dark (Stormspell Records)
It was a mere nine months ago that I reviewed Blazon Stone’s War Of The Roses, giving it a healthy 8/10 for it was a beautiful slab of heavy power metal. Time flies and Cedrick Forsberg has bashed out another album which continues in a similar vein. Relying on the same line-up as before, Down In The Dark retains the power metal style of previous releases and follows a nautical theme, a concept if you will, with some fine sing-a-long shanties; check out the high speed Watery Graves or the heads down Rock Out! In fact if you like your power metal at full throttle then every track on this impressive release will get your neck moving. Erik Forsberg’s strong vocals carry the songs with ease. It would be fantastic to see these Swedes in the live arena so let’s hope they get a slot at BOA soon. 8/10
There was a time when the Foo Fighters were so impressive. Masters of the radio rock single, they could also really hand your arse to you live. 2014’s Sonic Highways made me yawn and the nicest man in rock, Dave Grohl appeared everywhere I looked. His pearly whites flashing all over the place. The band now attract a mainstream audience and the thought of seeing them live in some soulless arena fills me with dread. This is album number nine, a rock meets pop collaboration with a massive sound, guest artists falling over themselves to get involved and as a result another collection of stadium songs which have little to hold the interest. First single Run is dreary, The Sky Is A Neighbourhood overblown in a Sergeant Pepper/ELO manner whilst La Dee Da is throwaway, with a riff pinched from the Motorhead/Girlschool epic Please Don’t Touch (originally by Johnny Kidd & The Pirates - Birth of Rock N Roll Ed). Grohl’s screams irritate quickly, adding nothing to the tracks. The lounge room feel of Dirty Water at least changes the direction quite dramatically with the band’s reliance on harmonies at the fore.
Concrete And Gold is polished, it’s classy and it’s just the same as before. Despite its despairing view of the future of humanity and the desire for escapism which form much of the subject matter, it’s nothing new musically, not remotely dangerous and little to challenge the listener. It’s music for Radio 2, department stores and those dinner parties for people who think the Foos are a little bit edgy – you know, the event wankers, those that spend all their time in the main arena at Glastonbury and who have a festival on their ‘bucket list’. The arrival of Justin Timberlake on Make It Right doesn’t, whilst the husky drawl of Taylor Hawkins and the dull thud of Paul McCartney’s drums on Sunday Rain just rubber stamps McCartney’s ghastly sound that runs through it. It’s just a bit too safe. Maybe I’m kidding myself to expect anything else. After all, everyone loves Dave Grohl. He’s a nice man. The Foo Fighters are a band in his own image. He could put out an album of his bottom burps and it would sell thousands. The inclusion of Boyz II Men’s Shawn Stockman on the grindingly tedious title track which closes the album does nothing to improve a disappointing release. 5/10
Diablo Blvd: Zero Hour (Nuclear Blast)
Now as a South Wales based outfit, we all know that there is only one album entitled Zero Hour, the mighty third release from the best line-up of Triaxis. However, the fourth release from Belgian band Diablo Blvd runs it close, in a totally different way. A superb mixture of influences, from Sabbath to Killing Joke, from Type O Negative to Godsmack, Danzig to The Cult weave their way through this release. Vocalist Alex Agnew’s vocal style is akin to the American style of Sully Erna and Aaron Lewis, clean and warm but with an edge that always says metal. The riffage is solid and meaty, courtesy of Dave Hubrechts. Each track is different, and with the industrial edge on tracks like Demonize balanced by the more straight forward hard rock of Like Rats and the classical instrumental 00 00, Zero Hour makes for enjoyable and thought-provoking listening. At times measured, at other times racing like a roller coaster ride, the Belgians have produced a gem of a release which is well worth investing the time to give it a listen. 8/10
Blazon Stone: Down in the Dark (Stormspell Records)
