A View From The Back Of The Room: Epica, Myrkur & Oceans Of Slumber (Live Review By Paul)

Epica, Myrkur, Oceans Of Slumber, O2 Academy Bristol

It’s hopefully a sign of the times that women in metal finally appear be increasing in number. Whether intentional or not, this three-band bill pleasingly starred an all-female front row and it was damn good too.

The Banished Heart, the latest release from US outfit Oceans of Slumber (8) certainly stirred the interest pot earlier this year and the band proved that their material is as strong live as it is on record. A shortish set was initially masked by a muddy sound but once the microphone of front woman Cammie Gilbert was given prominence, it was a phenomenal show. Cramming six musicians to the front of the stage meant that movement was restricted but Oceans Of Slumber let the music do the talking to great effect. Their combination of dark and heavy progressive death metal blended perfectly with the intense and delicate passages which allowed Gilbert to highlight her stunning voice. Tracks from The Banished Heart were well received by the small but slowly increasing numbers in the crowd. A superb, understated set which led to a deserved ovation. With a better sound this would have brilliant.

Having seen Myrkur (9) at Damnation in November, anticipation was already high, and Amalie Bruun and her hooded cohort delivered in stunning style. The atmosphere heightened by swirling smoke combined with the inverted Danish flag strategically placed behind Bruun contributed to a mesmerising 40 minutes with songs from 2017’s masterful Maerdit and 2015’s debut M interspersed through the set. It may be hard to distinguish what song is which in the live arena, but Bruun's incredible voice, high pitch magnificently controlled, meant that it doesn’t really matter as you are exported to a different place for most of the performance. Thunderous black metal combined with beautiful passages captivated and enchanted the audience. Dressed in her trademark white flowing dress, Bruun limited her interaction with the crowd to a couple of “thank you Bristol”. However, the mystique that has emerged over the past couple of years remained unbroken, and the concluding percussion only folk tale only elevated the experience to one that transcended mere mortals. Closing one's eyes allowed you to be transported to another plane. Quite magnificent.

I’ve never been a massive fan of symphonic metal. The multiple layered sound which pervade the songs tend to overwhelm me, with the female vocals soaring above the cacophony often merely adding to the maelstrom of Eurovision style rock. As a result, Epica (8) is a band who have rarely crossed my radar, but tonight, on my second viewing of the band, the Dutch outfit oozed confidence and polish as they blasted through an impressive set which unsurprisingly focused heavily on tracks from their most works, The Quantum Enigma and 2016’s The Holographic Principle. Having to follow two splendid opening acts, was a challenge, but with the benefit of a crystal-clear sound, Simone Simons’ operatic vocals cut through the huge riffs and double bass drumming with ease, her stage presence impressive as she commanded the enthusiastic audience with each twist and turn.

Flanked by guitarists Mark Jansen and Isaac Delahaye, Simon demonstrated poise and self-assurance whilst the enjoyment of the band on stage was evident with their enthusiasm at times greater than that of the crowd. If there was one irritant, it had to be the constant Sabaton-like interplay, with keyboard player Coen Janssen the main culprit. His rotating keyboards appeared gimmicky, as did his frequent and unnecessary forays to the front of the stage, and bassist Rob Van Der Loo seemed at times to spend more time messing around with Janssen than focussing front and centre. That gripe aside, Epica are truly a polished outfit, with their interplay seamless. I still find their music too similar, with little at times to distinguish them from their peers in Nightwish, Within Temptation, Delain et al, but that’s probably me doing this classy and striking band who are, despite my reluctance, a quality act in the live arena.

A View From The Back Of The Room: Magenta

Magenta, The Globe Cardiff

This was the first of three special nights for Welsh prog band Magenta, it saw them play a special set of shows where they would play two albums back-to-back. The two records chosen was their most recent opus We Are Legend and perhaps their finest hour Seven. The band took to the stage and explained the idea behind the two albums in full concept as singer Christina had a note of self depreciating trepidation in her voice about what they were about to do, (namely launch into the full version of Trojan for the first time), so to get their arm in so to speak they opened with Speechless to warm themselves and the crowd up. Remember folks they were about to play their most recent album which is about 50 minutes and only three tracks long in its entirety. As the drums were counted in the monstrous Trojan filled the room with Magenta’s most recent probably densest music to date, The Globe allowing every single note to be heard from every instrument, the bass plucked with technicality, the drummer (rightly behind a screen) bashing away while Rob Reed kept everything in check with his wall of synth.

