Bloodstock Metal 2 The Masses Semi Final 2, Fuel Rock Club, Cardiff
So this is what it all came down to the M2TM Semi Final 2 was guaranteed to be a much heavier affair than the first semi final and boy howdy was that an understatement. Once again there were five bands in the running but only three would be going through to the final on 8th June. There were lot of bodies outside Fuel on a dreary Saturday as the hum of the Monster Trucks died down and the huddled masses of Cardiff city centre filled the pubs to watch the FA Cup final, but as the room started to fill there was an expectancy for every band to step up from the heats.
First up in terms of performance were Beyond Sorrow (7) who have noticeably upped their game from their heat showing that a wildcard entry does not mean the band are are any less talented than the heat winners. Their 'core' styled metal has heavy breakdowns, fast furious riffs and roaring vocals from frontman John who is the obvious focal point of the band prowling the stage barking down the mic occasionally venturing onto the photo pit barrier to windmill. They had brought a following with them so there was no shortage of action down the front with their final song inciting a pit very early. Beyond Sorrow have got serious chops, but both clean vocal performances need work and they were probably disadvantaged by going on first meaning that as the night progressed their performance became overshadowed by other bands. Still a marked improvement for the Semi's which is to be expected and can be applauded.
Next up were Blind Divide (9) this furious five piece have been laying waste to stages across South Wales and the West for a wild now, the outright winner in their heat, here they made no bones about their aspirations of getting to the final. I've never seen a band want something so badly, they were a tight explosive unit, with blistering drum beats underpinning some huge riffs. The bands stagecraft has been upped too with the instrumetal unit headbanging and moving as frontman James roared down the mic his face a picture of intensity. Varying their set a little they threw in two new songs including the face melting Betrayal and it worked in their favour as the crowd finally responded with movement. Blind Divide tore it a new one but if I had one criticism it would be that James needs to be a bit more commanding on stage vocally he's as aggressive as it gets but he needs to instigate a bit more demand movement and pits, Blind Divide's music is made for this so they just need to start raring people up to be a volatile as their music.
Without much of a rest bite it was time for Pembrokeshire thrashers In Which It Burns (9) who had travelled the furthest to get there. This meant that they didn't have the support a few of the other bands did but when so many people paid for a ticket to watch 5 bands (even if they came just to vote for one) it's annoying to see more people outside and in the bar than watching a band. Still IWIB didn't seem to care, frontman Stretch's self deprecating style was aware that they were playing to a room of people who no idea who they were but they managed to win over the crowd that were there by playing slickly done thrash metal that reminds me so much of early Machine Head, you know back when they were angry and not the farce they are now. Solid thrash riffs were abound from a band who despite line up changes always deliver live their tracks 6341 and The Creed becoming old favourites now to those who have seen the band more than once. After speaking to a few folks that have not been too many of the heats it was IWIB that made the biggest impression on the non-partisan voters.
After two heavy hitters it was time for the band that have been the most vocal on social media, who brought the biggest crowd and who many tipped to be a sure thing for the final. Industrial apocalypse metal act Incursion (7) have been on somewhat of a tear of late their heat performance was brilliant with even the much maligned clean vocals better than they had been previously, there they seemed geared up and ready to take on the M2TM after coming so close last year. Here unfortunately they weren't as good as they could have been, sticking to a largely similar set, the fires seemed to have dimmed a little despite them having the biggest crowd (though when it's a 75/25 judge split that doesn't always guarantee success in the semi's and means even less in the final other than having a crowd). Incursion have always played a style of music that mixed industrial with groove, it's always entertaining.
However against the previous two bands it was obvious that there hadn't been that evolution since the heats. The Hobnob Song once again brought biscuit driven chaos and while it was a chuckle at the heat, here I would have prefered some new material to be aired to ensure that for those of us who have seen the band before (and I'm including the partisan vote as well) had something else to get excited about or indeed leave the confectionary until the semi for that surprise. They ended the set with Scourge as per usual but all that improvement mentioned by Paul H in his review of their heat counted for nothing when the those out of tune clean vocals came back with a vengeance. It seemed to me that there was a level of expectation from Incursion that for me wasn't reached in this semi unfortunately.
The talent of bands competing this year is a major step up to what they were last year and in a conversation with Democratus frontman Steve he was really pleased that Democratus won last year as he wouldn't have wanted to enter this year, I agree with him the competition is tighter than ever.
I digress as there was still one more band to go, this was the atmospheric blackened shoegaze of Levitas (8) who attempted a new dramatic staging to their abrasive music cloaked in shadow with just directional lights from the floor adding a mysterious edge to their stage show, which was never really anything more than the four band members on stage. Again it showed progression as the walls of riffs came like a wave of sheer noise Rhys and Helen bringing grinding guitars over the top of Liam's thunderous bass and Sams skin destroying drums. Once again showing a marked improvement from their heat, the four piece were somewhat of a surprise winner of that heat due to the elemental force of their music but here they upped the stage dressing which was probably their weakness. Tonight they once again went on last and were pretty imperious despite a sparse crowd in the room (who all seemed to disappear for both them and the headliner), playing songs mostly from their recent EP Charnel Sky. Always a band who are an enigma on a bill Levitas are a band that always deliver offering an alternative to what had proceed them ending the competitive part of the night on a colossal high.
[Rich]: Then it was time for the nights headliners Damaged Reich (8) who hit the stage to a rather sparse crowd which was unfortunate, as the Oxford thrashers played a blinding set with bags of energy and amazing sound. Those who did watch were treated to a barrage of old school thrash with the band sounding like the bastard love child of Kreator and Testament. Razor sharp riffs, aggressive vocals and a punishing rhythm section guaranteed some sore necks in the morning. Though the songs from their debut album Death Becomes Us All all went down well with though the biggest cheers of the night were for their storming cover of Metallica's Creeping Death. As with Luna's Call in the previous semi final it was great to see a touring band who have never played our city before in an intimate space. A hugely enjoyable way to bring the live music for the night to an end before the anticipated announcement of who would be going through to the final, though I was a little disappointed about the sparseness of the crowd as we were trying to show how up for it the South Wales crowd were.
As the dust cleared on the brilliant headline set it was time for the announcement as the tension built in the room Levitas and In Which It Burns were announced as going through then after a moment of silence it was Blind Divide who took the final spot on June 8th. These three bands either showed a new edge to their performances, new songs from Blind Divide, new staging from Levitas (it is a live competition after all) or in the case of In Which It Burns a well trained discipline that wins them over new fans at every showing. Commiserations to Beyond Sorrow and Incursion but now is the time to adapt and overcome, the whole point of the M2TM is to make the scene you play in better so when it's so tight between the competitors you know that things are going in the right direction, but you have to up your game accordingly.
Editor's note: My one gripe throughout the competition has been this: if you bring an entourage of partisan voting fans with you, it would be beneficial if band could corale them to see the other bands playing on the night. When the final comes I would urge all the bands to bring as many people as they can but make sure they are in the performance area of Fuel for every band as it shows the outside guest judge that our scene is thriving.
Lets get motivated and have a final as busy as it was last year. There is a presale in order for the final so you may want to snap those tickets up as there are 6 brilliant bands, plus two returning winners from last year. It's sure to be an excellent night, lets see you all down there yeah?
Tuesday, 21 May 2019
Monday, 20 May 2019
Reviews: Floating Worlds, Αίθων, En-Stigma, Dark Messiah
Floating Worlds: Battleship Oceania (Pride & Joy Music)
Apparently Athenians Floating Worlds class themselves as Soundtrack metal, which is an interesting concept, I’d say they sounded more Teutonic than anything as musically and vocally they play a style of music more associated with German bands. Battleship Oceania is their third album and it’s a concept record about the titular battleship, be aware though this isn’t pirate metal this is more akin to the militaristic power metal of Sabaton make but set to a naval theme. Floating Worlds have never been shy about their cinematic leaning so here you get a lot of additions to the music, synths, flutes, sound effects etc. It starts with an instrumental that works as an overture to the album but the first song proper is the string-laden Sailing In History where we get the first glimpse of the vocals and a lot of scene setting about the creation of the ship.
Those vocals and they are very high almost with a nasal Tobias Sammet-like tone as the first track builds as the orchestral swells come in before New Mission gets things moving a little with galloping power metal nailing down what Floating Worlds are, they are power metal band and on this concept record they are attempting and Avantasia-style rock-opera, without the numerous vocalists. They succeed for the most part as The Empire Of The Media pulses like an AOR number, The Curse and Retribution are both darker numbers that tell of peril, while Game Of Thrones is not about the Book/show of the same name but a majestic ballad. Battleship Oceania is very big, overblown rock/metal epic made for fans of Avantasia and the countless other rock/metal operas, a very good album that really took me by surprise if I’m honest! 8/10
Αίθων (Aethon) : Order Through Chaos (Straight From The Heart Records)
Αίθων (Aethon) is an ancient Greek word meaning “burning” or “blazing”, it is usually applied to horses in Greek mythology featuring as the name of horses for Helios, Ares and Hector. Αίθων the band are a Greek thrash/punk band who open their album with an instrumental track called My Name Aethon which is a pretty anthemic instrumental that builds up before Into Lazarus Pit bellows out with blastbeats and tremolo picking, before City Of Insolence brings some more groovy riffs. Sounding like a mix of LOG and Hatebreed Αίθων don’t really have a huge amount of information about them so I can only judge on the music and this album has a lot of aggressive music with touches of thrash and hardcore but also tonnes of traditional metal guitar solos which makes it a rewarding listen, as both the guitar and bass work is excellent, the latter especially on Blackbull and Awaken. With 12 musically dense tracks and some very good harsh vocals (that are understandable) Order Through Chaos did sort of come out of nowhere for me. I know nothing about the band except that they are Greek yet they have produced an album full of chunky groove metal that balances some musical virtuosity too, especially on instrumental Nostos which does sound like Mike Oldfield. Well worth checking out! 8/10
Apparently Athenians Floating Worlds class themselves as Soundtrack metal, which is an interesting concept, I’d say they sounded more Teutonic than anything as musically and vocally they play a style of music more associated with German bands. Battleship Oceania is their third album and it’s a concept record about the titular battleship, be aware though this isn’t pirate metal this is more akin to the militaristic power metal of Sabaton make but set to a naval theme. Floating Worlds have never been shy about their cinematic leaning so here you get a lot of additions to the music, synths, flutes, sound effects etc. It starts with an instrumental that works as an overture to the album but the first song proper is the string-laden Sailing In History where we get the first glimpse of the vocals and a lot of scene setting about the creation of the ship.