It was a mere nine months ago that I reviewed Blazon Stone’s War Of The Roses, giving it a healthy 8/10 for it was a beautiful slab of heavy power metal. Time flies and Cedrick Forsberg has bashed out another album which continues in a similar vein. Relying on the same line-up as before, Down In The Dark retains the power metal style of previous releases and follows a nautical theme, a concept if you will, with some fine sing-a-long shanties; check out the high speed Watery Graves or the heads down Rock Out! In fact if you like your power metal at full throttle then every track on this impressive release will get your neck moving. Erik Forsberg’s strong vocals carry the songs with ease. It would be fantastic to see these Swedes in the live arena so let’s hope they get a slot at BOA soon. 8/10
Wednesday, 4 October 2017
Reviews: Caligula's Horse, Fozzy, Evil Invaders, 10Rogue
Caligula's Horse: In Contact (InsideOut)
Australian progressive band Caligula's Horse are named after Incitatus the equine companion of the Roman Emperor Gaius (nicknamed Caligula which means Little Soldiers Boot fact fans) who he made promised to make consul (basically an MP) but made a Priest instead. Now any band who use this as their name are never really going to play it safe and would play a more highbrow style of music than many of the typical Aussie bands. In Contact is full of complex and intricate progressive music that has jazzy, off time rhythms, scintillating melodic guitar/keyboard lines and passionate vocals. The Hands Are The Hardest is the best way to show their more listener friendly nature with it's colossal chorus, it leads beautifully into the gorgeous Love Conquers All. Songs For No One stands out for me as one of the best tracks on the record it's all elements of their music in one song and it's a perfect piece of modern progressive music that doesn't last longer than it needs too, with a simply astounding guitar solo from Sam Vallen.
Australian progressive band Caligula's Horse are named after Incitatus the equine companion of the Roman Emperor Gaius (nicknamed Caligula which means Little Soldiers Boot fact fans) who he made promised to make consul (basically an MP) but made a Priest instead. Now any band who use this as their name are never really going to play it safe and would play a more highbrow style of music than many of the typical Aussie bands. In Contact is full of complex and intricate progressive music that has jazzy, off time rhythms, scintillating melodic guitar/keyboard lines and passionate vocals. The Hands Are The Hardest is the best way to show their more listener friendly nature with it's colossal chorus, it leads beautifully into the gorgeous Love Conquers All. Songs For No One stands out for me as one of the best tracks on the record it's all elements of their music in one song and it's a perfect piece of modern progressive music that doesn't last longer than it needs too, with a simply astounding guitar solo from Sam Vallen.
On the other hand the gigantic Graves is a prog fan's wet dream, at over 14 minutes long it's got more twists and turns than Le Mans, even having a sax solo in the middle of it. With all the lighter sounds they don't sacrifice their natural heaviness as Will's Song (Let The Colours Run) is full of great chugging but their sound is so layered and immersive that you can't help but think the heaviness is just a little one sided in comparison to what else they do. Vocally Jim Grey gives another incredible performance his honeyed tones are measured and delivered perfectly. Caligula's Horse have constructed a fantastic concept record for their fourth album and it backs up the hype around this band, they yet to put a foot wrong and it doesn't look like they will, it's more than the promise of bread and circuses this delivers and is one the progressive records of the year. 10/10
Fozzy: Judas (Century Media)
I've mentioned before how influential WWE/F was on my early music tastes, many of the bands have stuck with me and led me to go on and listen to other acts broadening my musical taste. Professional wrestling has moved into the the music world as well, I won't bore you with what they are but most have been vastly unsuccessful. The exception to the rule had been Fozzy, fronted by Chris Jericho, the band has always been a separate entity away from his wrestling career, yes they've contributed a few songs to PPVs but for the most part Fozzy is successful in spite of Jericho's other job not because of it. So successful in fact that soon they will be running their own cruise that features numerous bands playing with them on the high seas.
