Lesoir: Latitude (Gentle Art Of Music)
Netherlands band Lesoir are an interesting act, they bewitched me with their previous record so it's with great anticipation that I delved into the fourth album from Lesoir. They are a band very difficult to pigeonhole classing them as artrock means that they have a very broad palate (no pun intended) to play with, they have the cinematic textures of Anathema, the progressive heaviness of Tool and the fiery attitude of Skunk Anansie or Alanis Morissette. Whereas the previous release Luctor Et Emergo was a rockier record with big heavy riffs, Latitude is a much more artistic, experimental and ambitious, creating beautiful multi layered soundscapes as frontwoman Maartje Meessen along with guitarist/keyboardist Eleen Bartholomeus harmonize beautifully with distinctly empowering lyrical content that deals with climate change, mankind’s role on this planet and the band's friend who survived the Bataclan terror attack.
The music is melancholic but pins it's impact on the existence of hope, for all the bad there will be good you just have to find it. The slow burning Modern Goddess starts with a single piano before the rest of the band come in and with a dynamic drum fill from Bob van Heumen the strings swell and as quickly as it begins it ends. It's the beginning of 13 song journey, the dramatic In The Game follows with chunky riffs from Ingo Jetten's bass, it moves into the dark, uneasy and fidgety Icon which is the first time guitarist Ingo Dassen can let rip. The album progresses with more dense music that really needs to be listened to intently so you can get the full effect, In Their Eyes once again relies on a slow building delivery that explodes at the end with Maartje giving a brilliant, emotive performance.
I mentioned Anathema earlier and the Liverpool band can be heard right the way through the record, they have similar panache and use of musical alchemy to hit you right in the feels, the employment of orchestral elements are measured but let rockers such as Gone And Forgotten have more of an impact for every orchestral epic though they also bring some attitude filled alt rock on Cheap Trade which is followed by the Portishead ambience of Comforting Rain. This fourth album will be hard work for those looking for a quick musical fix but if you think an album needs multiple listens to really appreciate it then Latitude will satisfy your needs, it's fantastic. 9/10
Galactic Cowboys: Long Way Back To The Moon (Mascot Records)
I’d never heard of Galactic Cowboys before but apparently they were a band originally between 1989 and really 2000 with members shedding like skin before that leaving only bassist Monty Colvin and vocalist Ben Huggins by the end. However after a few reunion shows in 2009, the band reformed in 2016 with all of the original members and Long Way Back To The Moon is their long awaited new album, their first since 2000. Galactic Cowboys are apparently a progressive metal band who cite The Beatles and Anthrax as major influences, as this record opens up it’s very easy to see why, all the band contribute to the harmonic backing vocals but it’s at odds to the chunky stomping thrash riffs.
A song such as Drama highlights this very well, however you can also hear the more traditional prog metal of Dream Theater on Amisarewas which builds on Dane Sonnier’s intricate guitars with Alan Doss steadying the pace with his drumming. Now I’m not going to criticise the music on this record it’s clearly the work of talented individuals but much like King’s X (a band who Galactic Cowboys are often compared to) I just can’t get into this record, having listened to it a few times it doesn’t leave me with an impression, it does get better as it progresses, getting proggier later but for the most part I think this is technically proficient but I don’t find it particularly memorable. 6/10
Stalker: Shadow Of The Sword (Napalm Records)
Shadow Of The Sword is the debut album from squealing speed metalllers Stalker who hail from the foreign shores of New Zealand. Speed metal tends to come from either the Nordic countries or Canada so it’s time to hear a band from the Southern hemisphere doing this leather clad machismo. They really ramp up the retro, the production has an 80’s hollowness, the guitar riffs are distorted and too busy playing at a million miles an hour to really give much differentiation, while the vocals are scratchy and go into the high squeak once too often. It’s pretty standard fair and if you’re into retro metal then you’ll lap this up, otherwise you might actually find it a bit annoying. 6/10
King Bison: Snake Head Burial EP (Self Released)
King Bison are what you’d get if Viking Skull got into a bourbon soaked brawl with Motorhead and Pantera, it’s dirty mudslinging metal riffs, piledriving groove and raw vocals galore with songs named Filthy Son Of A Bitch and Demon Tongues & Leather you already know what you’re getting. The four tracks on this EP give you enough of a flavour to want more (hint the flavour is Southern smoked chipotle), it’s all over in flash of heaviness as the Plymouth band batter you from the outset. Snake Head Burial is a mere taster for the band’s bludgeoning heaviness, a full length will need a bit of variation, maybe a couple of cleaner bluesier tunes, to keep the attention the maximum but these four songs do enough to get the blood pumping and your drinking hand active. 7/10
Thursday, 30 November 2017
Wednesday, 29 November 2017
A View From The Back Of The Room: Joanne Shaw Taylor (Live Review By Paul)
Joanne Shaw Taylor, Colston Hall Bristol
This was a rescheduled gig, owing to Joanne’s illness at the time of the original date. Coming five days after the eight-date tour ended, JST was due to be home in Detroit but had stayed on to fulfil this date so much appreciation to the Black Country guitarist for not just cancelling the event. The rescheduling to a date so close to Christmas and a Saturday had the inevitable fall out though, as throughout the stalls in the Colston Hall there were pockets of empty seats. The balcony was closed and there was a real end of term feel about the gig (without the board games – which may be puzzling to younger readers but would have been fully appreciated by much of the mature audience).
The original support act for JST’s tour was Dan Patlansky but we were treated to Nashville’s own Sonia Leigh (9) who has been on tour in the UK herself for several weeks. Supported by the precocious talent of 20-year-old Katy Hurt and The Healers, Leigh pulled out the performance of the evening. Playing a range of tracks from her albums, her Nashville drawl fitted in perfectly with the low-key level of the evening and received a huge response from those who got in early. With a number of albums to her name, Leigh chose her tracks wisely, including Walking In The Moonlight and the smouldering Jack Is Back. With confidence oozing through the band she turned the microphone over to Hurt at one stage, and we got an extra treat as she has a voice which is just fabulous. A cross between Stevie Nicks and Dollie Parton, this Country lady has a fantastic career ahead of her. Leigh was gracious, humble and her who show was just superb. You can check her out supporting Broken Witt Rebels on their current tour. They play the Thekla on 7 December.
13 months ago, we’d been wowed by the sheer talent of Joanne Shaw Taylor (7) at a rammed and raucous gig in The Globe in Cardiff. I was sufficiently impressed to have written in my review, ‘Joanne Shaw Taylor is a bit special. Her latest tour, for a girl who gigs as hard as she rocks, took in The Globe, probably for the last time as she is surely destined for much larger venues in the future’. Well, she remains a stunning talent and she and her band coped well with some prolonged technical difficulties with her wireless guitar connections, but the feel of the event was somewhat lessened by the larger, all seated venue which, whilst welcome to many in the audience served only to stifle any atmosphere. This meant that there was complete silence between songs after the applause had died down, something very unusual. The sound throughout the evening was poor, with the balance causing us to question our own hearing. Now I realise that sound is subjective and a very technical matter but when you are paying decent cash for a show in a venue of the Colston Hall’s calibre, I expect better.
At one point a member of the audience quite rightly shouted his frustration and eventually JST’s sublime guitar work began to cut through the mix. With a catalogue of blues rock to play, JST also threw in two covers to the set, which was similar to that of the previous tour. Bones, by a relatively obscure band called The Hoax and Wild Is The Wind, the Johnny Mathis song made famous by David Bowie and covered on JST’s last release Wild. A single encore of Tied And Bound and the gig was over. Relief on the stage that it was over and probably in a great number of the audience. JST is a fabulous talent, an amazing guitarist and her band are spectacularly good musicians. But get to see her where you can move, dance and sway and close your eyes whilst she envelopes you in her music, not in an uncomfortable fold up chair. That’s what the blues is all about.
This was a rescheduled gig, owing to Joanne’s illness at the time of the original date. Coming five days after the eight-date tour ended, JST was due to be home in Detroit but had stayed on to fulfil this date so much appreciation to the Black Country guitarist for not just cancelling the event. The rescheduling to a date so close to Christmas and a Saturday had the inevitable fall out though, as throughout the stalls in the Colston Hall there were pockets of empty seats. The balcony was closed and there was a real end of term feel about the gig (without the board games – which may be puzzling to younger readers but would have been fully appreciated by much of the mature audience).
The original support act for JST’s tour was Dan Patlansky but we were treated to Nashville’s own Sonia Leigh (9) who has been on tour in the UK herself for several weeks. Supported by the precocious talent of 20-year-old Katy Hurt and The Healers, Leigh pulled out the performance of the evening. Playing a range of tracks from her albums, her Nashville drawl fitted in perfectly with the low-key level of the evening and received a huge response from those who got in early. With a number of albums to her name, Leigh chose her tracks wisely, including Walking In The Moonlight and the smouldering Jack Is Back. With confidence oozing through the band she turned the microphone over to Hurt at one stage, and we got an extra treat as she has a voice which is just fabulous. A cross between Stevie Nicks and Dollie Parton, this Country lady has a fantastic career ahead of her. Leigh was gracious, humble and her who show was just superb. You can check her out supporting Broken Witt Rebels on their current tour. They play the Thekla on 7 December.