This meant that Christina could use her breathtaking vocals to woo the audience with emotion and it let Chris Fry do more than merely keep a rhythm as he elected to do the full guitar hero shtick, especially on the latter more melodious half of the evening. Trojan ended and as Christina joked about not talking until the audience had finished applauding they once again geared up for the long haul with Colours and Legend coming next both songs come in at about 21 minutes so when there was little break in the action for the special guest flautist and oboist to take to the stage it was a welcome rest from the, admittedly marvellous, but exhausting musical dexterity on display (no wonder Chris worked his way through a banana in the changeover). Stools and acoustics started to move around and Magenta once again paced the set by playing a folky acoustic number to settle the guest players and once again refocus the crowd. It was gorgeous number that echoed the lighter moments of Mike Oldfield. Once this was over there was an anticipation in the air, much of this album hasn’t been played in long time so Christina once again asked in advance for forgiveness if anything went wrong (albeit slightly tongue-in-cheek) she also was pleased that she didn’t have to tell anyone to “Shut the fuck up” this time. However there were a collection of folks on the balcony with me that deserved the tongue lashes as they talked incessantly mainly through the more reflective moments.

Then it was time for Seven in full but not necessarily in the right order as Mr Morecambe would put it as is only right it started out with Gluttony which has lots of swirling synth and poppy melodies. It’s with just this song you can hear why Magenta are so loved by their crowd, their songs are classic prog with the style of Yes, Oldfield and Genesis, the technical acumen of the band never outshining the songwriting, they worked through Envy and the stunning Lust as things once again slowed for Anger a truly wonderful song that really showcased the flute and oboe for a whimsical folk moment in amongst all the progressive mastery. The main set ended with the tribal sounds of Sloth on which Chris had his guitar hero moment I mentioned before, playing his guitar as if it owed him something, it was a stunning climax to the evening and rightfully so they hit the backstage for the customary break before the encore. Coming back onto the stage the last two tracks were Glitterball and the one song from Seven that was not in the main set, ending the night with the brilliant Pride. It was another fantastic gig from Magenta who continually impress as a live act. A great Friday was had by all! 9/10

Reviews: Yes, Bulletboys, Yossi Sassi, BlackWater Holylight

Yes: Fly From Here - Return Trip (Pledge Music)

The original release of Fly From Here was the the first record to feature Oliver Wakeman (keyboards) and Benoit David (vocals-replacing Jon Anderson), the record was produced by Trevor Horn who himself is a Yes alumni and was a very good album. Since then they have had a new vocalist, Jon Davidson (of Glass Hammer) who remains the singer to this day, he appeared on Heaven & Earth which was the last album to feature Yes founding member Chris Squire. So with Squire now sadly deceased and the band celebrating their 50th anniversary and as Yes have done numerous times they have relied upon their massive amount of previous members to celebrate this anniversary.

They have chosen to re-release Fly From Here with Trevor Horn re-recording Benoit David's vocals and remixing the album so with Horn on vocals this is a performance from the line up that performed on the Drama, who are for those who don't know are Trevor Hor (lead vocals), Steve Howe (guitar), Chris Squire (bass), Geoff Downes (keyboards), Alan White (drums), so you've got the precision rhythm section of Squire and White one last time driving the excellent five part title track and the dramatic Life On A Film Set. Along with new vocals from Horn (which are very good as you'd expect) there is one new song Don't Take No For An Answer, which features Steve Howe on vocals and a full length version of Hour Of Need which is classic Yes.

It's a good album and as Horn puts it a "real labour of love" originally the album was available at the Yes UK fan convention and now it's ready to be picked up by the public at large. It's a triumphant celebratory release for this legendary band with one of their most popular line ups. 8/10

Bulletboys: From Out of the Skies (Frontiers Records)

Formed in 1988 smack bag in the middle of the LA glam scene, back then they were compared to Aerosmith and even Van Halen as they were more rooted in the blues and 70's hard rock roots than the flash in the pan, style over substance acts that were all over MTV at the time. Bulletboys membership came from King Kobra and Ratt and they have been plugging away since those heady days and throughout their existence have featured two ex-G'N'R members Steven Adler and DJ Ashba. The guitarist and bassist Nick Rozz and Chad MacDonald have been in the band for about 8 years, but drummer Anthony "Tiny" Biuso is new boy in the band but they all meld together on what is the band's eleventh.

They are led, as Bulletboys have always been, by Marq Torien whose vocals are the cornerstone of the band, it's fireworks from Apocalypto which is a rocking start to the record that actually brings to mind Velvet Revolver, it's not Bulletboys dwelling in the past, they seem to have adapted their 80's sound for the present day, D-Evil is a dirty garage rocker and features Jesse Hughes of The Eagles Of Death Metal (but less said about him at the moment the better). This record rocks hard but as I've said it's got a modern sound of Foo Fighters but also the classic blues rocking of Tesla and Winger, it's melodic rock but not as we know it. 7/10 

Yossi Sassi & The Oriental Rock Orchestra: The Illusion Of Choice (Self Released)

The self proclaimed 'Pioneer Of Oriental Rock' returns with his new record with his band the grandiose Oriental Rock Orchestra. The Illusion Of Choice is a record about just that, trying to define what choice actually is and how it determines us as human beings, it is in the bands words "an open album that was recorded open heatedly next to the open sea on a secluded Island, by a group of musicians who broke away from everything for a few days and tried to really choose what they feel and want to do". Sassi's 8 piece band are really used to great effect on Reveal you can hear the metallic leanings of Sassi's past (in Orphaned Land) with 7-String guitar, bass and drums rocking heavy and proggy.