Those vocals and they are very high almost with a nasal Tobias Sammet-like tone as the first track builds as the orchestral swells come in before New Mission gets things moving a little with galloping power metal nailing down what Floating Worlds are, they are power metal band and on this concept record they are attempting and Avantasia-style rock-opera, without the numerous vocalists. They succeed for the most part as The Empire Of The Media pulses like an AOR number, The Curse and Retribution are both darker numbers that tell of peril, while Game Of Thrones is not about the Book/show of the same name but a majestic ballad. Battleship Oceania is very big, overblown rock/metal epic made for fans of Avantasia and the countless other rock/metal operas, a very good album that really took me by surprise if I’m honest! 8/10
Αίθων (Aethon) : Order Through Chaos (Straight From The Heart Records)
Αίθων (Aethon) is an ancient Greek word meaning “burning” or “blazing”, it is usually applied to horses in Greek mythology featuring as the name of horses for Helios, Ares and Hector. Αίθων the band are a Greek thrash/punk band who open their album with an instrumental track called My Name Aethon which is a pretty anthemic instrumental that builds up before Into Lazarus Pit bellows out with blastbeats and tremolo picking, before City Of Insolence brings some more groovy riffs. Sounding like a mix of LOG and Hatebreed Αίθων don’t really have a huge amount of information about them so I can only judge on the music and this album has a lot of aggressive music with touches of thrash and hardcore but also tonnes of traditional metal guitar solos which makes it a rewarding listen, as both the guitar and bass work is excellent, the latter especially on Blackbull and Awaken. With 12 musically dense tracks and some very good harsh vocals (that are understandable) Order Through Chaos did sort of come out of nowhere for me. I know nothing about the band except that they are Greek yet they have produced an album full of chunky groove metal that balances some musical virtuosity too, especially on instrumental Nostos which does sound like Mike Oldfield. Well worth checking out! 8/10
En-Stigma: Reforming The Universe (New Dream Records)
Well this is a complex piece if there has ever been one, I’m unsure if it’s a musical tribute to Thanos but there seems to be a lot of galactic implications to the storyline, built around the cinematic compositions of bassist Vonifatios, contributes most of the music along with George Tzachristas (lead guitars, keys, drum programming, growls) and Anastasios Seremetis (oud). Musically this project is progressive, symphonic metal that aims for MaYan territory but doesn’t quite reach it due to the production and a few dud songs, funnily enough these are the tracks that feature female vocals (Operation Infinity) with the mixes of clean male and growled vocals working much better on songs such as En-Stigma while the fully growled The Transcendental Force Of The Universe which has cracking thrashy riff and some spacey synths. It’s all a little lacklustre and you can hear the drums are programmed not natural. Also none of the clean vocalists are that great but they certainly don’t detract from the overall album due to this and the production it never really reaches its full potential but it’s an easy enough listen for fans of theatrical death metal. 6/10
Well this is a complex piece if there has ever been one, I’m unsure if it’s a musical tribute to Thanos but there seems to be a lot of galactic implications to the storyline, built around the cinematic compositions of bassist Vonifatios, contributes most of the music along with George Tzachristas (lead guitars, keys, drum programming, growls) and Anastasios Seremetis (oud). Musically this project is progressive, symphonic metal that aims for MaYan territory but doesn’t quite reach it due to the production and a few dud songs, funnily enough these are the tracks that feature female vocals (Operation Infinity) with the mixes of clean male and growled vocals working much better on songs such as En-Stigma while the fully growled The Transcendental Force Of The Universe which has cracking thrashy riff and some spacey synths. It’s all a little lacklustre and you can hear the drums are programmed not natural. Also none of the clean vocalists are that great but they certainly don’t detract from the overall album due to this and the production it never really reaches its full potential but it’s an easy enough listen for fans of theatrical death metal. 6/10
Dark Messiah: Echoes Of War (Drakkar Productions)
Oof ready to worship at the altar of Satan and wage war on the forces of God? Good so are Dark Messiah. Hailing from Kozani, West Macedonia (the proper one), and this trio of self identified blasphemers play a raw style of black metal influenced by the world class Hellenic scene. They have been on hiatus since 2012 since the death of their guitarist, but now they have returned as a three piece to continue the band, with the vocalist taking up guitar duties. The obvious comparisons would be early-Rotting Christ and Varathron as the riffs come at lightning quick pace and the blastbeats beat down like a blitzkrieg, (maybe not the best phrasing as the band also cites Mayhem, Impaled Nazarene and Darkthrone as influences). The album artwork and their tag of war metal may raise a few flags, but musically it’s nothing out of the ordinary for so many black metal bands with raw feel to their music, Echoes Of War will be enjoyed by the trve cvlt black metal fans but many may feel it’s a little too rustic for them. 7/10
Oof ready to worship at the altar of Satan and wage war on the forces of God? Good so are Dark Messiah. Hailing from Kozani, West Macedonia (the proper one), and this trio of self identified blasphemers play a raw style of black metal influenced by the world class Hellenic scene. They have been on hiatus since 2012 since the death of their guitarist, but now they have returned as a three piece to continue the band, with the vocalist taking up guitar duties. The obvious comparisons would be early-Rotting Christ and Varathron as the riffs come at lightning quick pace and the blastbeats beat down like a blitzkrieg, (maybe not the best phrasing as the band also cites Mayhem, Impaled Nazarene and Darkthrone as influences). The album artwork and their tag of war metal may raise a few flags, but musically it’s nothing out of the ordinary for so many black metal bands with raw feel to their music, Echoes Of War will be enjoyed by the trve cvlt black metal fans but many may feel it’s a little too rustic for them. 7/10
Reviews: Hate Eternal, Crazy Lixx, Grimgotts, Visigoth (Rich, Sean & Matt)
Hate Eternal: Live In London (Earache Records) [Rich]
This is a reissue of the Live In London album by Hate Eternal which was released in 2010 as part of Earache Records Into The Pit live album series. It is also the audio version of The Perilous Fight DVD which was originally released back in 2006. This is a recording of a show at The Garage in London on 4th June 2006 as part of the tour cycle for the I Monarch album and sees the band on furious form with a fantastic set which covers the three albums released at the time. Material from I Monarch takes up a good chunk of the setlist being the new album at the time whilst we get choice cuts from the Conquering The Throne and King Of All Kings albums.
The band put in a suitable intense performance with riffs and growls aplenty from frontman Erik Rutan, thundering bass from Randy Piro and a ridiculously good show from session drummer Reno Kiilerich. Having been released several times previously this is a pretty standard and unessential live album. The recording quality is great and the performances top notch but as with the vast majority of live albums they are better with some visuals so you are best off tracking down The Perilous Fight DVD for the full experience. 7/10
Crazy Lixx: Forever Wild (Frontiers Records)
Swedes Crazy Lixx return with yet another slab of sleazy hard rock filled with arena-sized choruses, big open rock riffs and soaring lead solos. Forever Wild is their sixth album and it's packed with 80's styled anthems, slickly delivered by a Scandi band who are masters of their craft, Break Out is a song you can hear coming from Lambo on a long highway, the synthy AOR stylings Silent Thunder gets a little Journey-like, Eagle is a smoldering number ideal for a training montage an 80's movie, very Survivor. It goes on like this with each song on this 10 track album featuring massive choruses, melodic tracks aimed at their voracious fan base and incendiary live show, the only time it slows down is with Love Don't Live Here Anymore the overwrought ballad of the album before this is basically a down the middle 80's pastiche. 6/10
Grimgotts: Dragon Of Ages (Stormspell Records) [Sean]
We’ve well and truly covered nearly all lyrical topics now, haven’t we? Given the nigh on uncountable bands that have referenced Tolkien in some way shape or form (predominantly black metal), I guess it was only a matter of time before fucking Harry Potter picked up and axe and began shredding. As if it wasn’t a dead giveaway already by both name and cover, English power metal upstarts Grimgotts (yes, a misnomer of THAT goblin run bank) combine all things mighty, magical and mystical with their second release, Dragons of The Ages. So baring that in mind, I think it’s safe to expect no serious business whatsoever (COZ METULZ IS ALL ABOUT THAT), aside from metallic tales of heroism and high fantasy. So with all that being said, let’s leave this earthly plane behind and enter the draconic realm. After all, dragons are fucking cool and only a crackerjack poser would say otherwise.
This is a reissue of the Live In London album by Hate Eternal which was released in 2010 as part of Earache Records Into The Pit live album series. It is also the audio version of The Perilous Fight DVD which was originally released back in 2006. This is a recording of a show at The Garage in London on 4th June 2006 as part of the tour cycle for the I Monarch album and sees the band on furious form with a fantastic set which covers the three albums released at the time. Material from I Monarch takes up a good chunk of the setlist being the new album at the time whilst we get choice cuts from the Conquering The Throne and King Of All Kings albums.