13 months ago, we’d been wowed by the sheer talent of Joanne Shaw Taylor (7) at a rammed and raucous gig in The Globe in Cardiff. I was sufficiently impressed to have written in my review, ‘Joanne Shaw Taylor is a bit special. Her latest tour, for a girl who gigs as hard as she rocks, took in The Globe, probably for the last time as she is surely destined for much larger venues in the future’. Well, she remains a stunning talent and she and her band coped well with some prolonged technical difficulties with her wireless guitar connections, but the feel of the event was somewhat lessened by the larger, all seated venue which, whilst welcome to many in the audience served only to stifle any atmosphere. This meant that there was complete silence between songs after the applause had died down, something very unusual. The sound throughout the evening was poor, with the balance causing us to question our own hearing. Now I realise that sound is subjective and a very technical matter but when you are paying decent cash for a show in a venue of the Colston Hall’s calibre, I expect better.
At one point a member of the audience quite rightly shouted his frustration and eventually JST’s sublime guitar work began to cut through the mix. With a catalogue of blues rock to play, JST also threw in two covers to the set, which was similar to that of the previous tour. Bones, by a relatively obscure band called The Hoax and Wild Is The Wind, the Johnny Mathis song made famous by David Bowie and covered on JST’s last release Wild. A single encore of Tied And Bound and the gig was over. Relief on the stage that it was over and probably in a great number of the audience. JST is a fabulous talent, an amazing guitarist and her band are spectacularly good musicians. But get to see her where you can move, dance and sway and close your eyes whilst she envelopes you in her music, not in an uncomfortable fold up chair. That’s what the blues is all about.
Tuesday, 28 November 2017
Reviews: Daniel Cavanagh, For All We Know, Dirty Thrills, Idlewar (Reviews By Paul)
Daniel Cavanagh: Monochrome (Kscope)
Listening to The Exorcist, the opening track on Anathema main man Daniel Cavanagh’s debut solo release Monochrome, you immediately understand what he meant when he described his album as having “a late night, candlelit feeling, evoking the light of dusk as the summer sun sinks below the horizon, setting the scene for thoughts and meditations that many people will relate to.” A beautiful, evocative piece which wrenches at the heart and soul, full of emotion and feeling. It’s a song that could easily be accompanied by a chilled glass of wine as the evening tapers. Perfect in front of a roaring fire with a loved one. If it had surfaced in the middle of The Optimist or a future Anathema release you wouldn’t have been disappointed. This track was apparently considered so good by Anathema that the rest of the band would have made this the centrepiece of an album. Cavanagh said, “taking it from the band was not an easy decision – but I’m glad I did!”
Monochrome features guest appearances from Anneke van Giersbergen, with whom Cavanagh has worked with on several occasions before and who is perhaps more widely known for her work with Devin Townsend. She adds some deliciously delicate vocals to several tracks including This Music and the stunning, haunting Soho. Cavanagh played virtually everything on the album, highlighting just what a fabulously talented musician he really is. He has enrolled another brilliant musician in Anna Phoebe, whose violin work adds texture to the piano on The Silent Flight Of The Raven Winged Hours. Cavanagh described the album as “a deeply reflective and personal offering, inspired by internal feelings of love and loss” and you truly feel that as the album progresses. Soho is the kind of track that would comfort in those long hours of despair after losing a loved one. Monochrome contains some lengthy tracks, with three songs close to ten minutes each in length but what that allows Cavanagh to do is build his melancholic pieces.
The Silent Flight Of The Raven Winged Hours is a perfect illustration of this, solo piano joined by violin before synths reminiscent of Cavanagh’s Floyd influences intertwine with the piano, allowing a peak that then slows and falls to more dramatic piano. Dawn is short at under three minutes but is one of my favourite tracks, the combination of looped acoustic guitar and Phoebe’s violin just magical. Penultimate track Oceans Of Time is a delightful duet between Cavanagh and Van Giersbergen, subtle piano and simple drum beat all that is needed to guide the track perfectly along its path. And then you arrive at the simply blissful Some Dreams Do Come True, which is mesmerising. It is simple, a lone piano riff looping for part of the track, but with added effects and tempo. The waves crashing on the shore provides a calming effect, whilst Phoebe’s violin is subtle and understated. It’s an instrumental which brings a lump to throat, such is the emotion pulsing through it.
I’ve played this release at least once a day for two weeks and it continues to improve. It will not be to everyone’s tastes but there will be few modern-day Anathema fans who will find this anything but genuinely magical. 9/10
For All We Know: Take Me Home (Self Released)
The solo project of Within Temptation guitarist Ruud Jolie is a mellow affair, with relaxed, almost pop style rock on the first listen. Peel away the outer layers though, and on second run through you are suddenly confronted with some much more complex compositions. The album features a host of guest musicians who add to the melody and quality of the songs. It’s mainly light, delicate and rather fine at times. The vocals of Wudstick (Ayreon) are smashing, clean, gentle and soothing. With members of Pain Of Salvation (Leo Margarit on drums and ex POS bassist Kristoffer Gildenlow), the ivories of Marco Kuypers (Rhodes piano, Wurlitzer) and Thijis Schrijnemakeo (Hammond) and the lovely vocals of Anneke Van Giersbergen adding to several tracks. The overriding progressive elements on tracks such as Let Me Fly, Fade Away, The Big Wheel and the retro sounding We Are The Light, would sit on either Devin Townsend or Steven Wilson releases all grab the attention. Jolie’s guitar playing is understated, and becomes more apparent on repeated plays. It takes time but has become an album of real enjoyment. 8/10
Dirty Thrills: Heavy Living (Frontiers)
London based blues rockers Dirty Thrills make no pretence about their influences with Led Zeppelin and Rival Sons most prominent. Heavy Living is 45 minutes of superb, cock strutting blues rock which is pleasing to the ear. Louis James’ vocals are full of heart and soul, hitting the notes with the same effortless ease that Sons’ frontman Jay Buchanan does. Add in a dollop of The Temperance Movement and the sweetness of Vintage Trouble on tunes like Lonely Soul which sees a beautiful piece of interplay between James and guitarist Jack Fawdry and it’s not hard to see why these guys have picked up some prestigious touring slots over the past two years. Impressing at events such as Ramblin’ Man Fair and Planet Rockstock, I’d say that Dirty Thrills are heading upwards at speed. It’s simple, quality music which appeals to the connoisseur. If you like your Thrills Dirty, then Heavy Living is going to get you even messier. 8/10
Idlewar: Rite (Off Yer Rocka Records)
This beauty has been out for a few weeks now but it’s better late than never. Rite is the second album from the South Californian power trio whose recent set at Hard Rock Hell was well appreciated by the Musipedia crew. The band kick out the jams from the off, their high velocity stoner sound warm and inviting. The difference with Idlewar in comparison to many other bands is that these guys have a real Soundgarden feel. Check out the opening salvo of Sullen Moon, Break and Keep Your Word. James Blake’s vocals haunt and mesmerise in equal measure, whilst Rick Graham's jangling guitar turns into crushingly heavy riffs in an instant. There’s more than a nod to Alice In Chains as well with the likes of Strain and Panic echoing shades of the Seattle grunge masters. James fuzzy bass and Pete Pagonis’s accurate drum work support Blake throughout. Rite is a solid, impressive release from a band who are as good on album as they are in the live arena. 8/10
Listening to The Exorcist, the opening track on Anathema main man Daniel Cavanagh’s debut solo release Monochrome, you immediately understand what he meant when he described his album as having “a late night, candlelit feeling, evoking the light of dusk as the summer sun sinks below the horizon, setting the scene for thoughts and meditations that many people will relate to.” A beautiful, evocative piece which wrenches at the heart and soul, full of emotion and feeling. It’s a song that could easily be accompanied by a chilled glass of wine as the evening tapers. Perfect in front of a roaring fire with a loved one. If it had surfaced in the middle of The Optimist or a future Anathema release you wouldn’t have been disappointed. This track was apparently considered so good by Anathema that the rest of the band would have made this the centrepiece of an album. Cavanagh said, “taking it from the band was not an easy decision – but I’m glad I did!”
Monochrome features guest appearances from Anneke van Giersbergen, with whom Cavanagh has worked with on several occasions before and who is perhaps more widely known for her work with Devin Townsend. She adds some deliciously delicate vocals to several tracks including This Music and the stunning, haunting Soho. Cavanagh played virtually everything on the album, highlighting just what a fabulously talented musician he really is. He has enrolled another brilliant musician in Anna Phoebe, whose violin work adds texture to the piano on The Silent Flight Of The Raven Winged Hours. Cavanagh described the album as “a deeply reflective and personal offering, inspired by internal feelings of love and loss” and you truly feel that as the album progresses. Soho is the kind of track that would comfort in those long hours of despair after losing a loved one. Monochrome contains some lengthy tracks, with three songs close to ten minutes each in length but what that allows Cavanagh to do is build his melancholic pieces.