However it's when the flutes, percussion, strings and Sassi's smorgasboard of stringed instruments all work together on Maktoob for the quintessential Oriental progressive rock track, it's like the OL of old with the backing chants used an instrument in itself. The Illusion Of Choice is a primarily instrumental record but does feature vocals from Israeli singer/actor Ester Rada on the beautiful Choice and from Ross Jennings (Haken) on Reveal the heaviest track on this record, if you want some Middle Eastern promise that is both beguiling, technically gifted and mostly a very entertaining, if you have a choice choose to pick up this record as your ears will thank you. 8/10

Blackwater Holylight: S/T (Riding Easy)

Portland band Blackwater Holyland are sonically and emotionally heavy, their swirling psychedelic, gothic garage riffs and haunted distant vocals are captivating, with some Krautrock, indie and folk rock. Kicking the record off with huge bar chords and spacious drumming Willow is a slow build into a a jangling surf rock final third with a syrupy bass holding the music together like a musical flapjack.

This four piece comprise of vocalist/bassist Allison Faris, guitarist/ vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah McKenna, forming out of the ashes of Faris' former band  they've adopted a multitude of sounds from the sparseness of Barrett led Floyd on the creepy Babies, the odd pop of Sunrise which morphs into a a feedback driven psychedelic freakout with McKenna's space age synths.

It's a sonic collage of noise with all of the songs having the heaviness I talked about now but they are not heavy in a metallic sense but as they slither along built on the leviathan soundscapes this debut record can be disconcerting, nausea inducing but also get that head of yours banging. It's an uneasy listen at times and if you like your music unpredictable and adventurous then Blackwater Holylight could be one of your albums of 2018. 8/10

 

A View From The Back Of The Room: Teethgrinder (Live Review By Rich)

Teethgrinder, Foetal Juice, Casket Feeder & OMV, Fuel Rock Club

A Bank Holiday Sunday and with no work the following day it seemed rude not to pop along to Fuel in Cardiff for an evening of grind and death metal. Unfortunately I missed the first two bands Pupil Slicer and Total Consumption but managed to get there for the majority of Liverpool's hardcore street metal band OMV (5). The band played a hybrid of metal and hardcore which reminded me of New York hardcore bands such as Biohazard and Madball plus I heard a bit of an influence from Prong in their sound. The band played a tight set including a cover of Redneck by Lamb Of God but for me the music was just a bit lacking.

Next up were Casket Feeder (8) who have a sound which mixes old school Swedish death metal and hardcore. It's a sound that really works reminding me of bands such as Trap Them, Nails and Black Breath. The band played a crushing set including songs from their Venomous Tongues EP and had myself and fellow members of the audience utterly impressed. One band I shall definitely be keeping an eye out for.

In the main support slot were the band I had mainly come to see which is Manchester's Foetal Juice (8). I utterly love the EP and album that Foetal Juice have released but have never managed up until this point to see them live. Thankfully they did not disappoint with a brutalising set of old school death metal and grindcore. The majority of the set was taken from 2016's Masters Of Absurdity album with tunes such as Phantom Visions, Grave Denied and Nun So Vile laying everything to waste in their path.

And to the headline slot taken by Dutch grind bastards Teethgrinder (10). Apart from a handful of songs heard on Spotify this was my first proper exposure to Teethgrinder and they damn sure left a lasting impression with a set of crippling intensity. The band had ridiculous amounts of energy with frontman Jonathan Edwards spending the entire set off the stage in the pit with the audience. The band have a sound which encompasses grindcore, black metal, sludge metal and elements of post-metal and are so damn heavy they make your teeth ache.

A shout out to Gav from Eradication Bookings who gets some absolutely fantastic bands to play in South Wales. This was absolutely no exception. After some bigger shows I'd forgotten how much fun these small intimate club shows are especially when you have grind bands playing. All in all a fantastic evening.

Reviews: Monster Magnet, Desert Storm, Eliminator, Firegarden (Reviews By Paul)

Monster Magnet: Mindfucker(Napalm Records)

The first new album by the Space Rockers since 2013’s Last Patrol, Mindfucker is just fabulous. A hard driving rocker from the opening strains of Rocket Freak, full of raging guitar, Dave Wyndorf's distinctive vocals and those ear worms which get in your head and chew upon the brain. The swirling Inferno Of Soul, the title track and the superb cover of Robert Calvert’s Ejection from 1974’s Captain Lockheed And The Starfighters transport you far away. Sure, it’s no Dopes To Infinity but this isn’t the 1990s. There’s a couple of bits of filler included, such as the throw away rampage of Brainwashed but you can’t have everything. Closing track When The Hammer Comes Down is imperious, classic Magnet and a fitting end to an album that deserves attention. 8/10