So with all this I suppose they need a new album and happily they have obliged with their fifth record (of original material), Judas is another strong showing from the band full of American Radio metal with Rich Ward churning out riff after riff as Jericho belts out the darker toned lyrics with his unique vocals. The title track opens the record and it's probably the strongest song on the record and a definitive single. As things progress there's the normal mix of hard rock, nu-metal riffs and 21st Century hard rock on Weight Of My World, some industrial parts to Wordsworth Way, a bounce on Elevator and they even add some rap and death vocals to Three Days In Jail. There's an eclectic mix but it rarely strays away from the tried and tested Fozzy formula that means that will be with us for years to come. 7/10
Evil Invaders: Feed Me Violence (Napalm Records)
Evil Invaders motto for life must be thrash until death and then thrash a bit more. The Belgian band's second full length is packed with buzzsaw riffs and shrieked vocals from the off, it's the very early thrash sounds here, Overkill, Kreator and Exodus are the influences as the drums blast away and the riffs come thick and fast.There are a few slow Slayer-like grooves here but they are used sparingly to give you a rest from the whirlwind guitars of their speed metal fury. Evil Invaders have matured their sound since their debut, there they were young guns playing fast and loose, here their music has been tweaked a little as Oblivion, Shades Of Solitude and Among The Depths have more melodic, deliberate cinematic touches that build and build into yet more rapid fire riffs. Feed Me Violence is a tornado of speed metal madness that stands up as one of the top pit inducing thrash albums this year, my advice, buy, play loud, bang head, done. 8/10
10Rogue: Serpentine (BUT! Records)
Well this is dreadful any song that has the lyric referring to a woman as "Everybody's wet dream" is not for me I'm afraid, to have this kind of sleazy sex rock track followed by a soppy ballad, then a big chunky SoiL style rocker it makes me believe that they haven't really got their sound nailed down. I'm not sure what 10Rogue want to be to be there's a overarching Motley Crue vibe (a band I've never liked) but with some grunge too. It means that for me after about 3 tracks it was time to turn off and listen to Caligula's Horse again. 2/10
Fozzy: Judas (Century Media)
I've mentioned before how influential WWE/F was on my early music tastes, many of the bands have stuck with me and led me to go on and listen to other acts broadening my musical taste. Professional wrestling has moved into the the music world as well, I won't bore you with what they are but most have been vastly unsuccessful. The exception to the rule had been Fozzy, fronted by Chris Jericho, the band has always been a separate entity away from his wrestling career, yes they've contributed a few songs to PPVs but for the most part Fozzy is successful in spite of Jericho's other job not because of it. So successful in fact that soon they will be running their own cruise that features numerous bands playing with them on the high seas.
So with all this I suppose they need a new album and happily they have obliged with their fifth record (of original material), Judas is another strong showing from the band full of American Radio metal with Rich Ward churning out riff after riff as Jericho belts out the darker toned lyrics with his unique vocals. The title track opens the record and it's probably the strongest song on the record and a definitive single. As things progress there's the normal mix of hard rock, nu-metal riffs and 21st Century hard rock on Weight Of My World, some industrial parts to Wordsworth Way, a bounce on Elevator and they even add some rap and death vocals to Three Days In Jail. There's an eclectic mix but it rarely strays away from the tried and tested Fozzy formula that means that will be with us for years to come. 7/10
Evil Invaders: Feed Me Violence (Napalm Records)
Evil Invaders motto for life must be thrash until death and then thrash a bit more. The Belgian band's second full length is packed with buzzsaw riffs and shrieked vocals from the off, it's the very early thrash sounds here, Overkill, Kreator and Exodus are the influences as the drums blast away and the riffs come thick and fast.There are a few slow Slayer-like grooves here but they are used sparingly to give you a rest from the whirlwind guitars of their speed metal fury. Evil Invaders have matured their sound since their debut, there they were young guns playing fast and loose, here their music has been tweaked a little as Oblivion, Shades Of Solitude and Among The Depths have more melodic, deliberate cinematic touches that build and build into yet more rapid fire riffs. Feed Me Violence is a tornado of speed metal madness that stands up as one of the top pit inducing thrash albums this year, my advice, buy, play loud, bang head, done. 8/10