The Silent Flight Of The Raven Winged Hours is a perfect illustration of this, solo piano joined by violin before synths reminiscent of Cavanagh’s Floyd influences intertwine with the piano, allowing a peak that then slows and falls to more dramatic piano. Dawn is short at under three minutes but is one of my favourite tracks, the combination of looped acoustic guitar and Phoebe’s violin just magical. Penultimate track Oceans Of Time is a delightful duet between Cavanagh and Van Giersbergen, subtle piano and simple drum beat all that is needed to guide the track perfectly along its path. And then you arrive at the simply blissful Some Dreams Do Come True, which is mesmerising. It is simple, a lone piano riff looping for part of the track, but with added effects and tempo. The waves crashing on the shore provides a calming effect, whilst Phoebe’s violin is subtle and understated. It’s an instrumental which brings a lump to throat, such is the emotion pulsing through it.
I’ve played this release at least once a day for two weeks and it continues to improve. It will not be to everyone’s tastes but there will be few modern-day Anathema fans who will find this anything but genuinely magical. 9/10
For All We Know: Take Me Home (Self Released)
The solo project of Within Temptation guitarist Ruud Jolie is a mellow affair, with relaxed, almost pop style rock on the first listen. Peel away the outer layers though, and on second run through you are suddenly confronted with some much more complex compositions. The album features a host of guest musicians who add to the melody and quality of the songs. It’s mainly light, delicate and rather fine at times. The vocals of Wudstick (Ayreon) are smashing, clean, gentle and soothing. With members of Pain Of Salvation (Leo Margarit on drums and ex POS bassist Kristoffer Gildenlow), the ivories of Marco Kuypers (Rhodes piano, Wurlitzer) and Thijis Schrijnemakeo (Hammond) and the lovely vocals of Anneke Van Giersbergen adding to several tracks. The overriding progressive elements on tracks such as Let Me Fly, Fade Away, The Big Wheel and the retro sounding We Are The Light, would sit on either Devin Townsend or Steven Wilson releases all grab the attention. Jolie’s guitar playing is understated, and becomes more apparent on repeated plays. It takes time but has become an album of real enjoyment. 8/10
Dirty Thrills: Heavy Living (Frontiers)
London based blues rockers Dirty Thrills make no pretence about their influences with Led Zeppelin and Rival Sons most prominent. Heavy Living is 45 minutes of superb, cock strutting blues rock which is pleasing to the ear. Louis James’ vocals are full of heart and soul, hitting the notes with the same effortless ease that Sons’ frontman Jay Buchanan does. Add in a dollop of The Temperance Movement and the sweetness of Vintage Trouble on tunes like Lonely Soul which sees a beautiful piece of interplay between James and guitarist Jack Fawdry and it’s not hard to see why these guys have picked up some prestigious touring slots over the past two years. Impressing at events such as Ramblin’ Man Fair and Planet Rockstock, I’d say that Dirty Thrills are heading upwards at speed. It’s simple, quality music which appeals to the connoisseur. If you like your Thrills Dirty, then Heavy Living is going to get you even messier. 8/10
Idlewar: Rite (Off Yer Rocka Records)
This beauty has been out for a few weeks now but it’s better late than never. Rite is the second album from the South Californian power trio whose recent set at Hard Rock Hell was well appreciated by the Musipedia crew. The band kick out the jams from the off, their high velocity stoner sound warm and inviting. The difference with Idlewar in comparison to many other bands is that these guys have a real Soundgarden feel. Check out the opening salvo of Sullen Moon, Break and Keep Your Word. James Blake’s vocals haunt and mesmerise in equal measure, whilst Rick Graham's jangling guitar turns into crushingly heavy riffs in an instant. There’s more than a nod to Alice In Chains as well with the likes of Strain and Panic echoing shades of the Seattle grunge masters. James fuzzy bass and Pete Pagonis’s accurate drum work support Blake throughout. Rite is a solid, impressive release from a band who are as good on album as they are in the live arena. 8/10
Reviews: Houston, The Mighty Wraith, Kinjiru, Sounds Of Insane Music (Reviews By Stief)
Houston: III (Cargo Records)
A pure slice of the 80's here in the late noughties, Houston's third album is a fun, lighter-waving experience that epitomises the AOR feel with a slight pop tinge. It ranges from the emotional Lights Out to the wonderfully cheesy with lyrics such as "This is my twelve step programme/for getting over you." (Twelve-Step). Bear in mind, I'm not saying anything negative against the band, as this is the sort of stuff I live for when it comes to AOR. Hank Erix's emotional vocals are backed up by equally emotion playing by Victor Lundberg on the keyboard, as well as the guitars of Calle Hammer, the drumming of Soufjan Ma'Aoui and the bass of Oscar Lundström. If you're a fan of bands such as Work Of Art, or any of the ballad-playing bands from the 80's, Houston is definitely a band for you. 8/10
A pure slice of the 80's here in the late noughties, Houston's third album is a fun, lighter-waving experience that epitomises the AOR feel with a slight pop tinge. It ranges from the emotional Lights Out to the wonderfully cheesy with lyrics such as "This is my twelve step programme/for getting over you." (Twelve-Step). Bear in mind, I'm not saying anything negative against the band, as this is the sort of stuff I live for when it comes to AOR. Hank Erix's emotional vocals are backed up by equally emotion playing by Victor Lundberg on the keyboard, as well as the guitars of Calle Hammer, the drumming of Soufjan Ma'Aoui and the bass of Oscar Lundström. If you're a fan of bands such as Work Of Art, or any of the ballad-playing bands from the 80's, Houston is definitely a band for you. 8/10
The Mighty Wraith: Dragonheart (Independent)
Generic but great power metal. As soon as you see the title of the EP, you know exactly what you're getting from this 4-piece from Birmingham. Matt Gore's vocals are perfect for power metal, working extremely well with Azza Potter's melodic guitarwork. Overall there's not much that pulls The Mighty Wraith out of the vast amount of power metal bands that are out there, but this EP is still a great listen. 7/10
Kinjiru: 4D EP (Independent)
A one-piece from Edinburgh, Kinjiru is a delightfully mental piece of music, as if Rob Zombie met Mindless Self Indulgence at a J-pop rave. Consisting of only 4 songs, it still gives a good taste of what Roger B is capable of, each song a brilliant mixture of frenetic synths. blast beats, vicious growling and bouncing drums. The guitar work is brilliant, and each song is a tight composition that gives the listener an insane ride. It probably won't be to everyone's taste, but if you enjoy industrial metal with a bit more oomph, or if you're a fan of the aforementioned bands, this might be worth a look! 8/10
Sounds Of Insane Music: The Mask (Independent)
Another one-piece a bit closer to home, from Neath here in Wales. However, it is slightly disappointing, as while the guitar playing is pretty decent, the quality as a whole is brought down through the use of midi-level background synths and drums. There's a broad mixture of styles, which showcases Elliot Cadmore, the sole member's range and it's apparent there's something there. According to the SOIM facebook page, there is a call out for other band members, which I feel is what this project needs. I mean nothing against Cadmore as a person, but it feels that with a band to support in the background, he could focus more on the guitar-playing and often brutal growling he is obviously capable of. 5/10
Generic but great power metal. As soon as you see the title of the EP, you know exactly what you're getting from this 4-piece from Birmingham. Matt Gore's vocals are perfect for power metal, working extremely well with Azza Potter's melodic guitarwork. Overall there's not much that pulls The Mighty Wraith out of the vast amount of power metal bands that are out there, but this EP is still a great listen. 7/10
Kinjiru: 4D EP (Independent)
A one-piece from Edinburgh, Kinjiru is a delightfully mental piece of music, as if Rob Zombie met Mindless Self Indulgence at a J-pop rave. Consisting of only 4 songs, it still gives a good taste of what Roger B is capable of, each song a brilliant mixture of frenetic synths. blast beats, vicious growling and bouncing drums. The guitar work is brilliant, and each song is a tight composition that gives the listener an insane ride. It probably won't be to everyone's taste, but if you enjoy industrial metal with a bit more oomph, or if you're a fan of the aforementioned bands, this might be worth a look! 8/10
Sounds Of Insane Music: The Mask (Independent)
Another one-piece a bit closer to home, from Neath here in Wales. However, it is slightly disappointing, as while the guitar playing is pretty decent, the quality as a whole is brought down through the use of midi-level background synths and drums. There's a broad mixture of styles, which showcases Elliot Cadmore, the sole member's range and it's apparent there's something there. According to the SOIM facebook page, there is a call out for other band members, which I feel is what this project needs. I mean nothing against Cadmore as a person, but it feels that with a band to support in the background, he could focus more on the guitar-playing and often brutal growling he is obviously capable of. 5/10