Desert Storm: Sentinels (APF Records)

Oxford’s Desert Storm has been delivering their Southern stoner metal for over a decade and Sentinels is their fourth full release. It’s savage, with Matt Ryan’s grizzly vocals fitting the stomp and fuzz-balled riffs neatly. Shades of Mastodon surface in opening track Journey’s End although the following song Too Far Gone sounds more like distorted Orange Goblin, punishingly heavy and as gnarly as a wizard’s jock strap. The roaring eight-minute Kingdom Of Horns encapsulates the unrestrained power of the band whose sound is undeniably honed despite its rawness. Sharp and punchy tunes like The Drifter balance out an album that needs to be played loud, preferably in a sweaty environment with a beer in both hands. This is a hard punch to the face … one that brings a crooked smile every time. 7/10

Eliminator: Last Horizon (Dissonance Productions)

Apparently, this has been over eight years in the making. Well, if you really want to listen to some mundane ‘traditional’ heavy metal I suppose you might find it mildly entertaining. It’s not appalling in the same way that some of the rubbish we review here is, but two tracks in to Last Horizon and it already begins to grate. Danny Foster’s weak vocals may well be the challenge here, with the band’s high tempo pitch forcing Foster to strain and struggle. The Iron Maiden influence is clear throughout the album, especially on the title track, with dual guitars adding melody. Echoes, the first of four lengthier tracks at over six minutes contain more Lizzy/Maiden style guitar, marred by the strained vocals. Procession Of Witches contained some hope but Fall Of The Seer was the final straw. Sorry, but this is another album marred by a vocalist whose performance is way below the quality of the rest of the band, 4/10

Firegarden: Voyage To Crab Mountain (Riffids Records)

This is a journey through psychedelic classic rock which is crammed with storytelling, chunky fuzzed up riffs and a general good time vibe. The band hail from Sheffield, and comprise Jake Mann on guitar and vocals, Ashley Tuck on drums, Chris Heald on bass and vocals and Adele Smith on vocals. If I’m right, Smith is making her recording debut with the band, and Voyage To Crab Mountain allows her soulful voice to add a new dimension to the band’s sound. Although the band sit firmly in the classic rock camp, there is a distinct stoner edge to some of their songs, such as the short Crushed By Falling Rocks which meanders around Mann’s riff.

The album has more than a nod to the 1970s, and some familiar influences appear; Shoot For The Moon has more than a passing resemblance to Patti Smith’s Because The Night on the chorus, Adele Smith’s vocal a little Pat Benatar in delivery. Pigeons is a different beast altogether, a mellow eight-minute instrumental ramble which changes direction and pace as the band flex their progressive rock muscles and Mann demonstrates some neat guitar work. Voyage To Crab Mountain is an interesting piece of work, let down by some awful artwork but don’t let that put you off investing time. 7/10

Reviews: Behemoth, The Octopus, Headless Crown, ShadowKeep

Behemoth: Messe Noire (Nuclear Blast)

Messe Noire is the album portion of the Live DVD of the same name that brings together two live shows, the full The Satanist album recorded at Progresja, Warsaw, Poland on October 8, 2016 and a live show from Brutal Assault Festival in 2016. The CD is the full The Satanist album performed live in front of a baying Polish crowd. The issue I always have any live albums that accompany a DVD is that obviously the performance was based for the cameras so there's a lot you miss especially because Behemoth are such a visual band the pyro, costumes and lights can't be replicated on to an audio only recording. Still it's an exciting enough to release and you can hear what Behemoth sound like live, playing their most impressive album to date. The record needs to be played loud to truly do Behemoth's punishing live performance but if you want the full package buy the DVD. 6/10

The Octopus: Supernatural Alliance (Rise Above Records)

Detroit band The Octopus were formed in 2008 by the core duo of vocalist Masha Marjieh and lead guitarist Joe Frezzato, this debut record has been 10 years in the making due to the band having more rhythm sections than Spinal Tap, however with the addition of Adam Cox as studio engineer and keys they set about creating the music you can hear on this record, the steady rhythm section on the debut comes from Matt O’Brien (bass) and Todd Glass (drums). It's 10 years put to good use as The Octopus have a winning mix of Deep Purple (Slave And Master) meets The MC5 (Strike While The Iron Is Hot).

It's psychedelic, due to the swirling organs, but it's got some garage/stoner rock grooves and wailing shamanic vocals all coming together from the woozy riff rock of The Center and sticks with the supernatural 70's grooves for the remaining 9 tracks. The guitar/keyboard interplay is marvellous both are lead instruments like those classic Lord/Blackmore but with Sabbath riffs on The Unknown, or the haunted Moody Blues-like style of All The Love. Marjieh's vocals are sat to waft across the music much like Alia O'Brien of Blood Ceremony. Apparently these songs took shape organically while the band jammed over the course of their history and they've arrived fully formed on Supernatural Alliance giving The Octopus a multi limbed appeal much like their mollusc namesake. 8/10

Headless Crown: Century Decade (Massacre Records)

The Swiss are pretty hit and miss when it comes to heavy metal, for a small country they've got a fair few bands and they can range from great to not so good, while this is true for a lot of countries it's more obvious when a country has such a small population and numerous bands. However Headless Crown fall into the positive category as they've got a real grip on tough proper heavy metal that takes its sound from Accept and Judas Priest.