10Rogue: Serpentine (BUT! Records)
Well this is dreadful any song that has the lyric referring to a woman as "Everybody's wet dream" is not for me I'm afraid, to have this kind of sleazy sex rock track followed by a soppy ballad, then a big chunky SoiL style rocker it makes me believe that they haven't really got their sound nailed down. I'm not sure what 10Rogue want to be to be there's a overarching Motley Crue vibe (a band I've never liked) but with some grunge too. It means that for me after about 3 tracks it was time to turn off and listen to Caligula's Horse again. 2/10
Tuesday, 3 October 2017
Reviews: Nocturnal Rites, Voltage, Massive Assault, Ardenne Heavy (Reviews By Paul)
Nocturnal Rites: Phoenix (AFM Records)
For a band that started out as a death metal outfit, Nocturnal Rites current sound is about as far removed as you can get. The Swedes ninth release, their first for the best part of ten years is a slick, power metal/AOR flavoured slab which wouldn’t sound out of place at the HRH AOR Festival. Oozing melody and harmonies on the choruses, songs such as Repent My Sins have a deeply melodic feel about them. The band can churn up the waves in a heavy weight style mind, as demonstrated on The Poisonous Seed, What’s Killing Me and the operatic Welcome To The End. Vocalist Jonny Lindqvist leads the line well, his clean vocals containing a harder edge which works superbly on the tracks. There’s even some industrial flavouring which occasionally rears its head, such as the intro to Nothing Can Break Me. A decent amount of chunky guitar adds the heaviness to an album which becomes more impressive on repeated plays. 7/10
Voltage: Around The Bend (Self Released)
So, the South arrives in the Low Countries with Voltage, a four-piece rock ‘n’ roll outfit from Brabant whose sound is modelled exactly on the Southern drawl of Lynyrd Skynyrd and their brethren. One listen to Around The Bend, which is perfectly enjoyable, and there is only one band that you can picture. Georgia’s Blackberry Smoke. Voltage sound so much like them that you’d be forgiven for thinking this was the follow up to 2016’s Like An Arrow. Vocalist Dave Vermeulen is uncannily like Charlie Starr in his delivery whilst the guitar sound of Vermeulen and Gijs Heijnen fits snuggly into the Smoke’s sound. It’s decent stuff, a cross between country, Southern rock and Americana, beautifully performed. You can take your pick from any of the 11 tracks and you won’t be disappointed in the quality. But if I want to listen to Blackberry Smoke, then I’ll listen to Blackberry Smoke. 7/10
Massive Assault: Mortar (F.D.A Records)
Brutal death metal is ten a penny these days it seems and we get huge numbers of releases to review. Massive Assault’s third album Mortar is fast, furious and raging. Themes of death, violence and aggression rarely make for sweet, calming subject matter and it’s the same here. Suffer In Terror, Deranged Humanity and the skull hammering of Empty Shell all explode like a roadside incendiary device, towering riffs, roasting drumming and guttural vocals of Carl Cristian doing the business. The hugely impressive Anger Overdrive maintains an assault which really doesn’t let up, as you’d expect. This is a fine thrashy piece of death metal with riffs that could crush an elephant. Strap in, bang your head and let the explosions hit you. 7/10
Ardenne Heavy: No Nuts No Glory (Self Released)
Not content with pinching the majority of Airbourne’s album title, Belgian thrashers Ardenne Heavy have also managed to obtain one of the worst singers I’ve heard in a long while. Although the band has apparently been together for seven years, vocalist Simon Gaudron sounds like he’s stumbled into the recording studio directly from a heavy session in the pub. His abysmal voice means that any hope of determining what the band’s actual music sounds like is limited. When he has finished his garbled gibberish what you glean is some pretty routine, almost binary thrash which is of extremely limited interest. By the end of track two, the quite stunningly bad Exodus it was time to hit the stop button. Possibly the worst thrash album I’ve ever heard. 2/10