Monday, 27 November 2017
Reviews: Communic, Transit Method, Voice, The Dirty Denims (Reviews By Paul)
Communic: Where Echoes Gather (AFM Records)
If you fancy something a little more challenging then Norwegian three-piece Communic will be of interest. The band formed in 2003 and Where Echoes Gather is album number five. For a three-piece their sound is impressive with a progressive style akin to Dream Theater and Queensryche. Hauntingly heavy at times, the album is split into four sections, with The Pulse Of The Earth Pt.1 and Pt. 2 leading into the title track, again split into two parts before three lengthy tracks make up the middle section of the album with the crushingly heavy Black Flag Of Hate full of huge riffs and massive groove. The Claws Of The Sea Pt.1 and Pt.2 close the release. It’s not an easy listen, demanding several plays to appreciate the time changes, polyrhythmic movements and the intricacy which cascades like a waterfall. Vocalist and guitarist Oddleif Stensland delivers a mighty performance, whilst his support from bassist Erik Mortensen and drummer Tor Atle Andersen is solid from start to finish. If you can invest the time then this is an album that will provide rich rewards. 8/10
Transit Method: We Won’t Get Out of Here Alive (Brutal Panda Records)
Crashing riffs, a psychedelic edge and the raw passion of early Jane’s Addiction all combine in this interesting release by Transit Method, who are a three-piece outfit from Austin, Texas. From the opening smoking tentacles of Snake Wine, past the trippy Cloud Zeppelin to the rampaging Parasight there is a diversity here that demands your attention and repeated plays. At times the band merge into the territory of early Rush circa Fly By Night, with their straightforward rock interspersed with journeys into the land of the progressive, time changes but retaining their cutting edge. Snake Wine sets their stall out with some fine guitar from Matt LoCoco, whose Perry Farrell meets Geddy Lee vocals are quite spectacular whilst there is an underlying funk groove to Beside Moonlight. The more I played this album the deeper immersed I became. The Rush style of Clones was well appreciated and the nine-minute Outlaw By Disguise closing track is just an epic worthy of greatness. This is an essential listen. 9/10
Voice: The Storm (Massacre Records)
Powerful melodic rock from Germany? Well apparently Voice (stupid bloody name) has been around for eons with a couple of albums under their belt since their debut Prediction in 1996. This latest offering is the band’s first release in 14 years. Worth the wait? Probably not. Apart from the uncanny vocal resemblance to Bruce Dickinson that Oliver Glas possesses, the rest of this album is generic hard rock that so many German bands seem able to churn out at will. If you like Grave Digger and the like then you’ll no doubt dig The Storm. It plods a bit in places, dips more and more into the Maiden catalogue as it develops; check out Your Number Is Up or Kingdom Of Heaven as a prime examples. It is rather routine stuff, not offensive in the slightest but nothing to grab you by the cohunes either. Possibly not album of the year. 6/10
The Dirty Denims: Back With a Bang! (Self Released)
Eindhoven four-piece The Dirty Denims play the kind of music you’d expect. It’s rock in the vein of AC/DC, Joan Jett and bands like The Amorettes and Girlschool. Having been around for over ten years they are slick and good at what they deliver. Tracks like Can’t Get Enough Of Rock ‘n’ Roll, Don’t Waste My Time and Make Us Look Good are pub rock with a little bit extra. Simple, straightforward and if you saw them at a festival with a beer you’d probably stay and watch. Buying their album may be a push too far but for what they do, yeah, it’s perfectly fine. 6/10
If you fancy something a little more challenging then Norwegian three-piece Communic will be of interest. The band formed in 2003 and Where Echoes Gather is album number five. For a three-piece their sound is impressive with a progressive style akin to Dream Theater and Queensryche. Hauntingly heavy at times, the album is split into four sections, with The Pulse Of The Earth Pt.1 and Pt. 2 leading into the title track, again split into two parts before three lengthy tracks make up the middle section of the album with the crushingly heavy Black Flag Of Hate full of huge riffs and massive groove. The Claws Of The Sea Pt.1 and Pt.2 close the release. It’s not an easy listen, demanding several plays to appreciate the time changes, polyrhythmic movements and the intricacy which cascades like a waterfall. Vocalist and guitarist Oddleif Stensland delivers a mighty performance, whilst his support from bassist Erik Mortensen and drummer Tor Atle Andersen is solid from start to finish. If you can invest the time then this is an album that will provide rich rewards. 8/10
Transit Method: We Won’t Get Out of Here Alive (Brutal Panda Records)
Crashing riffs, a psychedelic edge and the raw passion of early Jane’s Addiction all combine in this interesting release by Transit Method, who are a three-piece outfit from Austin, Texas. From the opening smoking tentacles of Snake Wine, past the trippy Cloud Zeppelin to the rampaging Parasight there is a diversity here that demands your attention and repeated plays. At times the band merge into the territory of early Rush circa Fly By Night, with their straightforward rock interspersed with journeys into the land of the progressive, time changes but retaining their cutting edge. Snake Wine sets their stall out with some fine guitar from Matt LoCoco, whose Perry Farrell meets Geddy Lee vocals are quite spectacular whilst there is an underlying funk groove to Beside Moonlight. The more I played this album the deeper immersed I became. The Rush style of Clones was well appreciated and the nine-minute Outlaw By Disguise closing track is just an epic worthy of greatness. This is an essential listen. 9/10
Voice: The Storm (Massacre Records)
Powerful melodic rock from Germany? Well apparently Voice (stupid bloody name) has been around for eons with a couple of albums under their belt since their debut Prediction in 1996. This latest offering is the band’s first release in 14 years. Worth the wait? Probably not. Apart from the uncanny vocal resemblance to Bruce Dickinson that Oliver Glas possesses, the rest of this album is generic hard rock that so many German bands seem able to churn out at will. If you like Grave Digger and the like then you’ll no doubt dig The Storm. It plods a bit in places, dips more and more into the Maiden catalogue as it develops; check out Your Number Is Up or Kingdom Of Heaven as a prime examples. It is rather routine stuff, not offensive in the slightest but nothing to grab you by the cohunes either. Possibly not album of the year. 6/10
The Dirty Denims: Back With a Bang! (Self Released)
Eindhoven four-piece The Dirty Denims play the kind of music you’d expect. It’s rock in the vein of AC/DC, Joan Jett and bands like The Amorettes and Girlschool. Having been around for over ten years they are slick and good at what they deliver. Tracks like Can’t Get Enough Of Rock ‘n’ Roll, Don’t Waste My Time and Make Us Look Good are pub rock with a little bit extra. Simple, straightforward and if you saw them at a festival with a beer you’d probably stay and watch. Buying their album may be a push too far but for what they do, yeah, it’s perfectly fine. 6/10
Reviews: Ne Obliviscaris, Tankard, Eric Bell, Warrior Soul (Reviews By Paul)
Ne Obliviscaris: Urn (Seasons Of Mist)
Australian extreme progressive metallers Ne Obliviscaris have been bubbling under the rock radar for several years. That might be about to change with their third release, Urn. The band’s dynamic and fluid balance of pace and styles is an intoxicating blend that will capture the imagination of a wide range of metal fans. There’s the devastating guitar riffs which can crush one minute, the violins and string sections which change the atmosphere and tempo at a stroke and the intelligent use of clean and growling vocals. Each track is an intensive experience, soaring highs and sweeping passages quickly capture your attention and embrace you closely in their grasp.
Having formed in 2003 but only released their debut Portal I in 2012, the band followed up with their sophomore release Citadel in 2014 and Urn continues their Avant Garde approach, with a range of styles which sees jazz, flamenco alongside the progressive and death metal staples. Six tracks clocking in at 45 minutes tells you that it isn’t the easiest listen in the world, but it is well worth dedicated time to let the album cascade over you whilst you gasp for air and try to take in everything that is happening. This is a musical journey well worth taking. 9/10
Tankard: Hymns For The Drunk (AFM)
It's quite astonishing to think that Tankard have been pursuing beer and thrash since the early 1980s without ever stopping, kind of the runaway train on the never-ending track. Hymns For The Drunk is a best of from 2002-2010 while the band were signed to AFM records and is an excellent summary of a rather underrated outfit, who revived their career with 2002’s B-Day. A constant force in German thrash alongside the big 3 of Destruction, Sodom and Kreator, it could quite easily be argued that they have never been given the credit they deserve.