Their second album Century Of Decay is a dark concept record but if the concept element doesn't win you over the music here stands out on its own merit with a rampaging at times thrashing rhythm section, skillful lead playing and gravelly vocals. You can hear from the strength of this record that Headless Crown are probably an excellent live act but their honed, aggressive style of classic metal is a winner for any fans of classic heavy metal. 7/10

Shadowkeep: S/T (Pure Steel Records)

Power metal now from Guilford and Shadowkeep's fourth album has been in digestion for 10 years now, after their luck with vocalists ran out on their previous record The Hourglass Effect they couldn't find the right singer for the band until very recently, taking up the microphone here is James Rivera of Texas speed/horror metal band Helstar who adds his high pitched powerful vocal prowess to the lighting fast progressive/power metal assault. As you can appreciate the music here sounds a lot like Helstar with the speed metal influences shining through from Guardian Of The Sea which is built on the solid foundations of original members Chris Allen  and Nicki Robinson's six stringing which is technically proficent, complex but also has those masters of Maiden, Priest etc.

The other major influence is that of Queensryche, Little Lion has the layered acoustic approach of the Seattle but most of the music here is great power metal that also has touches of Iced Earth. We see a lot of bands from the history of UK metal be revived after a long period of absence and usually they are crap but hopefully it won't be as long before they release another record as this is one UK metal act that should still be heard. 7/10

Reviews: King Goat, Skeletal Remains, Cattail Brew, Nale (Reviews By Paul)

King Goat: Debt Of Aeons (Aural Music)

Hard on the heels of their debut album Coduit, UK doom outfit King Goat return with a massive album, full of sprawling lengthy tracks which pound and crush. With only one track delivered in under eight minutes, you quickly realise that this album needs time to appreciate. Opener Rapture, at just under ten minutes in length quickly sets the scene, a meandering, thunderous track which conjures up Candlemass and Electric Wizard amongst others. Eremite's Rest follows, a skull crushing, haunting beast which sees vocalist Trim in full flight.

If you saw Paradise Lost on their February UK tour, then you’ll have had the opportunity to see King Goat in action and you may well have been impressed by what you saw. Certainly, Debt Of Aeons has masses to excite; dynamic and operatic, such as the soaring title track whilst there are many crashing riffs which thunder throughout the release. Powerful from start to finish, with complex changes of pace and time and aching with atmosphere, this is a beautifully paced and intense album which can only impress once you’ve committed to the journey which King Goat will take you on. Solid, impressive and massive. 8/10

Skeletal Remains: Devouring Mortality (Century Media)

There is little to say about this release. It simply destroys! From the opening track Ripperology to Internal Destestation, the Californian’s who took their name from a line in a Demolition Hammer song go full throttle for the jugular. It’s 100mph, a swirling slashing maelstrom of sinister and evil intent, underpinned with a groove and melody that makes it accessible yet retaining the lacerating approach of all-out death thrash metal. For a three-piece, SR make an awfully intense sound that demands your attention. Adrian Marquez’s driving bass combines majestically with Mike Delao’s powerful drumming whilst the Schuldiner-like vocals and blistering guitar of Chris Monroy adds to the sound.

As he stated “It’s a bit more technical compared to our first two albums and we have also used seven string guitars for some songs to add a heavier edge at times, but overall it has the same sound and feeling of our previous releases: Old school death metal from the late 80s and early 90s with a little bit of our own taste added to it!” With the Album mixed and mastered by Dan Swano (Opeth, Bloodbath) and impressive artwork courtesy of Dan Seagrave (Suffocation, Entombed, Dismember) and influences of such legends as Death, Obituary, Carcass, Cancer and Testament all on display, this is an album that every metal head needs to listen to. Brilliantly brutal. 9/10

Cattail Brew: It’s A Bit Difficult Really (Cargo Records)

Cattail Brew: three quarters American and a quarter Scottish. The Scot in question is Fin Muir, the voice of Waysted, the band formed by ex-UFO bassist Pete Way who achieved a high level in the 1980s. Muir’s smoky, husky voice, often drew comparisons with countryman Rod Stewart, but it’s in this latest guise, with two thirds of Ohio based hard rock outfit American Dog in guitarist Steve Theado and drummer Keith Pickens along with bassist Joe Viers from Southern Rockers Snowblynd that Muir is currently hitting the heights once more.