The band put in a suitable intense performance with riffs and growls aplenty from frontman Erik Rutan, thundering bass from Randy Piro and a ridiculously good show from session drummer Reno Kiilerich. Having been released several times previously this is a pretty standard and unessential live album. The recording quality is great and the performances top notch but as with the vast majority of live albums they are better with some visuals so you are best off tracking down The Perilous Fight DVD for the full experience. 7/10
Crazy Lixx: Forever Wild (Frontiers Records)
Swedes Crazy Lixx return with yet another slab of sleazy hard rock filled with arena-sized choruses, big open rock riffs and soaring lead solos. Forever Wild is their sixth album and it's packed with 80's styled anthems, slickly delivered by a Scandi band who are masters of their craft, Break Out is a song you can hear coming from Lambo on a long highway, the synthy AOR stylings Silent Thunder gets a little Journey-like, Eagle is a smoldering number ideal for a training montage an 80's movie, very Survivor. It goes on like this with each song on this 10 track album featuring massive choruses, melodic tracks aimed at their voracious fan base and incendiary live show, the only time it slows down is with Love Don't Live Here Anymore the overwrought ballad of the album before this is basically a down the middle 80's pastiche. 6/10
Grimgotts: Dragon Of Ages (Stormspell Records) [Sean]
We’ve well and truly covered nearly all lyrical topics now, haven’t we? Given the nigh on uncountable bands that have referenced Tolkien in some way shape or form (predominantly black metal), I guess it was only a matter of time before fucking Harry Potter picked up and axe and began shredding. As if it wasn’t a dead giveaway already by both name and cover, English power metal upstarts Grimgotts (yes, a misnomer of THAT goblin run bank) combine all things mighty, magical and mystical with their second release, Dragons of The Ages. So baring that in mind, I think it’s safe to expect no serious business whatsoever (COZ METULZ IS ALL ABOUT THAT), aside from metallic tales of heroism and high fantasy. So with all that being said, let’s leave this earthly plane behind and enter the draconic realm. After all, dragons are fucking cool and only a crackerjack poser would say otherwise.
Wars Come To Our Shores gets us going, synth strings and the crashing of stormy waves serving as a suitable introduction with he rest of the band soon getting in on the action. Fairly standard stuff, suitably thick guitars and pounding drums driving Grimgotts voyage onwards. There’s quite a bit going on, every second is densely packed with melody and muscle (if a little too packed). The vocals, unfortunately, are bit hit and miss on the higher notes but are otherwise adequate. The Last Dragon Warrior carries on in a similar fashion, albeit with more speed and is a pleasant enough ditty. It’s uncluttered and more focused songwriting gives it a fair amount of weight, leading up to a pretty impressive chorus. Ancient Waters conjures impressions of Running Wild and Dragonland, which is hardly a bad thing, making it ever more difficult to deny Grimotts’s enthusiasm for their craft. War At Dawn displays the full capabilities of vocalist Andy Barton, shining particularly on the chorus, especially when he rains in the ham.
The rest of the band pull of similar pyrotechnics, shredding both fretboard and key alike. The King Under The Sea is goofy as all hell, as we suddenly take in Alestorm levels of silliness. I guess this is meant to be the “fun” track but it REAALLY doesn’t need to be there. The Long Road gets things going again, as Grimgotts take on a more serious air, with the folkier elements fitting better here (even if it feels a wee bit rushed). Turning The Tide, by comparison, is a more cohesive number as it isn’t being choked by good intentions. The Great Shadows is as heroic as it gets, showing just how much potential is simmering beneath Grimgotts’s surface. I check my arms and yeah, all the hairs are standing on end. Fuck yeah, more of that please. Closer Here Be Dragons concludes this epic adventure, leaving me with a big dumb grin on my bald mug.
Despite my criticisms of a slight lack of focus and finesses, I can’t help but be impressed at the sheers number of ideas Grimgotts bring to the table, even if it’s sometimes to their detriment. In any case, Dragons Of The Ages get’s it right more often than wrong. When they’re serious, Grimgotts are goddamn cinematic, maturing to near frightening levels and display just how formidable they can really be. Greatness lies in their future but for now, Dragons Of The Ages is a fun outing and is certain to please any fan of the genre. 7/10
Visigoth: Bells Of Awakening (Metal Blade Records)
Bells Of Awakening is a special 7 inch release from the Salt Lake City, revivalist metal kings, released just in time for their one off UK performance in London on 26th May. It follows on from their second full length Conqueror's Oath with the intention as the band put it "Of foreshadowing of bigger things to come" they go on by saying "We hope that the hordes will be placated - if temporarily". It contains two songs Fireseeker and Abysswalker which are both the straightforward heavy metal in the vein of their previous records, while also showing that they will continuing in this vein with albums to come. Fireseeker is very melodic with some stirring leads to begin things with a big hook-filled chorus, Conqueror's Oath is faster but still has the euphoric chorus on top of the gallops. Visigoth keep up the good work on this 7 inch special release. 7/10
Despite my criticisms of a slight lack of focus and finesses, I can’t help but be impressed at the sheers number of ideas Grimgotts bring to the table, even if it’s sometimes to their detriment. In any case, Dragons Of The Ages get’s it right more often than wrong. When they’re serious, Grimgotts are goddamn cinematic, maturing to near frightening levels and display just how formidable they can really be. Greatness lies in their future but for now, Dragons Of The Ages is a fun outing and is certain to please any fan of the genre. 7/10
Visigoth: Bells Of Awakening (Metal Blade Records)
Bells Of Awakening is a special 7 inch release from the Salt Lake City, revivalist metal kings, released just in time for their one off UK performance in London on 26th May. It follows on from their second full length Conqueror's Oath with the intention as the band put it "Of foreshadowing of bigger things to come" they go on by saying "We hope that the hordes will be placated - if temporarily". It contains two songs Fireseeker and Abysswalker which are both the straightforward heavy metal in the vein of their previous records, while also showing that they will continuing in this vein with albums to come. Fireseeker is very melodic with some stirring leads to begin things with a big hook-filled chorus, Conqueror's Oath is faster but still has the euphoric chorus on top of the gallops. Visigoth keep up the good work on this 7 inch special release. 7/10
Sunday, 19 May 2019
Reviews: Qantice, Fatal Curse, Kaato, Dead By Wednesday (Pascal & Liam)
Qantice: The Anastoria (Pride & Joy Music) [Pascal]
As soon as I put on this album it was Without A Hero was the most unexpected thing I have listened to in a while. It is everything you should expect from a prog, symphonic, epic and sci fi metal band. Bizarrely my second thought was that I was listening to a metal version of Barry Manilow (I kid you not). It took me a while to kick this thought out of my mind but once I understood the band was composed of fellow Frenchmen, I managed to fully concentrate on the review of the album. You cannot question the virtuosity or versatility of this band. It’s hard to describe if it's kitsch or innovative in terms of music but their epic tunes including contributions such as Opera Tenor Riccardo Cecchi will blow your mind away. Krooner would be perfect in a metal West End production while Littler Knights Oath would easily fit in the motion picture soundtrack of a futuristic western. Those guys really have their own universe and dwell into all the options they have to push the boundaries of their imagination. For many reasons I should not like this but I do... Qantice I salute you. 7/10
Fatal Curse: Breaking The Trance (Shadow Kingdom Records) [Liam]
Some NWOBHM form New York going for the more traditional Heavy Metal style. The album production makes it sound raw and, in your face, almost as it’s a live album. The whole album feels like the offspring of both Diamond Head and Angel Witch with the same vocal style and riff mastery just being woven into each song. From the shrieking vocals of Mike Bowen to the frantic finger work of guitarist Dave Gruver, the record is an old-school thrash sounding record and sets the pace as soon as the record kicks in, and doesn’t give up there. There are great riffs and great solos to be found here. The only issue I really have is with the vocals. They’re sometimes out of time with the songs and just feel forced on the song making sound like it was a rushed effort by the band. Personally, the album doesn’t do anything for me. But if you’re looking to relive the old early days of heavy metal, then this band is just for you. 6/10
Kaato: Slam! (Self Release) [Pascal]
I quite like the cover of this 7 tracks album/EP, it reminds me of Asia (the band). The music on the other hand reminds me of Aerosmith who would have swallowed a full box of Vitamin C (among a few other things). Yes ladies and gentlemen we are in the good old rock’n’roll territory. This classic rock Australian outfit led primarily by Mika and Kurt Flew the lead singer know all the tricks in the business and it seems it has served them well to date particularly in Japan where they have a very decent following. They claim to whoever wants to listen to them that they play fast, loud and rude. Glamour Queen, Somebody, Someday or Communication will not contradict them and even the bluesy and tense In Passing add to the sensation that while there is nothing new in adding a piano to a tune it’s well crafted and honestly delivered. It's good while not mind blowing a good division 2 band I would say with no other pretension than playing good music. That said I feel their previous full length was probably more adventurous in terms of songwriting. 6/10
As soon as I put on this album it was Without A Hero was the most unexpected thing I have listened to in a while. It is everything you should expect from a prog, symphonic, epic and sci fi metal band. Bizarrely my second thought was that I was listening to a metal version of Barry Manilow (I kid you not). It took me a while to kick this thought out of my mind but once I understood the band was composed of fellow Frenchmen, I managed to fully concentrate on the review of the album. You cannot question the virtuosity or versatility of this band. It’s hard to describe if it's kitsch or innovative in terms of music but their epic tunes including contributions such as Opera Tenor Riccardo Cecchi will blow your mind away. Krooner would be perfect in a metal West End production while Littler Knights Oath would easily fit in the motion picture soundtrack of a futuristic western. Those guys really have their own universe and dwell into all the options they have to push the boundaries of their imagination. For many reasons I should not like this but I do... Qantice I salute you. 7/10