Maybe it’s the humour which masks some technically excellent thrash metal but as our Rich commented in June when reviewing album 17, One Foot In The Grave, ‘the riffs are so good you’ll be too busy banging your head to care’. So it is on this mighty compilation, which contains 15 ball-busting monsters including Need Money For Beer, New Liver Please and the classic Zombie Attack. If you don’t know Tankard, this is as good a place as any to start. Bang your head and raise your glass. 8/10
Eric Bell: Standing At A Bus Stop (Off The Edge Productions)
Forever known as one of the founding members of Thin Lizzy, Eric Bell has had a varied and interesting career. The originator of that riff in Whiskey In The Jar, who famously quit Lizzy by throwing his guitar and amps off stage mid-gig, Bell has released several solo albums over the years, soaked in the blues rich sound that he has always played. Standing At A Bus Stop is the follow up to 2016’s Exile, which was Bell’s first release for a decade. The bitter sweet lyrics and melodies are present and correct. Covers of Howlin’ Wolf’s Back Door Man and the classic Elvis tune Mystery Train allow Bell to transport you back to a simpler time. The rest of the release is a mix of blues and country with slight rock leanings and whilst it certainly won’t appeal to all it’s a pleasant change from the blast beats and crashing riffs that sometimes occupy our aural capacity. 7/10
Warrior Soul: Back On The Lash (Cargo Records)
Big, brash and in your face, Warrior Soul led by the infamous Kory Clarke return with Back On The Lash, nine tracks and just over half an hour of stomping sleaze ridden rock n’ roll. The band, formed by Clarke way back when has been around for many years, earning a reputation for the unpredictable and the chaotic. Clarke, from the mean streets of Detroit, is a loose cannon, a poet, political activist and artist whose reputation is much bigger than his standing.
Back On The Lash makes the sleaze of Poison and those pretty boyz of the 1980s and 1990s look like a school trip from St Joseph's. If dirty, swung from the hip sleaze is your thing then you’ll be over this like the fat bird in the cake shop. Think the Dogs D’Amour on steroids. If, like me, you hate sleaze, you’ll hate this shit too. 7/10
Australian extreme progressive metallers Ne Obliviscaris have been bubbling under the rock radar for several years. That might be about to change with their third release, Urn. The band’s dynamic and fluid balance of pace and styles is an intoxicating blend that will capture the imagination of a wide range of metal fans. There’s the devastating guitar riffs which can crush one minute, the violins and string sections which change the atmosphere and tempo at a stroke and the intelligent use of clean and growling vocals. Each track is an intensive experience, soaring highs and sweeping passages quickly capture your attention and embrace you closely in their grasp.
Having formed in 2003 but only released their debut Portal I in 2012, the band followed up with their sophomore release Citadel in 2014 and Urn continues their Avant Garde approach, with a range of styles which sees jazz, flamenco alongside the progressive and death metal staples. Six tracks clocking in at 45 minutes tells you that it isn’t the easiest listen in the world, but it is well worth dedicated time to let the album cascade over you whilst you gasp for air and try to take in everything that is happening. This is a musical journey well worth taking. 9/10
Tankard: Hymns For The Drunk (AFM)
It's quite astonishing to think that Tankard have been pursuing beer and thrash since the early 1980s without ever stopping, kind of the runaway train on the never-ending track. Hymns For The Drunk is a best of from 2002-2010 while the band were signed to AFM records and is an excellent summary of a rather underrated outfit, who revived their career with 2002’s B-Day. A constant force in German thrash alongside the big 3 of Destruction, Sodom and Kreator, it could quite easily be argued that they have never been given the credit they deserve.
Maybe it’s the humour which masks some technically excellent thrash metal but as our Rich commented in June when reviewing album 17, One Foot In The Grave, ‘the riffs are so good you’ll be too busy banging your head to care’. So it is on this mighty compilation, which contains 15 ball-busting monsters including Need Money For Beer, New Liver Please and the classic Zombie Attack. If you don’t know Tankard, this is as good a place as any to start. Bang your head and raise your glass. 8/10
Eric Bell: Standing At A Bus Stop (Off The Edge Productions)
Forever known as one of the founding members of Thin Lizzy, Eric Bell has had a varied and interesting career. The originator of that riff in Whiskey In The Jar, who famously quit Lizzy by throwing his guitar and amps off stage mid-gig, Bell has released several solo albums over the years, soaked in the blues rich sound that he has always played. Standing At A Bus Stop is the follow up to 2016’s Exile, which was Bell’s first release for a decade. The bitter sweet lyrics and melodies are present and correct. Covers of Howlin’ Wolf’s Back Door Man and the classic Elvis tune Mystery Train allow Bell to transport you back to a simpler time. The rest of the release is a mix of blues and country with slight rock leanings and whilst it certainly won’t appeal to all it’s a pleasant change from the blast beats and crashing riffs that sometimes occupy our aural capacity. 7/10
Warrior Soul: Back On The Lash (Cargo Records)
Big, brash and in your face, Warrior Soul led by the infamous Kory Clarke return with Back On The Lash, nine tracks and just over half an hour of stomping sleaze ridden rock n’ roll. The band, formed by Clarke way back when has been around for many years, earning a reputation for the unpredictable and the chaotic. Clarke, from the mean streets of Detroit, is a loose cannon, a poet, political activist and artist whose reputation is much bigger than his standing.
Back On The Lash makes the sleaze of Poison and those pretty boyz of the 1980s and 1990s look like a school trip from St Joseph's. If dirty, swung from the hip sleaze is your thing then you’ll be over this like the fat bird in the cake shop. Think the Dogs D’Amour on steroids. If, like me, you hate sleaze, you’ll hate this shit too. 7/10
Sunday, 26 November 2017
Reviews: The Dark Element, Mount Holly, Almanac, Secret Rule
The Dark Element: S/T (Frontiers Records)
The Dark Element is a band formed by two former members of well known acts. I realise that this can be said for most of the Frontiers roster but The Dark Element is not a melodic rock or AOR album, it's a melodic metal album with pop edge. The two members in question are Jani Liimatainen former guitarist of Sonata Arctica and the leader of the romantic power metal act Cain's Offering and on the vocals Anette Olzon the much maligned former singer of Nightwish, in her first band project since leaving Nightwish.
Now I said much maligned as Anette really wasn't given fair treatment while at the helm in Nightwish, her vocals are very good they are just nearer the pop side than the classical influence that band has. Luckily Liimatainen understands this and has crafted The Dark Element album to suit her vocals, the record is full of bouncy but dark Euro-electro metal with Jani's guitars, keys and programming the main elements, it's a similar style to Amaranthe or current Battle Beast a genre that is rapidly becoming over saturated but with the draw of Olzon and Liimatainen The Dark Element is likely to stand out.
There isn't any of the light-speed pace of the early Sonata albums, this isn't a slow album by any means, with the exception of the epic Someone I Used To Know it speeds along at a fair pace in a symphonic metal style. It gets the head nodding and Jani's guitar playing is great as usual. Olzon has a good voice as I've said but she's let down by the mix of the album, there's not as much bombast as I'd like and it runs a little too long getting a bit flabby towards the end. Still it's pretty damn good and serves an ideal showcase for the two recognisable members of the band, maybe with a bit more experimentation next time, it could really stand above the others. 7/10
Almanac: Kingslayer (Nuclear Blast)
Ex-Rage guitarist Victor Smolski returns with the second act of his Almanac project, the first album Tsar back in 2016 was wild ride through Russian history built on the tough cinematic power metal Victor has always been associated with. The main draw of the band for me was that there are three singers, Brainstorm's Andy B Franck for grit, David Readman (every band ever) for soulful power and Jeannette Marchewka for a melodic female edge. Once again this sophomore album deals with historical themes but this time the concept surrounds regicide in all its forms. Funnily enough Regicide is the track that opens this record and it pretty much kicks things off as it means to go on, some great vocal interplay between the three singers, tough heavy riffs and a dramatic interplay. It’s an interesting way to start the record as I feel the more straightforward Children Of A Sacred Path would have been a better opener but that’s my personal opinion.
The record is full of symphonic styled power metal, but there is nothing lightweight, much like Victor’s previous band the riffs are heavy and come thick and fast throughout as the focus on this record seems to be on the Franck’s rougher edged vocal for the thrashier songs with Readman’s vocals used to great effect on the harder rock sound of Hail To The King. Both of them are aided by Jeanette’s beautiful pipes as she provides a richer texture to all of the songs meaning that nearly everything has at least two singers. Kingslayer retains everything that made the first album great and it will hopefully be the second chapter in a long story for Almanac. 8/10
Mount Holly: Stride By Stride (Razor & Tie)
Mount Holly was a band formed by former Silvertide guitarist Nick Perri (brother of pop star Christina), singer Jameson Burt, bassist Brian Weaver (formerly Deanna Passarella) and drummer John Bach. The eagle eyed amongst you will noticed I said was, well shortly after this record was released Jameson Burt said he was leaving the group and the remaining members decided not to continue the band. Stride By Stride then is both the debut and final record from Mount Holly, which makes reviewing it difficult as it's the only thing we have to get a feel for the group, this one record is not the best evidence to really hear what might have been. It's a bit like judging all of Ancient Rome on on Amphorae, still I put the needle to the groove (so to speak) and let Mount Holly's musical epitaph ring out through the 'Decks Of Doom'.