For a band that started out as a death metal outfit, Nocturnal Rites current sound is about as far removed as you can get. The Swedes ninth release, their first for the best part of ten years is a slick, power metal/AOR flavoured slab which wouldn’t sound out of place at the HRH AOR Festival. Oozing melody and harmonies on the choruses, songs such as Repent My Sins have a deeply melodic feel about them. The band can churn up the waves in a heavy weight style mind, as demonstrated on The Poisonous Seed, What’s Killing Me and the operatic Welcome To The End. Vocalist Jonny Lindqvist leads the line well, his clean vocals containing a harder edge which works superbly on the tracks. There’s even some industrial flavouring which occasionally rears its head, such as the intro to Nothing Can Break Me. A decent amount of chunky guitar adds the heaviness to an album which becomes more impressive on repeated plays. 7/10
Voltage: Around The Bend (Self Released)
So, the South arrives in the Low Countries with Voltage, a four-piece rock ‘n’ roll outfit from Brabant whose sound is modelled exactly on the Southern drawl of Lynyrd Skynyrd and their brethren. One listen to Around The Bend, which is perfectly enjoyable, and there is only one band that you can picture. Georgia’s Blackberry Smoke. Voltage sound so much like them that you’d be forgiven for thinking this was the follow up to 2016’s Like An Arrow. Vocalist Dave Vermeulen is uncannily like Charlie Starr in his delivery whilst the guitar sound of Vermeulen and Gijs Heijnen fits snuggly into the Smoke’s sound. It’s decent stuff, a cross between country, Southern rock and Americana, beautifully performed. You can take your pick from any of the 11 tracks and you won’t be disappointed in the quality. But if I want to listen to Blackberry Smoke, then I’ll listen to Blackberry Smoke. 7/10
Massive Assault: Mortar (F.D.A Records)
Brutal death metal is ten a penny these days it seems and we get huge numbers of releases to review. Massive Assault’s third album Mortar is fast, furious and raging. Themes of death, violence and aggression rarely make for sweet, calming subject matter and it’s the same here. Suffer In Terror, Deranged Humanity and the skull hammering of Empty Shell all explode like a roadside incendiary device, towering riffs, roasting drumming and guttural vocals of Carl Cristian doing the business. The hugely impressive Anger Overdrive maintains an assault which really doesn’t let up, as you’d expect. This is a fine thrashy piece of death metal with riffs that could crush an elephant. Strap in, bang your head and let the explosions hit you. 7/10
Ardenne Heavy: No Nuts No Glory (Self Released)
Not content with pinching the majority of Airbourne’s album title, Belgian thrashers Ardenne Heavy have also managed to obtain one of the worst singers I’ve heard in a long while. Although the band has apparently been together for seven years, vocalist Simon Gaudron sounds like he’s stumbled into the recording studio directly from a heavy session in the pub. His abysmal voice means that any hope of determining what the band’s actual music sounds like is limited. When he has finished his garbled gibberish what you glean is some pretty routine, almost binary thrash which is of extremely limited interest. By the end of track two, the quite stunningly bad Exodus it was time to hit the stop button. Possibly the worst thrash album I’ve ever heard. 2/10
Monday, 2 October 2017
A View From The Back Of The Room: Gary Numan
Gary Numan & Jayce Lewis, Tramshed Cardiff
The man they call Numan arrived in Cardiff after a considerable absence, the tour was in support of his excellent new album Savage, the Tramshed was the first date of the tour and we took our photographer with us to the sold out venue for what was actually one of the loudest gigs of the year.
Before the headliner though support came from Bridgend's answer to the great man himself, the Darth Vader approved Jayce Lewis (7) who brought a heavy industrial aesthetic to his performance from the stage dressing to the music, it was a post apocalyptic menagerie of light up pillars and a doom laden end of days vibe. Lewis ramps up the thunder with two bass players and a drummer as the omnipresent electronics fizzed and buzz in the background, due to the extensive use of pedals of both bass players.
Playing a lot from his most recent Protafield project, the vocals suffered on the first few songs but gradually they got better in time and were at there best for the thumping Solitaire and the heavy as lead Electric Medicine which closed the set. With a new album on the way and promise of a return Jayce was the ideal opener for a man who practically invented this stuff.