It’s A Bit Difficult Really is a quality album, merging Southern rock, blues, and hard rock to produce all killer and no filler. The necessary arrogance of The Faces, Skynyrd, The Black Crowes and even a soupcon of UK blues rockers UFO is all present and combine to provide some superb music. Theado’s guitar work is magnificent, for example on the eight-minute plus Glitter, or the extensive closing track The Time’s Come. and the blues-soaked Fishbowl Blues. This is elegant, creative and full of self-assured playing. So, worth getting a copy and wearing the damn thing out as this is one of the releases of the year.  10/10

Nale: Death Skulls Satan (Black Lodge)

Formed in 2007, Swedes Nale hit the ground running on their second full release with opening track Slither, a dirty cross of Devildriver and Rammstein. It’s gnarly, aggressive and in your face. It doesn’t slow down, and the ferocious assault continues with Filth, which hits more traditional metal core territory. In fact, sticking a label on this snarling pit bull is quite a challenge. Tomas Åkvik’s crunching riffs, Mathias Blom’s hostile vocals delivery and a mix of styles make Death Skulls Satan an intriguing release. Dead Man’s Song changes pace again, a roaring biker anthem that Orange Goblin would tiff the hat toward and that continues with the high-octane title track which has more than a ladle of the mighty Motörhead thrown in.

The acceleration continues as the album motors forward, Exit and the blistering No Escape simply race away at top speed. Drive sits alongside such luminaries as Napalm Death with a 54 second track full of pace and power before the slower, pounding hammer of The Black restores the girth. By the time you get to the balls-out Pigs, if you aren’t breathless then you haven’t got a pulse. This is brutal, chaotic and heavier than Satan’s dirty laundry. 8/10

Reviews: Ayreon

Ayreon: The Best Of Ayreon Universe Live (Music Theories Recordings)

Prog mastermind Arjen Lucassen, has been creating progressive concept records for 20+ years, his records all link together to make a sprawling conceptual story about a blind minstrel that makes his way through time to warn of mankind's doom. It's very intelligent and complicated to really go into and it would take 15 pages to really explain it all. What information you need from this review is that he has rarely performed any of the Ayreon material live. The last live record was The Theatre Equation which was a staged version of the Human Equation album featuring many of the original vocalists returning to perform on a stage but this is different idea, The Ayreon Universe is a ‘proper’ gig with a full band and individual performances rather than the Broadway show format of The Theatre Equation. This kind of gig has been anticipated for almost the entire lifespan of the Ayreon project but finally in September 2017 fans from around the world flocked to the 013 venue in Tilburg, The Netherlands, to witness the best of the Ayreon universe live in three sell out shows.

With tracks from the The Final Experiment debut right the way up to the most recent entry The Source, and some Star One material thrown in for balance this is live recording that’s a must have for any fan of the over blown, theatrical progressive music Arjen has been at the forefront of now for 20 years. Filmed using 30 cameras, the DVD and Blu-Ray part will let you relive the concert in full 5.1 surround audio and while the audio CD that I’m reviewing here only gives you the audio part of the night, it’s still pretty special to hear all of this incredible music performed live with a full band, most of whom were the players on the majority of the studio albums (especially drummer Ed Warby who I believe has appeared nearly all of them). There is also an extensive list of guest musicians all of whom have contributed to the Ayreonsphere. The list includes Floor Jansen (Nightwish), Damian Wilson (Headspace), Hansi Kursch (Blind Guardian), Tommy Karevik (Kamelot), Anneke van Giersbergen (The Gentle Storm), Marco Hietala (Nightwish), Jonas Renkse (Katatonia), Marcela Bovio (Stream of Passion) and many more.

They all contribute their amazing vocal prowess (Arjen never hires anyone less than fantastic to sing on his records) to this album which uses various songs from the Ayreon back catalogue to propel an individual storyline that runs throughout the show. The songs appear to have been chosen to compliment each other and drive an ongoing narrative, giving a synopsis of the entire Ayreon history. The crowd are hanging on every word with all of the singers doing their best to interact with the audience getting them to clap, chant and shout along with some of the best known tracks in the discography, you could spend all day picking out favourite tracks but Tommy Karevik does a breathtaking job on Into The Black Hole (originally sung by Bruce Dickinson), Anneke Van Giersbergen is on fine form duetting with Jonas Renske on Walking Dreams and giving girl power to Valley Of The Queens with Bovio and Floor.