What played out was classy Southern Californian alternative rock, Perri's mastery of the hip shaking reverbed guitar riff gives the record a soulful feel complimented by the hollow sounding analogue production and excellent use of backing vocals, your feet are tapping from the opening salvo of Get Up, you can't help but get a groove on to the smoky vibe of Barefoot (nevermind that it half inches the riff from Zep's Heartbreaker), it's this classic blues vibe that resonates through the album, it's mixed with a psyche touch on the smoldering Playing Dead, Jamerson Burt's vocals are an ideal mix of modern alt rock and classic bluesman while the songs are all packed with some killer riffs, some stomp and clap work on Burning In Colour and the gospel infused title track. It's this myriad of styles that make Stride By Stride an excellent debut album that has bittersuite air to it, the strength and breadth album indicates that Mount Holly could have really gone anywhere on their now never to be released second album, it's a shame but Stride By Stride stands as a fitting epitaph for what could have been. 8/10
Secret Rule: The Key To The World (Pride & Joy Music)
I reviewed Secret Rule's previous album a while ago now and while I praised it, I noted that it still had some way to go. Yet again on their third album the band have stuck to their Within Temptation-like symphonic style with keys once again coming from guest Henrik Klingenberg (Sonata Arctica), other guest featured on this record are Henning Basse (Firewind and MaYan) and Ailyn Giménez (ex Sirenia). It's with the guests though that the flaw in this record reveals itself, the vocals are not particularly good, I'm not sure if it's the production or singer Angela but they seem very flat, meaning that when they are mixed with the uninspiring riffs The Key To The World just doesn't do much for me I'm afraid. 5/10
The Dark Element is a band formed by two former members of well known acts. I realise that this can be said for most of the Frontiers roster but The Dark Element is not a melodic rock or AOR album, it's a melodic metal album with pop edge. The two members in question are Jani Liimatainen former guitarist of Sonata Arctica and the leader of the romantic power metal act Cain's Offering and on the vocals Anette Olzon the much maligned former singer of Nightwish, in her first band project since leaving Nightwish.
Now I said much maligned as Anette really wasn't given fair treatment while at the helm in Nightwish, her vocals are very good they are just nearer the pop side than the classical influence that band has. Luckily Liimatainen understands this and has crafted The Dark Element album to suit her vocals, the record is full of bouncy but dark Euro-electro metal with Jani's guitars, keys and programming the main elements, it's a similar style to Amaranthe or current Battle Beast a genre that is rapidly becoming over saturated but with the draw of Olzon and Liimatainen The Dark Element is likely to stand out.
There isn't any of the light-speed pace of the early Sonata albums, this isn't a slow album by any means, with the exception of the epic Someone I Used To Know it speeds along at a fair pace in a symphonic metal style. It gets the head nodding and Jani's guitar playing is great as usual. Olzon has a good voice as I've said but she's let down by the mix of the album, there's not as much bombast as I'd like and it runs a little too long getting a bit flabby towards the end. Still it's pretty damn good and serves an ideal showcase for the two recognisable members of the band, maybe with a bit more experimentation next time, it could really stand above the others. 7/10
Almanac: Kingslayer (Nuclear Blast)
Ex-Rage guitarist Victor Smolski returns with the second act of his Almanac project, the first album Tsar back in 2016 was wild ride through Russian history built on the tough cinematic power metal Victor has always been associated with. The main draw of the band for me was that there are three singers, Brainstorm's Andy B Franck for grit, David Readman (every band ever) for soulful power and Jeannette Marchewka for a melodic female edge. Once again this sophomore album deals with historical themes but this time the concept surrounds regicide in all its forms. Funnily enough Regicide is the track that opens this record and it pretty much kicks things off as it means to go on, some great vocal interplay between the three singers, tough heavy riffs and a dramatic interplay. It’s an interesting way to start the record as I feel the more straightforward Children Of A Sacred Path would have been a better opener but that’s my personal opinion.
The record is full of symphonic styled power metal, but there is nothing lightweight, much like Victor’s previous band the riffs are heavy and come thick and fast throughout as the focus on this record seems to be on the Franck’s rougher edged vocal for the thrashier songs with Readman’s vocals used to great effect on the harder rock sound of Hail To The King. Both of them are aided by Jeanette’s beautiful pipes as she provides a richer texture to all of the songs meaning that nearly everything has at least two singers. Kingslayer retains everything that made the first album great and it will hopefully be the second chapter in a long story for Almanac. 8/10
Mount Holly: Stride By Stride (Razor & Tie)
Mount Holly was a band formed by former Silvertide guitarist Nick Perri (brother of pop star Christina), singer Jameson Burt, bassist Brian Weaver (formerly Deanna Passarella) and drummer John Bach. The eagle eyed amongst you will noticed I said was, well shortly after this record was released Jameson Burt said he was leaving the group and the remaining members decided not to continue the band. Stride By Stride then is both the debut and final record from Mount Holly, which makes reviewing it difficult as it's the only thing we have to get a feel for the group, this one record is not the best evidence to really hear what might have been. It's a bit like judging all of Ancient Rome on on Amphorae, still I put the needle to the groove (so to speak) and let Mount Holly's musical epitaph ring out through the 'Decks Of Doom'.
What played out was classy Southern Californian alternative rock, Perri's mastery of the hip shaking reverbed guitar riff gives the record a soulful feel complimented by the hollow sounding analogue production and excellent use of backing vocals, your feet are tapping from the opening salvo of Get Up, you can't help but get a groove on to the smoky vibe of Barefoot (nevermind that it half inches the riff from Zep's Heartbreaker), it's this classic blues vibe that resonates through the album, it's mixed with a psyche touch on the smoldering Playing Dead, Jamerson Burt's vocals are an ideal mix of modern alt rock and classic bluesman while the songs are all packed with some killer riffs, some stomp and clap work on Burning In Colour and the gospel infused title track. It's this myriad of styles that make Stride By Stride an excellent debut album that has bittersuite air to it, the strength and breadth album indicates that Mount Holly could have really gone anywhere on their now never to be released second album, it's a shame but Stride By Stride stands as a fitting epitaph for what could have been. 8/10
Secret Rule: The Key To The World (Pride & Joy Music)
I reviewed Secret Rule's previous album a while ago now and while I praised it, I noted that it still had some way to go. Yet again on their third album the band have stuck to their Within Temptation-like symphonic style with keys once again coming from guest Henrik Klingenberg (Sonata Arctica), other guest featured on this record are Henning Basse (Firewind and MaYan) and Ailyn Giménez (ex Sirenia). It's with the guests though that the flaw in this record reveals itself, the vocals are not particularly good, I'm not sure if it's the production or singer Angela but they seem very flat, meaning that when they are mixed with the uninspiring riffs The Key To The World just doesn't do much for me I'm afraid. 5/10
Saturday, 25 November 2017
A View From The Back Of The Room: Opeth (Review By Paul)
Opeth O2 Academy, Bristol
I’ve written several reviews of the Swedish masters Opeth for this blog. Each one is crammed full of superlatives about the musicianship, the interplay, the complexity and the dry wit of one Mikael Akerfeldt. If you don’t know how I feel about this band by now, then you must be a very new reader (welcome by the way!). With the bonus of Norwegian powerhouses Enslaved on the undercard this was a tasty bill not to be missed.
With limited space at the front of the stage for the Norwegians to move around in, Enslaved’s (8) show was static but that mattered not a jot as the band blasted through five lengthy tracks from their last three albums. Unsurprisingly, given the high quality of their recent brilliant album E, Enslaved opened with Storm Son. The interchange between light and heavy, melody and death metal and clean and gruff vocals really worked on the album and transferred very comfortably to the live arena.
Original member Grutle Kjellson’s complex bass work and growling death metal vocals were accompanied by the rhythm guitar of other remaining founder member Ivar Bjornson, a man mountain whose dexterity in his playing was impressive given his massive frame. Lead guitarist (and Audrey Horne member) Arve “Ice Dale” Isdal, clad only in leather trousers and shoes ripped out solo after solo, and although it was slightly lost in a muddy mix this was quality. Behind the drums Cato Bekkevold held the ship steady, his double bass drumming and complex fills looking easy.
Full marks to new man Håkon Vinje, whose smooth keyboards and clean vocals balanced the death growls perfectly. The epic Roots Of The Mountain from 2012’s RIITIIR followed, all ten minutes of it before the very apt One Thousand Years Of Rain from 2015’s In Times continued the progressive theme. Although Enslaved has moved away from their death metal sound in recent years, the band are still damn heavy and the final two songs, The River Mouth and Sacred Horse (both from E) were perfect examples of how impressive this band has become.
The instantly recognisable Through Pain To Heaven heralded the arrival of three fifths of Opeth (9) to the stage as Martin “Axe” Axenrot, Martin Mendez and Joakim Svalberg quickly got into the jazz intro of Sorceress, the title track of last year’s excellent release. Joined by guitarist Frederik Akersson and front man Akerfledt, the track progressed into the heavier freestyle with the audience captivated. What followed was Opeth in their comfort zone, and dare I say it almost cruising such is their sheer capacity for making the complex look easy. Akerfeldt’s between song banter was as superb as always, despite being lost for words when one punter shouted, “it’s a little flat” when Akerfeldt had asked how it sounded.