Fatal Curse: Breaking The Trance (Shadow Kingdom Records) [Liam]
Some NWOBHM form New York going for the more traditional Heavy Metal style. The album production makes it sound raw and, in your face, almost as it’s a live album. The whole album feels like the offspring of both Diamond Head and Angel Witch with the same vocal style and riff mastery just being woven into each song. From the shrieking vocals of Mike Bowen to the frantic finger work of guitarist Dave Gruver, the record is an old-school thrash sounding record and sets the pace as soon as the record kicks in, and doesn’t give up there. There are great riffs and great solos to be found here. The only issue I really have is with the vocals. They’re sometimes out of time with the songs and just feel forced on the song making sound like it was a rushed effort by the band. Personally, the album doesn’t do anything for me. But if you’re looking to relive the old early days of heavy metal, then this band is just for you. 6/10
Kaato: Slam! (Self Release) [Pascal]
I quite like the cover of this 7 tracks album/EP, it reminds me of Asia (the band). The music on the other hand reminds me of Aerosmith who would have swallowed a full box of Vitamin C (among a few other things). Yes ladies and gentlemen we are in the good old rock’n’roll territory. This classic rock Australian outfit led primarily by Mika and Kurt Flew the lead singer know all the tricks in the business and it seems it has served them well to date particularly in Japan where they have a very decent following. They claim to whoever wants to listen to them that they play fast, loud and rude. Glamour Queen, Somebody, Someday or Communication will not contradict them and even the bluesy and tense In Passing add to the sensation that while there is nothing new in adding a piano to a tune it’s well crafted and honestly delivered. It's good while not mind blowing a good division 2 band I would say with no other pretension than playing good music. That said I feel their previous full length was probably more adventurous in terms of songwriting. 6/10
Dead By Wednesday: Dead By Wednesday (EMP Label Group) [Liam]
Although being labeled as Nu-Metal, it really isn’t. It’s hard hitting Heavy Metal. Sort of like Bad Wolves meets Hatebreed, which sounds absolutely terrible, but works as a perfect combination with the vocals complimenting the hard-hitting sound. The record is full of riffs and singalong moments, a little bit for everyone, with the chorus for Smelling Salts getting stuck in my head for day’s. Considering it’s the bands 6th studio album, they still sound fresh and evolving with the current state of metal and doing it very well might I add. Darwin’s Dance Pt 1 & Pt 2 are my favorite point on the album. Giving you the finger work of guitarist Dave Sharpe to the furious sticks-manship of Opus. The record is a bit of fresh air to the modern-day state of metal, and they look to be a force to be reckoned with. 7/10
Although being labeled as Nu-Metal, it really isn’t. It’s hard hitting Heavy Metal. Sort of like Bad Wolves meets Hatebreed, which sounds absolutely terrible, but works as a perfect combination with the vocals complimenting the hard-hitting sound. The record is full of riffs and singalong moments, a little bit for everyone, with the chorus for Smelling Salts getting stuck in my head for day’s. Considering it’s the bands 6th studio album, they still sound fresh and evolving with the current state of metal and doing it very well might I add. Darwin’s Dance Pt 1 & Pt 2 are my favorite point on the album. Giving you the finger work of guitarist Dave Sharpe to the furious sticks-manship of Opus. The record is a bit of fresh air to the modern-day state of metal, and they look to be a force to be reckoned with. 7/10
A View From The Back Of The Room: Advent Sorrow (Live Review By Paul H)
Advent Sorrow, Agrona, Levitas & Cistvaen
A rare Monday night outing to Cardiff’s premier (read only) rock and metal bar and the effort was well worth it. Kudos to Eradication Booking Agency for a thoroughly enjoyable evening. Fresh from what was apparently a stunning show at Incineration Fest in London just two days before, the Australian Black Metal outfit Advent Sorrow made their Welsh debut along with two of Cardiff’s most loved outfits in Agrona and Levitas.
There was however, another band making their Welsh debut and although they may not have had as far to travel, a nightmare 3 hour journey on the ball-ache of the M5 from South Devon was more than enough for Cistvaen (7). Luckily for those of us who decided to check them out, all their efforts were well worth it for us as the band’s dark brooding atmospheric black metal swirled around the venue, cloaking it in darkness. Cistvaen, are aptly named after a burial chamber formed from flat shaped slabs in a box shape mainly of Celtic origin. I say apt as their dark, mournful music fits comfortably with their name. Three lengthy tracks allowed the band to concentrate on their music and with influences including Agalloch, Panopticon and Winterfylleth, the band’s sound is one of intense heavy riffing, soaring soundscapes and passages of delicate, intricate calmness. Formed in early 2017, the band has played with numerous luminaries in the black metal world including Dunkelnacht, Deadwood Lake and Waylander in recent times. Plenty of promise with them too. Guitarists Lee Meade and Chris Finch linking superbly, whilst vocalist Guy Taylor, who cuts a slightly curious figure for a black metal band with his tasselled leather and sunglasses, possesses an excellent voice which delivers brilliantly. Roaring, guttural and even relatively clean vocals are all in his arsenal. Voice Of An Old God was the standout track, but this is a band who are definitely ones to see again.
A rare Monday night outing to Cardiff’s premier (read only) rock and metal bar and the effort was well worth it. Kudos to Eradication Booking Agency for a thoroughly enjoyable evening. Fresh from what was apparently a stunning show at Incineration Fest in London just two days before, the Australian Black Metal outfit Advent Sorrow made their Welsh debut along with two of Cardiff’s most loved outfits in Agrona and Levitas.
There was however, another band making their Welsh debut and although they may not have had as far to travel, a nightmare 3 hour journey on the ball-ache of the M5 from South Devon was more than enough for Cistvaen (7). Luckily for those of us who decided to check them out, all their efforts were well worth it for us as the band’s dark brooding atmospheric black metal swirled around the venue, cloaking it in darkness. Cistvaen, are aptly named after a burial chamber formed from flat shaped slabs in a box shape mainly of Celtic origin. I say apt as their dark, mournful music fits comfortably with their name. Three lengthy tracks allowed the band to concentrate on their music and with influences including Agalloch, Panopticon and Winterfylleth, the band’s sound is one of intense heavy riffing, soaring soundscapes and passages of delicate, intricate calmness. Formed in early 2017, the band has played with numerous luminaries in the black metal world including Dunkelnacht, Deadwood Lake and Waylander in recent times. Plenty of promise with them too. Guitarists Lee Meade and Chris Finch linking superbly, whilst vocalist Guy Taylor, who cuts a slightly curious figure for a black metal band with his tasselled leather and sunglasses, possesses an excellent voice which delivers brilliantly. Roaring, guttural and even relatively clean vocals are all in his arsenal. Voice Of An Old God was the standout track, but this is a band who are definitely ones to see again.
We’ve written about Levitas (8) many times in these pages. The Cardiff/Bristol four-piece and their deep atmospheric black metal fitted neatly into this package. With Liam Wolf hooded and sinister as usual, the band dispensed with any pleasantries and delivered a set of their usual quality. Held together by drummer Sam Heffernan who makes the punishing fills and rolls look effortless, the band delivered tracks from their excellent Charnel Sky EP. Rhys Williams’ clean vocals counter the aggressive roaring of Wolf, whilst Williams and Helen Kinsella’s guitar work was on point as always. This is a band who are slowly becoming a massive favourite, with their sets becoming more an experience than an event. You can lose yourself in the thick atmospheric reverb-drenched shoegaze, the pummelling drumming and the sheer intensity of a band who will be back at Fuel on Saturday 18th May for their Semi-final in the M2TM competition. They should have a real chance of progressing.
Main support for the evening were the blackened Welsh horde otherwise known as Agrona (9). It’s rare that we write anything other than good words about this band and their performance one again confirmed why they are one of the most exciting bands in the UK Black Metal scene at present. Despite struggling to cope with non-existent feedback from their monitors and bassist Kreulon’s strap snapping (again!), the band blasted through a set which included Burn, the magnificent Storm’s End and most excitingly the debut airing of The Rising Embers, a track which benefited from Arawn’s clean vocals and which showed much promise (given his ghastly flatulence it was an apt song title as well). Agrona are blistering live, a wall of intense ferocious desolation, with the snarling duo of Taranis and Adara as eerily haunting as ever. Ankou was doing double drum duty having already played with Levitas but he shows no sign of fatigue … this guy has an energy level I can only dream about these days! With ambient backing throughout, Agrona are moving to a situation where they present a show as much as a gig. As the closing minutes saw Taranis and Adara exit the stage, the remaining band members played out an atmospheric instrumental which took many by surprise. Developments in the stage show, the music and the delivery – it’s a good thing.
With more announcements of music venues closing (the latest the Borderline in London), it is becoming more important than ever to support smaller establishments and to have a band as impressive in reputation as Australians Advent Sorrow (9) in Fuel was massive. Having played at Incineration Festival on the weekend the band took the smaller confines of Fuel in their stride and having spent the evening chatting with a couple of star struck fans then donned the horrific corpse paint before bludgeoning the assembled 30 or so into submission. Three songs into their set and disaster with one of the guitarists having some severe technical difficulties. Cue the house band techno team as a couple of members of Agrona and Levitas steamed forward to offer their in-house knowledge of the mysterious world of the Fuel sound system.