The inclusion of the Star One tracks is a real treat for a fan like me as I'd always wanted to hear Intergalactic Space Crusaders live, everyone needs a song about Blake 7 and of course the finale of The Eye Of Ra (Stargate) features all the vocalists and is preceded by Ayreon's big 'hit' Day Eleven: Love. Arjen himself only makes a fleeting appearance during the evening but he of course gets the biggest reception as the creator of the entire project but it’s wonderful to hear so many talented individuals on stage together performing this cinematic music together. If you want the best of Ayreon pick up Timelines the three disc album that is a great overview of the Ayreon history, however if like me you've always wanted to know what the Ayreon project would sound like on stage then pick up the full DVD/Blu-Ray/CD version of this record, turn down the lights, settle in to your comfiest sofa and let the Universal Migrator take you away. 10/10

Reviews: The Sword, Caliban, Ivar Bjørnson & Einar Selvik, The Dead Daises (Reviews By Paul)

The Sword: Used Future (Razor & Tie)

The first time I saw Texan’s The Sword as supporting Clutch at the sadly missed TJs in Newport was back in the mid-2000s. The band had not long released Age Of Winters, their Sabbath influenced doom and stoner laden debut which contained sufficient meat to pique the interest. Roll forward 12 years and those initial Sabbath riffs remain an integral part of The Sword’s modern sound, albeit in a much more subtle and understated way. Album number 6, Used Future, is another change in comparison to 2015’s High Country. 

John D Cronise’s distinctive vocal delivery remains, the band can still draft a tune with the fuzzy riffs of Deadly Nightshade and Twilight Sunrise sitting comfortably alongside the heavy as hell instrumental The Wild Sky. The retro vibe is never far away, and Sea Of Green allows the pace to slow, whilst the Western psychedelia of album closer Brown River and Reprise demonstrate a maturity in a band whose determination to move in their own direction is admirable. Used Future is another quality release from a band whose catalogue is increasingly varied and impressive. 8/10

Caliban: Elements (Century Media)

Ferocious metalcore rarely comes much harder than from these Germans. Album number 10, and this is about as incendiary as you can get. I struggle with this genre more than any other apart from sleaze, with so many of the bands sounding the same. Elements has more bite than many of their counterparts, with the intense This Is War, Ich Blute Für Dich and Delusion all heavy and aggressive. 

However, after 30 minutes you tend to forget which song is which as they blur into each other, the continual double bass kicking, the looping bass and the switch between clean and harsh vocals repetitive. Carry On has shades of Linkin Park which at least adds some variety. Caliban are without doubt one of the leading lights in the metal core scene and if you like this style then it may well be one of the albums of the year. It’s just not my cup of tea. 7/10

Ivar Bjørnson and Einar Selvik - Hugsjá (Norse Music)

Far away from their day jobs, the Norwegian duo of Ivar Bjørnson (Enslaved) and Einar Selvik (Wardruna) have followed up on their previous collaboration Skuggsjá with an album which is imposing, interesting and completely different to their usual sounds. Hugsjá means to see with, or within, the mind, and it reflects the idea that one’s mind has the potential to see further than the eyes can reach. With the use of contemporary and traditional musical instruments, the duo explore the distant history and traditions along coastal Norway in an hour of captivating music. 

The tracks vary in pace and duration with the lengthier songs capturing the attention; Ni Døtre av Hav and Nattseglar are enchanting, with Ni Mødre av Sol and Um Heilage Fjell featuring a mixed choir under the management of Stine Kobbeltvedt. Selvik covers lead vocals and a range of traditional instruments including the Kravik-lyre, Taglharpa, goat-horn, Bronze-lure, flute and percussion whilst Bjørnson handles guitars and electronics. If you fancy a change from the norm, then I certainly recommend getting a copy of this album. 7/10

The Dead Daisies: Burn It Down (SPV)

One of the biggest mysteries in my life is why The Dead Daisies are as popular as they are. Their music is routine, overblown and overproduced hard rock littered with cover versions from some of rock’s also rans just doesn’t do it for me. Despite my prejudices, I really tried to give this a fair chance. I failed. Miserably. Opening track Resurrected steals the riff from Sucker Train Blues by Velvet Revolver, whilst the title track is big on production but it’s Doug Aldrich’s wah wah pedal that takes centre stage to the detriment of the song. Judgement Day doesn’t get going, What Goes Around has far too much going on with John Corabi’s Steven Tyler wannabe approach lost in the mix of Marco Mendoza’s bass high in the mix and tangled with Aldrich’s guitar work. 

It’s polished, hard cock rock that appeals to those who like their music without having to think. Listen to Bitch, an absolute dog-shite track which is typical American puff your chest out crap. And I could go on, but the final straw is the horrible cover of the Lennon-McCartney composed Revolution which demonstrates all that is wrong with “new rock” in general and this band in particular. If they were playing in my garden I’d draw the curtains. Thousands love this band. I can’t contain my contempt. I hate it. 3/10

Reviews: Beth Hart, Ross The Boss, Earthless, Underside

Beth Hart: Front And Center - Live From New York (Provogue)

Recorded in the intimate setting of NYC’s Iridium Jazz Club the first lady of blues Beth Hart culminates her post-millennial career revival with a special performance held as part of Public Television’s Front And Center series of shows. The record has Beth performing 15 tracks that range from new tracks from her Fire On The Floor and classics from her back catalogue. You get a great mix of music on this record with Badass Blues an early contender for the showstopper giving Beth a chance to really impressive with her superior vocal talents, moving swiftly between blues, jazz, soul and even rock n roll she’s backed by an excellent band who are interpreting these songs for a live audience but give Beth enough room to express herself with her huge range.