The band follow a reasonably standard set list throughout their tours and to be fair, it’s complicated enough to play so no complaints here. Highlights of the evening? Well, the hysterical acoustic cover of Napalm Death’s You Suffer, the rare outing for Häxprocess from Heritage was interesting, the intricate Moon Above, Sun Below from Pale Communion magical and the return of Hessian Peel from Watershed welcome. An impressive light show including retina scorching spots and a big screen with projections on it enhanced the show but ultimately it was the music that delivered.
No ego fuelled solos, just a confident two hour set that once again demonstrated why Opeth are one of the most interesting and relevant bands in the hard rock and metal scene today. As they departed for their final show and a period of relaxation, I was left already excited for their next release and the magical experiences that will bring.
I’ve written several reviews of the Swedish masters Opeth for this blog. Each one is crammed full of superlatives about the musicianship, the interplay, the complexity and the dry wit of one Mikael Akerfeldt. If you don’t know how I feel about this band by now, then you must be a very new reader (welcome by the way!). With the bonus of Norwegian powerhouses Enslaved on the undercard this was a tasty bill not to be missed.
With limited space at the front of the stage for the Norwegians to move around in, Enslaved’s (8) show was static but that mattered not a jot as the band blasted through five lengthy tracks from their last three albums. Unsurprisingly, given the high quality of their recent brilliant album E, Enslaved opened with Storm Son. The interchange between light and heavy, melody and death metal and clean and gruff vocals really worked on the album and transferred very comfortably to the live arena.
Original member Grutle Kjellson’s complex bass work and growling death metal vocals were accompanied by the rhythm guitar of other remaining founder member Ivar Bjornson, a man mountain whose dexterity in his playing was impressive given his massive frame. Lead guitarist (and Audrey Horne member) Arve “Ice Dale” Isdal, clad only in leather trousers and shoes ripped out solo after solo, and although it was slightly lost in a muddy mix this was quality. Behind the drums Cato Bekkevold held the ship steady, his double bass drumming and complex fills looking easy.
Full marks to new man Håkon Vinje, whose smooth keyboards and clean vocals balanced the death growls perfectly. The epic Roots Of The Mountain from 2012’s RIITIIR followed, all ten minutes of it before the very apt One Thousand Years Of Rain from 2015’s In Times continued the progressive theme. Although Enslaved has moved away from their death metal sound in recent years, the band are still damn heavy and the final two songs, The River Mouth and Sacred Horse (both from E) were perfect examples of how impressive this band has become.
The instantly recognisable Through Pain To Heaven heralded the arrival of three fifths of Opeth (9) to the stage as Martin “Axe” Axenrot, Martin Mendez and Joakim Svalberg quickly got into the jazz intro of Sorceress, the title track of last year’s excellent release. Joined by guitarist Frederik Akersson and front man Akerfledt, the track progressed into the heavier freestyle with the audience captivated. What followed was Opeth in their comfort zone, and dare I say it almost cruising such is their sheer capacity for making the complex look easy. Akerfeldt’s between song banter was as superb as always, despite being lost for words when one punter shouted, “it’s a little flat” when Akerfeldt had asked how it sounded.
The band follow a reasonably standard set list throughout their tours and to be fair, it’s complicated enough to play so no complaints here. Highlights of the evening? Well, the hysterical acoustic cover of Napalm Death’s You Suffer, the rare outing for Häxprocess from Heritage was interesting, the intricate Moon Above, Sun Below from Pale Communion magical and the return of Hessian Peel from Watershed welcome. An impressive light show including retina scorching spots and a big screen with projections on it enhanced the show but ultimately it was the music that delivered.
No ego fuelled solos, just a confident two hour set that once again demonstrated why Opeth are one of the most interesting and relevant bands in the hard rock and metal scene today. As they departed for their final show and a period of relaxation, I was left already excited for their next release and the magical experiences that will bring.
Friday, 24 November 2017
A View From The Back Of The Room: Deep Purple (Review By Paul)
Deep Purple Motorpoint Arena, Cardiff
It’s been a long time coming but I finally got to see Deep Purple. One of my favourite bands of all time, but bizarrely I’ve never been in the right place at the right time. Putting things right at last, the band returned to Cardiff for the first time in 12 years and treated a sold-out Motorpoint Arena to a master class in hard blues soaked rock on a drizzly November evening.
First up, the hard-working Cats In Space (7), who I’ve avoided on the basis that their two albums did little for me. Hell, I even went to their headline show in the Globe a few months ago and left before they came on. As the all-seated arena filled up, Cats In Space were already into their first song and their sound was big. Their power pop filled the arena and with a bit more space for the six members to move around they impressed far more than I was expecting. Tracks from recent album Scarecrow and their debut Too Many Gods went down well and the Horsham based outfit received a deserved ovation for their short 25 minutes. The band are back on the road with Quo in December and based on this showing are worth getting in early for.
Main support Europe (6) have recently released their rather fine Walk The Earth album, which I really enjoyed. This isn’t the first time I’ve seen the Swedes and once again they bored me rigid. Their sound was thin, the music in desperate need of beefing up, and apart from Joey Tempest, the band was static. Guitarist John Norum and bassist John Levén hardly moved for the entire show. Despite some heroics from Tempest, such as taking a walk into the audience early in the set, and some neat licks from Norum, they plodded through a set which could and should have been much more entertaining. A decent set list incorporated tracks from Walk The Earth, War Of Kings and some oldies including Rock The Night and a horrible Carrie came and went before they launched into that tune that got the audience on its feet. By then I’d returned to the bar.
With the band image from Infinite cast on the big screen, the lights dimmed and with little pomp or ceremony Deep Purple (9) hit the stage and launched into Time For Bedlam, the first of four tracks from Infinite. There’s little showmanship with Deep Purple, as they just let the music do the talking. For a band whose average age is 69, they are astoundingly good. The fastest Fireball I’ve ever heard was quickly followed by Bloodsucker from In Rock before Ian Gillan addressed the audience who were already on their feet and loving every minute. The jazz fused All I Got Is You was amazing before the tribute to the late Jon Lord through Uncommon Man from Now What?
By now it was clear that Don Airey’s magnificent keyboards were main billing, dominating the intros and mid-sections of the songs. Indeed, Airey was the only member of the band to deliver a full solo, and it was quite something with a strong finish including Mae Hen Wladd fy Nhadau and Men Of Harlech winning big with the crowd. Not to be outdone, Steve Morse delivered some fine guitar work, none better than his astonishing solo on the awesome Birds Of Prey. He is an underrated guitarist and his duelling with Airey was reminiscent of the Lord vs Blackmore jousts in the 1970s.
Holding it all together, Ian Paice remains an amazing drummer, locked in tightly with Roger Glover whose thumping bass lines cemented everything. Glover is not afraid to soldier forward either, interacting with the crowd from the edge of the stage, swapping sides with Morse and generally prowling like a cat on a hot tin roof. Paice’s jazz tinged drumming remains a thing of total beauty.
As the band cruised through the middle of their set, hitting the Perfect Strangers double of Knocking On Your Back Door and Perfect Strangers, I was struck with how impressive Ian Gillan’s vocals remain. Unlike his successor in 1973, Gillan can still hit the higher notes, albeit not in the same way he could in 1971. It’s astonishing to think of the longevity of a band who have always been unfashionable.
A wonderful meandering Lazy, a rampant Space Truckin’ and of course, the inevitable but irresistible Smoke On The Water concluded the main set before the double encore of Hush, and then a Glover and Paice duet which segued into the final song of the evening, the iconic Black Night. If this was the Long Goodbye, then I’m glad that I was able to say my farewells to a band that are as important as Sabbath and Zeppelin to the rock world.
It’s been a long time coming but I finally got to see Deep Purple. One of my favourite bands of all time, but bizarrely I’ve never been in the right place at the right time. Putting things right at last, the band returned to Cardiff for the first time in 12 years and treated a sold-out Motorpoint Arena to a master class in hard blues soaked rock on a drizzly November evening.
First up, the hard-working Cats In Space (7), who I’ve avoided on the basis that their two albums did little for me. Hell, I even went to their headline show in the Globe a few months ago and left before they came on. As the all-seated arena filled up, Cats In Space were already into their first song and their sound was big. Their power pop filled the arena and with a bit more space for the six members to move around they impressed far more than I was expecting. Tracks from recent album Scarecrow and their debut Too Many Gods went down well and the Horsham based outfit received a deserved ovation for their short 25 minutes. The band are back on the road with Quo in December and based on this showing are worth getting in early for.
Main support Europe (6) have recently released their rather fine Walk The Earth album, which I really enjoyed. This isn’t the first time I’ve seen the Swedes and once again they bored me rigid. Their sound was thin, the music in desperate need of beefing up, and apart from Joey Tempest, the band was static. Guitarist John Norum and bassist John Levén hardly moved for the entire show. Despite some heroics from Tempest, such as taking a walk into the audience early in the set, and some neat licks from Norum, they plodded through a set which could and should have been much more entertaining. A decent set list incorporated tracks from Walk The Earth, War Of Kings and some oldies including Rock The Night and a horrible Carrie came and went before they launched into that tune that got the audience on its feet. By then I’d returned to the bar.