The stage was changed and it was time for the master, the performance was honed to perfection, it was a set of industrial battery from the off, instrumentation delivered with robotic precision and at ear splitting volume, the baselines could loosen your colon and the lights and visuals may induce seizures, but that's exactly what you'd want from a the man that help to popularise the synth and industrial music. Like a hot and sweaty Berlin club the Tramshed was one sold out undulating mass clad in their best PVC, leather, lace.and fish-netting. Gary Numan (8) is wild frontman beating himself up as he delivers his android vocals over the crackling metallic industrial. His band are well skilled and are equally as animated plying riff after riff to an adoring crowd of Numan addicts.
He relies much more on a the classic guitar, bass, drums, keys set up than Lewis and it did seem as if his music had more depth to it. The older material perhaps obviously got the best reception, the dirtier version of Cars made everyone go nuts, (power of advertising folks) but do prefer his more recent moodier, harder edged material that goes into the realms of Rammstein and KoRn at its heaviest. Just witness My Name Is Ruin and you'll see it's a future classic, but we also got Metal, Down In The Park, Mercy, Love Hurt Bleed and the main set ended with always warmly received A Prayer For The Unborn.
To stop the 80's stuff standing out as lighter it gets a sonic overhaul on the loudness front but it is noticeably more melodic and danceable as the countless shapes being thrown proved. Blinded and deafened we were taken through much of Numan's career and for a first show of the tour it was a polished performance all round. Gary Numan and Depeche Mode are the flag bearers for this music and for both of them to be going strong and really hitting hard like a boot to the face is an odd joy to behold. Are friends electric? I still don't know but they certainly can pound out a tune, I urge you check this tour out on one of the remaining dates as you won't regret it.
The man they call Numan arrived in Cardiff after a considerable absence, the tour was in support of his excellent new album Savage, the Tramshed was the first date of the tour and we took our photographer with us to the sold out venue for what was actually one of the loudest gigs of the year.
Before the headliner though support came from Bridgend's answer to the great man himself, the Darth Vader approved Jayce Lewis (7) who brought a heavy industrial aesthetic to his performance from the stage dressing to the music, it was a post apocalyptic menagerie of light up pillars and a doom laden end of days vibe. Lewis ramps up the thunder with two bass players and a drummer as the omnipresent electronics fizzed and buzz in the background, due to the extensive use of pedals of both bass players.
Playing a lot from his most recent Protafield project, the vocals suffered on the first few songs but gradually they got better in time and were at there best for the thumping Solitaire and the heavy as lead Electric Medicine which closed the set. With a new album on the way and promise of a return Jayce was the ideal opener for a man who practically invented this stuff.
The stage was changed and it was time for the master, the performance was honed to perfection, it was a set of industrial battery from the off, instrumentation delivered with robotic precision and at ear splitting volume, the baselines could loosen your colon and the lights and visuals may induce seizures, but that's exactly what you'd want from a the man that help to popularise the synth and industrial music. Like a hot and sweaty Berlin club the Tramshed was one sold out undulating mass clad in their best PVC, leather, lace.and fish-netting. Gary Numan (8) is wild frontman beating himself up as he delivers his android vocals over the crackling metallic industrial. His band are well skilled and are equally as animated plying riff after riff to an adoring crowd of Numan addicts.
He relies much more on a the classic guitar, bass, drums, keys set up than Lewis and it did seem as if his music had more depth to it. The older material perhaps obviously got the best reception, the dirtier version of Cars made everyone go nuts, (power of advertising folks) but do prefer his more recent moodier, harder edged material that goes into the realms of Rammstein and KoRn at its heaviest. Just witness My Name Is Ruin and you'll see it's a future classic, but we also got Metal, Down In The Park, Mercy, Love Hurt Bleed and the main set ended with always warmly received A Prayer For The Unborn.
To stop the 80's stuff standing out as lighter it gets a sonic overhaul on the loudness front but it is noticeably more melodic and danceable as the countless shapes being thrown proved. Blinded and deafened we were taken through much of Numan's career and for a first show of the tour it was a polished performance all round. Gary Numan and Depeche Mode are the flag bearers for this music and for both of them to be going strong and really hitting hard like a boot to the face is an odd joy to behold. Are friends electric? I still don't know but they certainly can pound out a tune, I urge you check this tour out on one of the remaining dates as you won't regret it.
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