She’s been called a mix between Janis Joplin and Etta James and the latter is really obvious on Jazz Man where she tries some scat singing as the piano bashes away. This is followed by the grunge rocking Delicious Surprise which is a really good track that proves the record is live do to some awful call and response with the small crowd struggling to get the power of Hart but it’s a testament to them that they tried. The record is rich in emotion and really exhibits that the best way to experience Beth Hart as a performer is in a live setting, on St Teresa I assume there wasn’t a dry eye in the house and Isolation is a track that hints at Hart’s future diagnosis of bi-polarity in a very prophetic song.

The setlist here is eclectic as I said with the slower torchlight ballads usually followed by a strutting blues rocker such as Fat Man. Live From New York is a great introduction to Beth Hart’s music if you’ve only ever had a passing interest, however for fans it’s a great chance to hear her where she shines and serves as a warm up for her UK tour at the end of the month. 8/10

Ross The Boss: By Blood Sworn (AFM)

Since the second Ross The Boss solo album Ross Friedman has reactivated his punk band The Dictators and released another album with Death Dealer, he has also changed the membership of this solo band wholesale. This was due to Ross wanting to work more in conjunction with New York musicians to get a more cohesive feel to this third record. Now I liked his first two albums they were big slabs of powerful heavy metal this one, I’m not too sure about, it was co-written by Symphony X’s Mike LePond and as I pressed play the title track did little to interest me, it’s by far the weakest cut on the album and I didn’t really warm to Marc Lopez’s vocals however things get better from there with Among The Bones and This Is Vengeance having riffs, bass lines and vocals that could have easily been on Battle Hymns especially This Is Vengeance which has the rapid fire riffs and expansive vocal range of classic Manowar.

The issue here is that it’s a bit hit and miss some tracks are great others just fade into blandness; much of this is due to the variable vocal work of Lopez who can be terrible or excellent depending on the song. The compositions are usually consistent if nothing else but By Blood Sworn doesn’t seem to have the cut and thrust of first two records and Faith Of The Fallen no matter how poignant is a rubbish song. Like I said I don’t know how to feel as for every great ‘True’ metal anthem there’s more filler than a plasterer's trowel. 6/10

Earthless: Black Heaven (Nuclear Blast)

San Diego's Earthless have explained their new album Black Heaven like so “It has six songs, and most importantly it has vocals on about 70 percent of the record. There goes being pigeonholed as an instrumental band, I guess…” Yes before this Earthless were known more for their sprawling instrumentals but on this record they have trimmed it down to two instrumental tracks the rest are Krautrock influenced, heavy, psychedelic, desert rock music that sees Isaiah Mitchell comfortably settling into his role of singer as well as guitarist linking up with Mario Rubalcaba's drums and Mike Eginton's bass in what is a very retro sounding album.

It has the production techniques of the 70's all over it, the songs are soupy with the percussion and vocals high in the mix but if you're here for the riffs then you're in luck as there are plenty of them. The hard rocking Gifted By The Wind is pretty much 80% guitar solo and from the wild riffs of this track the journey begins with kaleidoscopic, frenzied guitar playing, tight knit rhythms and a big heaving slab of proto-Sabbath rocking. The abrupt ending of the woozy Electric Flame let's Volt Rush rumble on by in a flurry of axe slinging. At 6 tracks Black Heaven doesn't stick around most of the vocal based tracks are reasonably long but when the whole record flows like a river of retro rocking you don't zone back into reality until it's over and that has no chance of happening until the title track has finished with you. Still relying on their instrumental prowess to control the course of these records the addition of more vocals will bring evolution for Earthless. 7/10

Underside: Satan In Your Stereo (Self Released)

Satan In Your Stereo blares out groove-laden metalcore that has been a part of the American music scene since the heady days of Lamb Of God, Killswitch Engage, Hatebreed and Devil Driver. Underside have adapted this sound though to make it more modern throwing in some Gojira technicality, the outright mentalism of Slipknot on Right To Hate and a healthy mix of harsh and clean vocals. As this album sticks so religiously to the NWOAM you'd think that Underside were American but they actually come from Nepal which is a bit further East.

To get to this point Underside have really had to struggle Nepal is very poor and as a result there is a lack of opportunities and platforms for emerging talent, however the resourceful members of the band started the Silence festival in Kathmandu six years ago to support heavy metal in their country and it has now become the biggest metal festival in India and Nepal attracting 4000 metalheads a year. This hardship and their unwavering support for their metal scene has meant that Underside have had to work doubly hard to get this album out there. I suggest you pick it up as it's got the muscle of FFDP, the aggression of Lamb Of God and the melodies of BFMV (Scare) and keeps you guessing as to what's coming next. An album born out of adversity these tracks will likely tear a live stage apart. 7/10