Main support for the evening were the blackened Welsh horde otherwise known as Agrona (9). It’s rare that we write anything other than good words about this band and their performance one again confirmed why they are one of the most exciting bands in the UK Black Metal scene at present. Despite struggling to cope with non-existent feedback from their monitors and bassist Kreulon’s strap snapping (again!), the band blasted through a set which included Burn, the magnificent Storm’s End and most excitingly the debut airing of The Rising Embers, a track which benefited from Arawn’s clean vocals and which showed much promise (given his ghastly flatulence it was an apt song title as well). Agrona are blistering live, a wall of intense ferocious desolation, with the snarling duo of Taranis and Adara as eerily haunting as ever. Ankou was doing double drum duty having already played with Levitas but he shows no sign of fatigue … this guy has an energy level I can only dream about these days! With ambient backing throughout, Agrona are moving to a situation where they present a show as much as a gig. As the closing minutes saw Taranis and Adara exit the stage, the remaining band members played out an atmospheric instrumental which took many by surprise. Developments in the stage show, the music and the delivery – it’s a good thing.
With more announcements of music venues closing (the latest the Borderline in London), it is becoming more important than ever to support smaller establishments and to have a band as impressive in reputation as Australians Advent Sorrow (9) in Fuel was massive. Having played at Incineration Festival on the weekend the band took the smaller confines of Fuel in their stride and having spent the evening chatting with a couple of star struck fans then donned the horrific corpse paint before bludgeoning the assembled 30 or so into submission. Three songs into their set and disaster with one of the guitarists having some severe technical difficulties. Cue the house band techno team as a couple of members of Agrona and Levitas steamed forward to offer their in-house knowledge of the mysterious world of the Fuel sound system.
With things fixed, Advent Sorrow resumed where they left off, and for the next 30 minutes or so everyone held their breath as the band simply destroyed. Ferocious in the extreme, they are better live than on record, and tracks from 2016’s As All Light Leaves Her dripped with malevolence whilst the new material including Verminblood, Pestilence Shall Come and Wolf & Weapon from the recent Kali Yuga Crown was massive. Their misery is imparted in such a way that you enjoy the torturous black metal that the band from Perth deliver despite the descending black gloom that is never far away. The aural assault was relentless with vocalist Rhys King an intimidating figure at the front of the stage, his mournful roaring screams ensuring a chill went through the room despite the typically warmness of the venue. All too soon the strains of Waltzing Matilda signalled the end of a quite magnificent evening of black metal; all four band worth the entrance fee on their own.
Saturday, 18 May 2019
A View From The Back Of The Room: Incineration Festival 2019 (Rich & Sean)
Incineration Festival 2019, Camden, London
[Rich]
After Desertfest brought all things stoner, doom and psychedelic to Camden town this weekend saw an aura of darkness loom over the area as a plethora of black metal and death metal bands took over The Underworld, The Black Heart and Electric Ballroom for the day. Myself and Sean were both in attendance and here’s what we saw and thought.
The first full band of the day I managed to see were Manchester black metallers Winterfylleth (8). I’ve been a fan of these for years with their mix of atmospheric black metal and Anglo-Saxon heritage and folklore and they seem to get better each time I see them. This time was no exception only being a short set comprised of five songs and all taken from earlier albums. They said they had left their acoustic guitars behind (in reference to their stunning acoustic album The Harrowing Of Heirdom and blasted into furious yet rousing material such as The Divination Of Antiquity, The Honour Of Good Men On The Path To Eternal Glory (the first time played in seven years) and Mam Tor (The Shivering Mountain). A cracking way to get things going.
When I last saw Carpathian Forest (7) at Metaldays they were quite frankly dreadful but seeing as I love their simplistic take on Norwegian black metal I decided to give them a second chance and I’m glad I did as this performance was leagues away from that dismal MetalDays set. They came out and immediately got to business with a set that ranged their entire career from their debut EP like When Thousand Moons Have Circled to new yet to be released songs titled The Beast In Man: The Origin Of Sin and Rock ‘n’ Roll Gloryhole and plenty from in between such as Through Self-Mutilation, I Am Possessed, Mask Of The Slave (where they were joined by Niklas Kvaforth of Shining) and their awesome cover of The Cure classic A Forest. Frontman Nattefrost is a bit of a lunatic on stage. He’s either had a good few drinks or really enjoying themself though most likely a bit of both. The style that Carpathian Forest play does start getting a bit repetitive after a while and my interest started to wane towards the end of the set but this was still very enjoyable.
I managed three songs of Mayhem before leaving as the sound was utterly dreadful and the performance completely uninteresting. Mayhem were not my priority anyway. What was my priority was a rare UK performance by Dutch death metal legends Asphyx (9). It had been many many years since I had last seen them live but they had lost none of their intensity and potency. The style of death metal that Asphyx deliver is very old school and direct. Dirty bludgeoning riffs with an evil doom undertone. Asphyx know when to kick into gear with the fast parts and then when to drop into a slow lumbering pace and crush everything into armageddon. Like a blunt weapon when they hit hard Asphyx deliver crushing blows and when they hit their stride it was like heavy artillery going off in The Underworld. Martin van Drunen is still one of the most recognisable voices in death metal with his unique gurgling howl and his performance was fantastically intense throughout the hour set.
[Rich]
After Desertfest brought all things stoner, doom and psychedelic to Camden town this weekend saw an aura of darkness loom over the area as a plethora of black metal and death metal bands took over The Underworld, The Black Heart and Electric Ballroom for the day. Myself and Sean were both in attendance and here’s what we saw and thought.
The first full band of the day I managed to see were Manchester black metallers Winterfylleth (8). I’ve been a fan of these for years with their mix of atmospheric black metal and Anglo-Saxon heritage and folklore and they seem to get better each time I see them. This time was no exception only being a short set comprised of five songs and all taken from earlier albums. They said they had left their acoustic guitars behind (in reference to their stunning acoustic album The Harrowing Of Heirdom and blasted into furious yet rousing material such as The Divination Of Antiquity, The Honour Of Good Men On The Path To Eternal Glory (the first time played in seven years) and Mam Tor (The Shivering Mountain). A cracking way to get things going.
When I last saw Carpathian Forest (7) at Metaldays they were quite frankly dreadful but seeing as I love their simplistic take on Norwegian black metal I decided to give them a second chance and I’m glad I did as this performance was leagues away from that dismal MetalDays set. They came out and immediately got to business with a set that ranged their entire career from their debut EP like When Thousand Moons Have Circled to new yet to be released songs titled The Beast In Man: The Origin Of Sin and Rock ‘n’ Roll Gloryhole and plenty from in between such as Through Self-Mutilation, I Am Possessed, Mask Of The Slave (where they were joined by Niklas Kvaforth of Shining) and their awesome cover of The Cure classic A Forest. Frontman Nattefrost is a bit of a lunatic on stage. He’s either had a good few drinks or really enjoying themself though most likely a bit of both. The style that Carpathian Forest play does start getting a bit repetitive after a while and my interest started to wane towards the end of the set but this was still very enjoyable.
I managed three songs of Mayhem before leaving as the sound was utterly dreadful and the performance completely uninteresting. Mayhem were not my priority anyway. What was my priority was a rare UK performance by Dutch death metal legends Asphyx (9). It had been many many years since I had last seen them live but they had lost none of their intensity and potency. The style of death metal that Asphyx deliver is very old school and direct. Dirty bludgeoning riffs with an evil doom undertone. Asphyx know when to kick into gear with the fast parts and then when to drop into a slow lumbering pace and crush everything into armageddon. Like a blunt weapon when they hit hard Asphyx deliver crushing blows and when they hit their stride it was like heavy artillery going off in The Underworld. Martin van Drunen is still one of the most recognisable voices in death metal with his unique gurgling howl and his performance was fantastically intense throughout the hour set.
The whole band were on fire and for a band with only a single guitarist play with a virtually unrivalled intensity. The band played a nice mix of material from more recent gems such as Division Brandenburg, Forerunners Of The Apocalypse, Deathhammer and Death The Brutal Way to rotten old school classics such as M.S. Bismarck, The Rack and Last One On Earth. The crowd lapped it up with plenty of pits, stage dives (many failed ones at that) and high levels of chaos and carnage which raised the temperature in The Underworld to scorching levels. Asphyx were a phenomenal way to end a fantastic day at Incineration Festival.
[Sean]
Arriving at the Electric Ballroom, I manage to witness claustrophobic weirdness that is London’s own Voices (8). Bathed in eerie strobe lighting, their brand of progy black death is devoured by the already ravenous audience in attendance. Wielding both dynamic and destruction with ease, Voices set the bar high and ensure that Incineration is off to a damn good start. The blasphemous rumbling emanating from The Underworld drew me down into it’s murky depths. I’m soon swiftly greeted by the apocalyptic blasting of California’s Unholy Lust (9), whom proceed to tear The Underworld apart with their devastating brand of black/death thrash. The initially small crown swells dramatically, as Unholy Lust then proceed to flatten us all into submission. Quite simply, it fucking rips!
Wandering back over to The Electric Ballroom, the atmosphere takes on an oppressive hue, the lights darkening to bathe the sta. Greeting the packed venue are misanthropic miserabalists Shining (8), led by the polarising but ever charismatic Kvaforth. Regardless of his contempt for the audience and his feelings towards our mothers (of which he has many, apparently), he is master showman, holding the entranced in his malicious grip. Equal parts captivating and harrowing, Shining deliver a strong set drenched in glorious despair.