With the band image from Infinite cast on the big screen, the lights dimmed and with little pomp or ceremony Deep Purple (9) hit the stage and launched into Time For Bedlam, the first of four tracks from Infinite. There’s little showmanship with Deep Purple, as they just let the music do the talking. For a band whose average age is 69, they are astoundingly good. The fastest Fireball I’ve ever heard was quickly followed by Bloodsucker from In Rock before Ian Gillan addressed the audience who were already on their feet and loving every minute. The jazz fused All I Got Is You was amazing before the tribute to the late Jon Lord through Uncommon Man from Now What?
By now it was clear that Don Airey’s magnificent keyboards were main billing, dominating the intros and mid-sections of the songs. Indeed, Airey was the only member of the band to deliver a full solo, and it was quite something with a strong finish including Mae Hen Wladd fy Nhadau and Men Of Harlech winning big with the crowd. Not to be outdone, Steve Morse delivered some fine guitar work, none better than his astonishing solo on the awesome Birds Of Prey. He is an underrated guitarist and his duelling with Airey was reminiscent of the Lord vs Blackmore jousts in the 1970s.
Holding it all together, Ian Paice remains an amazing drummer, locked in tightly with Roger Glover whose thumping bass lines cemented everything. Glover is not afraid to soldier forward either, interacting with the crowd from the edge of the stage, swapping sides with Morse and generally prowling like a cat on a hot tin roof. Paice’s jazz tinged drumming remains a thing of total beauty.
As the band cruised through the middle of their set, hitting the Perfect Strangers double of Knocking On Your Back Door and Perfect Strangers, I was struck with how impressive Ian Gillan’s vocals remain. Unlike his successor in 1973, Gillan can still hit the higher notes, albeit not in the same way he could in 1971. It’s astonishing to think of the longevity of a band who have always been unfashionable.
A wonderful meandering Lazy, a rampant Space Truckin’ and of course, the inevitable but irresistible Smoke On The Water concluded the main set before the double encore of Hush, and then a Glover and Paice duet which segued into the final song of the evening, the iconic Black Night. If this was the Long Goodbye, then I’m glad that I was able to say my farewells to a band that are as important as Sabbath and Zeppelin to the rock world.
Thursday, 23 November 2017
A View From The Back Of The Room: Think Floyd (Review By Paul)
Think Floyd, Borough Theatre, Abergavenny
I have two confessions. 1) I’m not the biggest fan of tribute bands and 2) In my youth I was never that excited about Pink Floyd, a band who were lumbering around with their legacy from the 1960s and 70s and who released The Wall which scared me and irritated me in equal parts. I bought A Momentary Lapse Of Reason in 1987 when it was released on a whim and it didn’t really change my view at the time. However, over the years their music has become much more appealing and interesting. Discovering their back catalogue has certainly helped me appreciate their magic. Now I rarely see the point of tribute bands; in fact, I’ve only ever seen Limehouse Lizzy and a couple of others, but I’d heard great things about Think Floyd (9), a band who never set out to be a Floyd tribute outfit but who started in a pub in London over 20 years ago and learnt Comfortably Numb in a week at the request of a punter. The rest as they say is history.
A packed Borough Theatre whose average age was, well, let’s say a good few years North of mine took their seats for an evening of quite spectacular entertainment. Four unassuming blokes ambled on to the stage and began to deliver a stunning version of Astronomy Domine from Floyd’s 1967 release The Piper At The Gates Of Dawn. Think Floyd then provided a musical tour through each of Floyd’s 15 albums, picking choice cuts and some rarer tracks along the way. Remember A Day from A Saucerful Of Secrets followed as well as tracks from More, Ummagumma and Atom Heart Mother before a blistering One Of These Days from 1971’s Meddle led into a number of tracks from Dark Side Of The Moon. Naturally The Great Gig In The Sky was a breath taking highlight, with singer Rosie excelling in the Clare Torry role from 1973’s masterpiece.
An interval followed, probably to allow for the prostate challenged audience to sort themselves out and stretch the aching limbs from the rather small seats. Back into the albums and it was time for the band to really show their craft with Richard Morse’s superbly dexterous guitar work for the lengthy Shine On You Crazy Diamond a highlight. All three parts of Pigs from 1977’s Animals followed, Lewis Hall’s vocals spot on whilst the interplay between drummer Steven Farmer and keyboard player Kirk McLeod was captivating. The band are consummate professionals and note perfect on some very complex music. Farmer’s backing vocals were another stand out element of the show.
As we reached 1979 and Floyd’s most famous album, The Wall, Think Floyd played it safe with Hey You, which to be fair, is what all the audience wanted to hear anyway. It was a magnificent rendition which raised the hairs on the back of the neck. After a track from the rarely played The Final Cut, a surprise with the impressive Sorrow from 1987’s A Momentary Lapse Of Reason, which allowed Morse to excel in his six string delivery once more. After a contribution from The Division Bell the final track of the journey took us to 2014’s The Endless River, with the track Louder Than Words which concluded a fabulous evening. Or so I thought but no, the band returned for a deserved encore which inevitably treated us to Wish You Were Here followed by the track that started it all for the band, Comfortably Numb, which was delivered with aplomb.
If you closed your eyes, as I did frequently during the evening due to the comfortable warmth, heavy cold and relaxing sounds, you would not have been able to tell the difference. In fact, these guys are probably better due to the numerous times they have played each track. With a stunningly simple but effective light show and crystal-clear sound, this was a quite superb show. If you like Floyd, or just fancy an evening in the company of some quite brilliant musicians, I’d highly recommend an evening with Think Floyd.
I have two confessions. 1) I’m not the biggest fan of tribute bands and 2) In my youth I was never that excited about Pink Floyd, a band who were lumbering around with their legacy from the 1960s and 70s and who released The Wall which scared me and irritated me in equal parts. I bought A Momentary Lapse Of Reason in 1987 when it was released on a whim and it didn’t really change my view at the time. However, over the years their music has become much more appealing and interesting. Discovering their back catalogue has certainly helped me appreciate their magic. Now I rarely see the point of tribute bands; in fact, I’ve only ever seen Limehouse Lizzy and a couple of others, but I’d heard great things about Think Floyd (9), a band who never set out to be a Floyd tribute outfit but who started in a pub in London over 20 years ago and learnt Comfortably Numb in a week at the request of a punter. The rest as they say is history.
A packed Borough Theatre whose average age was, well, let’s say a good few years North of mine took their seats for an evening of quite spectacular entertainment. Four unassuming blokes ambled on to the stage and began to deliver a stunning version of Astronomy Domine from Floyd’s 1967 release The Piper At The Gates Of Dawn. Think Floyd then provided a musical tour through each of Floyd’s 15 albums, picking choice cuts and some rarer tracks along the way. Remember A Day from A Saucerful Of Secrets followed as well as tracks from More, Ummagumma and Atom Heart Mother before a blistering One Of These Days from 1971’s Meddle led into a number of tracks from Dark Side Of The Moon. Naturally The Great Gig In The Sky was a breath taking highlight, with singer Rosie excelling in the Clare Torry role from 1973’s masterpiece.
An interval followed, probably to allow for the prostate challenged audience to sort themselves out and stretch the aching limbs from the rather small seats. Back into the albums and it was time for the band to really show their craft with Richard Morse’s superbly dexterous guitar work for the lengthy Shine On You Crazy Diamond a highlight. All three parts of Pigs from 1977’s Animals followed, Lewis Hall’s vocals spot on whilst the interplay between drummer Steven Farmer and keyboard player Kirk McLeod was captivating. The band are consummate professionals and note perfect on some very complex music. Farmer’s backing vocals were another stand out element of the show.
As we reached 1979 and Floyd’s most famous album, The Wall, Think Floyd played it safe with Hey You, which to be fair, is what all the audience wanted to hear anyway. It was a magnificent rendition which raised the hairs on the back of the neck. After a track from the rarely played The Final Cut, a surprise with the impressive Sorrow from 1987’s A Momentary Lapse Of Reason, which allowed Morse to excel in his six string delivery once more. After a contribution from The Division Bell the final track of the journey took us to 2014’s The Endless River, with the track Louder Than Words which concluded a fabulous evening. Or so I thought but no, the band returned for a deserved encore which inevitably treated us to Wish You Were Here followed by the track that started it all for the band, Comfortably Numb, which was delivered with aplomb.
If you closed your eyes, as I did frequently during the evening due to the comfortable warmth, heavy cold and relaxing sounds, you would not have been able to tell the difference. In fact, these guys are probably better due to the numerous times they have played each track. With a stunningly simple but effective light show and crystal-clear sound, this was a quite superb show. If you like Floyd, or just fancy an evening in the company of some quite brilliant musicians, I’d highly recommend an evening with Think Floyd.
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