After ol’ Nicky makes one last jibe at the crowd, I immediately run to the toilets, sprint back and find a favourable position for what’s about to come next. Darkness envelops us all once more, sinister strings emanating from the PA, bringing the already high anticipation to near feverish levels. And then it begins, Septic Flesh (10) take to the stage to unleash all manner of horror upon us. The roll out hit after hit, with Enemy Of The Truth, fucking Communion, Vampire Of Nazareth and then Anubis! The crowd summon all the energy they can muster, giving every once to this masterful display of monstrous symphonic death metal. My neck has stopped working now
You know who they are, you wouldn’t fucking be here if you didn’t. After what seems like 15 minutes before their scheduled start, The True Mayhem (5) take to the stage, cloaked in blinding strobe lighting. Industrial samples then bombard us, before the legendary Black Metallers erupt into Funeral Fog. Or what I think is Funeral Fog, it’s difficult to tell as all that’s really manifested is one big wall of noise, occasionally punctuated by Attila's rasp. Faaack, this is making my ears bleed and not in a good way either. Whore and a few other tracks go by, but it’s an indistinguishable mess, prompting me to eventually have to leave and go watch Asphyx at The Underworld instead. Disappointing.
Despite being relegated to a single day (which still takes some getting used to), Incineration Festival 2019 was fucking excellent. We were left battered, bruised and all the more eager to see what next year brings. Roll on 2020!
[Sean]
Arriving at the Electric Ballroom, I manage to witness claustrophobic weirdness that is London’s own Voices (8). Bathed in eerie strobe lighting, their brand of progy black death is devoured by the already ravenous audience in attendance. Wielding both dynamic and destruction with ease, Voices set the bar high and ensure that Incineration is off to a damn good start. The blasphemous rumbling emanating from The Underworld drew me down into it’s murky depths. I’m soon swiftly greeted by the apocalyptic blasting of California’s Unholy Lust (9), whom proceed to tear The Underworld apart with their devastating brand of black/death thrash. The initially small crown swells dramatically, as Unholy Lust then proceed to flatten us all into submission. Quite simply, it fucking rips!
Wandering back over to The Electric Ballroom, the atmosphere takes on an oppressive hue, the lights darkening to bathe the sta. Greeting the packed venue are misanthropic miserabalists Shining (8), led by the polarising but ever charismatic Kvaforth. Regardless of his contempt for the audience and his feelings towards our mothers (of which he has many, apparently), he is master showman, holding the entranced in his malicious grip. Equal parts captivating and harrowing, Shining deliver a strong set drenched in glorious despair.
After ol’ Nicky makes one last jibe at the crowd, I immediately run to the toilets, sprint back and find a favourable position for what’s about to come next. Darkness envelops us all once more, sinister strings emanating from the PA, bringing the already high anticipation to near feverish levels. And then it begins, Septic Flesh (10) take to the stage to unleash all manner of horror upon us. The roll out hit after hit, with Enemy Of The Truth, fucking Communion, Vampire Of Nazareth and then Anubis! The crowd summon all the energy they can muster, giving every once to this masterful display of monstrous symphonic death metal. My neck has stopped working now
You know who they are, you wouldn’t fucking be here if you didn’t. After what seems like 15 minutes before their scheduled start, The True Mayhem (5) take to the stage, cloaked in blinding strobe lighting. Industrial samples then bombard us, before the legendary Black Metallers erupt into Funeral Fog. Or what I think is Funeral Fog, it’s difficult to tell as all that’s really manifested is one big wall of noise, occasionally punctuated by Attila's rasp. Faaack, this is making my ears bleed and not in a good way either. Whore and a few other tracks go by, but it’s an indistinguishable mess, prompting me to eventually have to leave and go watch Asphyx at The Underworld instead. Disappointing.
Despite being relegated to a single day (which still takes some getting used to), Incineration Festival 2019 was fucking excellent. We were left battered, bruised and all the more eager to see what next year brings. Roll on 2020!
Friday, 17 May 2019
Reviews: Spheres, Thermate, First Signal, Kryptos
Spheres: Iono (Self Released)
I love a bit of prog, especially when it’s muscular and takes risks. French band Spheres’ debut album is both of those things, started by guitarist/vocalist Jonathan Lino only a year ago (May 2018), this debut album is a 40 odd minute journey through some heavy progressive rock that draws influence from Tool, Opeth, Gojira et al musically they bring much of what these bands great to the table, a percussive bass thunk here (Tool) a fret slide there (Gojira) and the reliance on clean/growled vocals (Opeth) you can hear all of these in just the near 7 minute opening number The Cimmerian Ghost, a tribal beginning that leads into the intergalactic Mars a track that channels Mastodon with its vivid soundscapes and dirty grooves.
Lyrically the influences come from everywhere the guitar driven Television Nation is a criticism of TV, Sound City of politicians and Silk Road the dark net. These heady themes met with equally as dense instrumental decisions from Lino, Camille Lafontaine – Guitar, Lek – Bass and Tom Pluijmaekers – Drums as Lino also has the Maynard-meets-Akerfeldt vocal style adding to the heaviness of this record that despite being a progressive album never gets dull, every change brings something new, a melody, riff or blastbeat section, it also helps that it comes with a great sci-fi cover art made for staring at. Spheres are sort of what I think Faith No More would sound like as a prog band, there’s a danger to them that really makes this record stand out from its peers. While the world waits for the new Tool album in August, I’ll just be happy with this on repeat thanks! 9/10
First Signal: Line Of Fire (Frontiers)
Another collab from those folks at Frontiers this time it’s the husky tones of Harem Scarem’s Harry Hess who formed the band in 2010 along with Dennis Ward (Pink Cream 69), during Harem Scarem’s hiatus. Even after they returned Hess was still committed to the idea of continuing First Signal. Luckily Frontiers have numerous multi-talented staff writers and it was producer/drummer Daniel Flores (Murder Of My Sweet, Find Me) who put together the band of Michael Palace (guitar) and Johan Niemann (bass) for a third First Signal album that once again draws inspiration from early Harem Scarem. This record features songs from Hess himself along with numerous other writers who are trying to catch that feeling of early 90’s melodic rock which I’ve always found a lot more interesting than some of the stuff from the 80’s. There is a real slickness to the sound here backing up that North American sound (Harem Scarem are Canadian) as pumping rockier tracks (Falling) blend with ballads (The Last Of My Broken Hearts) and mid-paced anthems (Need You Now). For fans of Winger, Hardline and Tyketto, as well as Harem Scarem obviously, Line Of Fire is a slick melodic rock album from a recognisable voice and some of the best young guns around. 7/10
Thermate: Redshift City (Argonauta Records)
One word to describe Eyes Of Jupiter the opening track on Redshift City and that is fuzz, unadulterated fuzz, big chords are punched out as lead guitar freaks out at the back before the riff repeats for nearly 2 minutes before the vocals kick in. I was scared it would be instrumental. This track is the first single from the record and gives good indication what these Finns are about musically, swaggering stoner riffs with a look back at the 70’s proto-metal bands. This is their first full length record having released two EP’s previously, though only in the stoner (and prog) worlds could 6 tracks be considered a full length as the songs here are all mini-epics probably inspired by long studio jams and extensive use of pot, the songs organically manoeuvre into different shapes during their sometimes gargantuan run times allowing the band to flex their musical muscles, without being over indulgent. The band say Eyes Of Jupiter maybe the heaviest track on the album and that may be true as the remaining five numbers all take more of a space rock vibe. Though, the fuzz, like The Dude, abides until the very last moment. Competent stoner chops from this Kuopio five piece. 7/10
Kryptos: Afterburner (AFM Records)
In the course of this blog (8 years), we’ve heard so many bands in the traditional metal revival. Most hail from North America, Scandinavia or the UK, however determined to break that trend are Kryptos who hail from Banaglore, India. Oddly unlike so many revivalist metal bands this band have been lacing up their high-tops and putting on their bullet belts since 1998, Afterburner is their fifth album and sees them celebrating 20 years with some high-velocity speed metal that draws from Accept, Priest but keeps things nice and underground adding to this albums authentic sound and playing style. There’s no subtlety here the riffs come at lightspeed with twin guitars and thundering bass leading the charge though vocally Nolan owes more to Mr Petrozza than Halford. Its speed metal done at a very high level so it’s a mix of classic British metal and American/German thrash, as songs like the title track, the chugging Dead Of Night, a thrashy Crimson Queen and the fist pumping Into The Wind blast from your speakers. Clad in a Bill Hauser (Hirax & Skeletonwitch) sleeve Kryptos may well be the breakthrough release for this Indian institution. 8/10
I love a bit of prog, especially when it’s muscular and takes risks. French band Spheres’ debut album is both of those things, started by guitarist/vocalist Jonathan Lino only a year ago (May 2018), this debut album is a 40 odd minute journey through some heavy progressive rock that draws influence from Tool, Opeth, Gojira et al musically they bring much of what these bands great to the table, a percussive bass thunk here (Tool) a fret slide there (Gojira) and the reliance on clean/growled vocals (Opeth) you can hear all of these in just the near 7 minute opening number The Cimmerian Ghost, a tribal beginning that leads into the intergalactic Mars a track that channels Mastodon with its vivid soundscapes and dirty grooves.
Lyrically the influences come from everywhere the guitar driven Television Nation is a criticism of TV, Sound City of politicians and Silk Road the dark net. These heady themes met with equally as dense instrumental decisions from Lino, Camille Lafontaine – Guitar, Lek – Bass and Tom Pluijmaekers – Drums as Lino also has the Maynard-meets-Akerfeldt vocal style adding to the heaviness of this record that despite being a progressive album never gets dull, every change brings something new, a melody, riff or blastbeat section, it also helps that it comes with a great sci-fi cover art made for staring at. Spheres are sort of what I think Faith No More would sound like as a prog band, there’s a danger to them that really makes this record stand out from its peers. While the world waits for the new Tool album in August, I’ll just be happy with this on repeat thanks! 9/10
First Signal: Line Of Fire (Frontiers)
Another collab from those folks at Frontiers this time it’s the husky tones of Harem Scarem’s Harry Hess who formed the band in 2010 along with Dennis Ward (Pink Cream 69), during Harem Scarem’s hiatus. Even after they returned Hess was still committed to the idea of continuing First Signal. Luckily Frontiers have numerous multi-talented staff writers and it was producer/drummer Daniel Flores (Murder Of My Sweet, Find Me) who put together the band of Michael Palace (guitar) and Johan Niemann (bass) for a third First Signal album that once again draws inspiration from early Harem Scarem. This record features songs from Hess himself along with numerous other writers who are trying to catch that feeling of early 90’s melodic rock which I’ve always found a lot more interesting than some of the stuff from the 80’s. There is a real slickness to the sound here backing up that North American sound (Harem Scarem are Canadian) as pumping rockier tracks (Falling) blend with ballads (The Last Of My Broken Hearts) and mid-paced anthems (Need You Now). For fans of Winger, Hardline and Tyketto, as well as Harem Scarem obviously, Line Of Fire is a slick melodic rock album from a recognisable voice and some of the best young guns around. 7/10
Thermate: Redshift City (Argonauta Records)
One word to describe Eyes Of Jupiter the opening track on Redshift City and that is fuzz, unadulterated fuzz, big chords are punched out as lead guitar freaks out at the back before the riff repeats for nearly 2 minutes before the vocals kick in. I was scared it would be instrumental. This track is the first single from the record and gives good indication what these Finns are about musically, swaggering stoner riffs with a look back at the 70’s proto-metal bands. This is their first full length record having released two EP’s previously, though only in the stoner (and prog) worlds could 6 tracks be considered a full length as the songs here are all mini-epics probably inspired by long studio jams and extensive use of pot, the songs organically manoeuvre into different shapes during their sometimes gargantuan run times allowing the band to flex their musical muscles, without being over indulgent. The band say Eyes Of Jupiter maybe the heaviest track on the album and that may be true as the remaining five numbers all take more of a space rock vibe. Though, the fuzz, like The Dude, abides until the very last moment. Competent stoner chops from this Kuopio five piece. 7/10
Kryptos: Afterburner (AFM Records)
In the course of this blog (8 years), we’ve heard so many bands in the traditional metal revival. Most hail from North America, Scandinavia or the UK, however determined to break that trend are Kryptos who hail from Banaglore, India. Oddly unlike so many revivalist metal bands this band have been lacing up their high-tops and putting on their bullet belts since 1998, Afterburner is their fifth album and sees them celebrating 20 years with some high-velocity speed metal that draws from Accept, Priest but keeps things nice and underground adding to this albums authentic sound and playing style. There’s no subtlety here the riffs come at lightspeed with twin guitars and thundering bass leading the charge though vocally Nolan owes more to Mr Petrozza than Halford. Its speed metal done at a very high level so it’s a mix of classic British metal and American/German thrash, as songs like the title track, the chugging Dead Of Night, a thrashy Crimson Queen and the fist pumping Into The Wind blast from your speakers. Clad in a Bill Hauser (Hirax & Skeletonwitch) sleeve Kryptos may well be the breakthrough release for this Indian institution. 8/10
Reviews: Rammstein, Lamb Of God, Firespawn, Morass Of Molasses (Paul H)
Rammstein: Untitled (Spinefarm)
It’s been ten years since Rammstein released Liebe Ist Für Alle Da. Such is the profile of the Germans with several festival appearances and solo projects since 2009 that it doesn’t feel like that at all. Never ones to be dictated by fads, fashion or pressure, only Rammstein decided when the next album would arrive. And now its here, has it been worth the wait? Well, in a word, Yes. The backbone of the band is reassuringly familiar. The chopping guitars and clinically delivered drum sound assured and consistent. Till Lindemann’s sinister vocals are as intimidating as ever. But it’s noticeable within minutes that Flake Lorenz’s synths are much more prominent throughout the album. From second single Radio onwards, Lorenz takes the lead on many of the tracks. First up is single Deutschland, the tongue in cheek incongruous history of Germany, which was accompanied by the ten-minute video that appeared as if by magic in March. 20 million views in four days tells you everything.
Although it is assumed this is self-titled, the aura of mystery once again remains with the band refusing all interviews prior to release day. Whilst the core of this album resides in expected territory, Rammstein have tweaked the formula substantially. The heavy remains; Zeig Dich reminiscent of the rapid fire of Zwitter, but with a soaring chorus which allows Lindemann to flex the pipes. As usual, the use of their native tongue adds implication by intonation. Lindemann may be singing about escaping into music in Radio, travelling around the globe in Ausländer or abusing a doll in Puppe but does it really matter. He could be reading out his shopping list and it would still intimidate. Ausländer is borderline pop; if this arrived as an entry in this weekend’s Eurovision Final it would fit in like a glove.
The industrial drive is still present but with an abstract slant which separates it. Sex, with the Depeche Mode bass line and Lindemann’s Teutonic delivery is a track Manson would kill for. Was Ich Liebe (What I Love) crawls and slides with a malevolent undertone, the gentle guitars Richard Z Kruspe and Oliver Riedel on Diamant drifts far away from the metallic stomp, allowing Lindemann space to emotionally deliver. Tattoo returns to more familiar territory, containing elements of those anthems Links 234 and Du Hast, Riedel’s pumping bass lines driving the song towards its conclusion but not before an unexpected diversion after about three minutes; swirling synths intercepting and choreographing the song to another destination completely. Darkness returns on the finale, Hallomann. Slabs of comfortable arena anthems remain, but throughout the Germans have followed their own pathway and produced an album which may not hit the heights of their opening three releases but is both intriguing and enjoyable. 8/10
Lamb Of God: Ashes Of The Wake 15th Anniversary Release (Music For Nations)
It’s been 15 years since Richmond’s finest Lamb of god unleashed this seminal release. A re-release to celebrate may not be welcomed by all but it’s still a lesson in brutality. Exploding through the underground scene with debut New American Gospel and the sophomore As The Palaces Burn in 2003, Ashes Of The Wake was LOG’s first release for a major label rightly propelled them towards their current high global standing. There isn’t a weak track on this album in my opinion, and it has a battery of brutality to open. The opening trio comprises the infectious stomp of Laid To Rest, the bludgeon of Hourglass and the snarling Now You’ve Got Something To Die For. All three remain staples in the band’s live set.
It’s been ten years since Rammstein released Liebe Ist Für Alle Da. Such is the profile of the Germans with several festival appearances and solo projects since 2009 that it doesn’t feel like that at all. Never ones to be dictated by fads, fashion or pressure, only Rammstein decided when the next album would arrive. And now its here, has it been worth the wait? Well, in a word, Yes. The backbone of the band is reassuringly familiar. The chopping guitars and clinically delivered drum sound assured and consistent. Till Lindemann’s sinister vocals are as intimidating as ever. But it’s noticeable within minutes that Flake Lorenz’s synths are much more prominent throughout the album. From second single Radio onwards, Lorenz takes the lead on many of the tracks. First up is single Deutschland, the tongue in cheek incongruous history of Germany, which was accompanied by the ten-minute video that appeared as if by magic in March. 20 million views in four days tells you everything.
Although it is assumed this is self-titled, the aura of mystery once again remains with the band refusing all interviews prior to release day. Whilst the core of this album resides in expected territory, Rammstein have tweaked the formula substantially. The heavy remains; Zeig Dich reminiscent of the rapid fire of Zwitter, but with a soaring chorus which allows Lindemann to flex the pipes. As usual, the use of their native tongue adds implication by intonation. Lindemann may be singing about escaping into music in Radio, travelling around the globe in Ausländer or abusing a doll in Puppe but does it really matter. He could be reading out his shopping list and it would still intimidate. Ausländer is borderline pop; if this arrived as an entry in this weekend’s Eurovision Final it would fit in like a glove.
The industrial drive is still present but with an abstract slant which separates it. Sex, with the Depeche Mode bass line and Lindemann’s Teutonic delivery is a track Manson would kill for. Was Ich Liebe (What I Love) crawls and slides with a malevolent undertone, the gentle guitars Richard Z Kruspe and Oliver Riedel on Diamant drifts far away from the metallic stomp, allowing Lindemann space to emotionally deliver. Tattoo returns to more familiar territory, containing elements of those anthems Links 234 and Du Hast, Riedel’s pumping bass lines driving the song towards its conclusion but not before an unexpected diversion after about three minutes; swirling synths intercepting and choreographing the song to another destination completely. Darkness returns on the finale, Hallomann. Slabs of comfortable arena anthems remain, but throughout the Germans have followed their own pathway and produced an album which may not hit the heights of their opening three releases but is both intriguing and enjoyable. 8/10
Lamb Of God: Ashes Of The Wake 15th Anniversary Release (Music For Nations)
It’s been 15 years since Richmond’s finest Lamb of god unleashed this seminal release. A re-release to celebrate may not be welcomed by all but it’s still a lesson in brutality. Exploding through the underground scene with debut New American Gospel and the sophomore As The Palaces Burn in 2003, Ashes Of The Wake was LOG’s first release for a major label rightly propelled them towards their current high global standing. There isn’t a weak track on this album in my opinion, and it has a battery of brutality to open. The opening trio comprises the infectious stomp of Laid To Rest, the bludgeon of Hourglass and the snarling Now You’ve Got Something To Die For. All three remain staples in the band’s live set.
The chainsaw guitar work of Willie Adler and Mark Morton, the controlled engine room tightness of Chris Alder and John Campbell and Randy Blythe’s distinctive snarling delivery, compelling you to circle pit at every opportunity. This remains explosive and dangerous. The Faded Line and the massive Omerta follow, intensity and power exploding. The latter’s heavier calculated approach as devastating today as it was in 2004. Further beasts lurk within, the frantic pace of Blood Of The Scribe, the visceral Break You amongst the other gems. Although Sacrament which followed in 2006 was the album that pushed LOG forward, Ashes Of The Wake more than matches it. This release includes three demos and B-side Another Nail For Your Coffin one of the most mainstream breakdowns ever written by the band. This album should be in every metal collection. 10/10
Firespawn: Abominate (Century Media Records)
Album number four from the death metal supergroup and once again it’s a scorchingly hot beast with so many sharp edges it’s impossible to hold. Lacerations aplenty here, as LG Petrov, guitarists Victor Brandt and Fredrik Folkare, bassist Alex ‘Impaler’ Friberg, and drummer Matte Modin obliterate for 41 minutes of sublime death metal. After 2015’s impressive Shadow Realms the follow up Reprobate earnt a 9/10 from me and I’m pleased to report that Abominate picks up where its predecessor finished, with some of the old school classic heavy metal and added into the melting furnace for some really fiery and brutal tracks. The Gallows End opens with the sounds of a man’s last minutes, the crowd’s expectant noise and the heavy breathing of the victim as the gaol door clangs open before a groove ridden bass line leads into a sprawling track; raking guitar work and LG Petrov’s instantly recognisable vocal roar but there’s more than just brutal death metal here. The solos focus more on older heavy metal styles, there’s more melody and less bludgeoning.
With all the band involved in the writing process in a way which hasn’t happened before there is understandably more range and variation across this album. The drums of Matte Modin follow a more detailed and intricate pathway whilst the guitar work of Brandt and Folkare feed off each other in a more organic manner than on previous albums. The title track has a slower stomp to it, the shredding Gojira like shrieks and the punishing heavy rhythm underpinning a monster song. The Great One soars and roars, blistering drumming and chainsaw guitar work complementing Petrov’s quite visceral delivery. Don’t for one-minute think this isn’t heavy because it is an absolute monster of an album and there is substantial death metal in the mix. Firespawn has evolved and with it their style. It remains as fierce as before; The penultimate songs The Undertaker and Black Wings Of The Apocalypse are reassurance of that, but everything needs to change and Firespawn has managed that without losing any of their edge or ruthless impact. This is a stunning album. 9/10
Album number four from the death metal supergroup and once again it’s a scorchingly hot beast with so many sharp edges it’s impossible to hold. Lacerations aplenty here, as LG Petrov, guitarists Victor Brandt and Fredrik Folkare, bassist Alex ‘Impaler’ Friberg, and drummer Matte Modin obliterate for 41 minutes of sublime death metal. After 2015’s impressive Shadow Realms the follow up Reprobate earnt a 9/10 from me and I’m pleased to report that Abominate picks up where its predecessor finished, with some of the old school classic heavy metal and added into the melting furnace for some really fiery and brutal tracks. The Gallows End opens with the sounds of a man’s last minutes, the crowd’s expectant noise and the heavy breathing of the victim as the gaol door clangs open before a groove ridden bass line leads into a sprawling track; raking guitar work and LG Petrov’s instantly recognisable vocal roar but there’s more than just brutal death metal here. The solos focus more on older heavy metal styles, there’s more melody and less bludgeoning.
With all the band involved in the writing process in a way which hasn’t happened before there is understandably more range and variation across this album. The drums of Matte Modin follow a more detailed and intricate pathway whilst the guitar work of Brandt and Folkare feed off each other in a more organic manner than on previous albums. The title track has a slower stomp to it, the shredding Gojira like shrieks and the punishing heavy rhythm underpinning a monster song. The Great One soars and roars, blistering drumming and chainsaw guitar work complementing Petrov’s quite visceral delivery. Don’t for one-minute think this isn’t heavy because it is an absolute monster of an album and there is substantial death metal in the mix. Firespawn has evolved and with it their style. It remains as fierce as before; The penultimate songs The Undertaker and Black Wings Of The Apocalypse are reassurance of that, but everything needs to change and Firespawn has managed that without losing any of their edge or ruthless impact. This is a stunning album. 9/10
Morass Of Molasses: The Ties That Bind (Wasted State)
Heavy stoner doom from deepest Berkshire as MOM return with their follow up to 2017’s These Paths We Tread. Not a huge opus at 38 minutes in length, but that’s enough to dose up on the stoner aspects of this powerful release. I’d not heard much about the band for a while, so it was good to hear that they were still punching hard. Opening tracks Woe Betide and Death Of All fused the punk anger with their traditional stoner approach before the blues intro to six-minute Estranger takes the band back to familiar territory. Bones The Beard’s vocals are as raw as ever, whilst his thunderous bass lines continue to cause the earth to wobble on its axis. Guitarist Phil the Mountain throws down thunderbolts of shredding whilst new(ish) drummer Raj the Guru can hit stuff hard. Legend Of The Five Sons deviates into psychedelic territory, whilst the 1:34 instrumental title track is just far out with its haunting flute and acoustic guitar. Persona Non Grata resumes normal service, the bowel shattering riffs and fuzzed up bass distorting the lower end. Heavy stoner rock at its most filthy. 7/10
Heavy stoner doom from deepest Berkshire as MOM return with their follow up to 2017’s These Paths We Tread. Not a huge opus at 38 minutes in length, but that’s enough to dose up on the stoner aspects of this powerful release. I’d not heard much about the band for a while, so it was good to hear that they were still punching hard. Opening tracks Woe Betide and Death Of All fused the punk anger with their traditional stoner approach before the blues intro to six-minute Estranger takes the band back to familiar territory. Bones The Beard’s vocals are as raw as ever, whilst his thunderous bass lines continue to cause the earth to wobble on its axis. Guitarist Phil the Mountain throws down thunderbolts of shredding whilst new(ish) drummer Raj the Guru can hit stuff hard. Legend Of The Five Sons deviates into psychedelic territory, whilst the 1:34 instrumental title track is just far out with its haunting flute and acoustic guitar. Persona Non Grata resumes normal service, the bowel shattering riffs and fuzzed up bass distorting the lower end. Heavy stoner rock at its most filthy. 7/10
Thursday, 16 May 2019
Reviews: Spirit Adrift, Irongate, Midnight Priest, Nothin2Heavy
Spirit Adrift: Divided By Darkness (20 Buck Spin)
The founder of Spirit Adrift Nate Garrett also plays with Arizona death metal merchants Gatecreeper, however Spirit Adrift is not as abusive to the ears as his other job. No this band, now on their third album, play a mixture of doom and traditional heavy metal that gets your head banging from the opening dual guitar melodies of We Will Not Die it's got that classic Ozzy/Dio vibe to it, which is deliberate as Nate Garrett said in a recent issue of Kerrang that he obsessed over the first two Ozzy solo albums while writing this record and that giving up smoking and training his voice has meant he gives his best vocal performance, along with listening to George Jones. What a performance it is, the compositions brim with experience bringing in some thrash and prog/ambient influences, the gallop of the title track, the floaty guitar solo on The Way Of Return is very Pink Floyd (I mean I'd be expecting a subpoena).
On Born Into Fire especially he's got the fist pump of Grand Magus down to a tee, big vocals and fret burning lead playing. As I said this album is tapping into that nostalgic metal sound exemplified by Haunt who they will be touring Arizona and California with. It's a cracking album this much like the Haunt records one man's vision played out with help from some great musicians around him, it's also quite righteous as well with Garrett's lyrics used to portray how he feels about the world especially toxic masculinity on Hear Her (by way of Zombies) and Living Light has some great additional vocals from Kayla Dixon of Witch Mountain on the choral ending. Divided By Darkness is a brilliant traditional metal album, the Yanks are doing this kind of thing very well at the moment so long may it continue! 8/10
Irongate: The Tree (Self Released)
It's 12 hours from Irongate's home town of Portsmouth, Ohio to New Orleans Louisiana but it seems that the sounds of the big easy (and one LA band in particular) have travelled up north as they have influenced Irongate no end. We are in foggy, heavy, low slung riff territory here nods to COC, Down and BLS abound from the grinding Anymore to the stuttering guitar chops on In The Ground. This is a band who pride themselves on leaving everything on stage in every performance this band hail from a blue collar iron making town and this can be heard in their music as they mix the heavier sounds of uncle Zakk (Spinning The Wheel) with more relaxed emotional numbers such as My Song a track that has a little Staind or Alice In Chains to it. It's a heavy Southern metal record from the opening bars across the 8 songs, the kind of music you can hear playing in Sons Of Anarchy. The Tree I believe is their debut record but it's a slick mixture of groove and southern metal/rock influences that brings in more of Zakk's Pride And Glory days towards the end. A testament then that Strength and Determination are merciless forever. 7/10
Midnight Priest: Aggressive Hauntings (Metal On Metal Records)
This is silly, from the melodramatic organ that opens the record, an organ piece that is trying to emulate Orff, it's the first song on this occult, black magic inspired release that owes it's exisitence to Mercyful Fate and the ongoing resurgence in 80's styled heavy metal (as mentioned above). Yes Aggressive Hauntings is the third album from Portuguese leather and stud metal band Midnight Priest who take the occult trappings to the nth degree putting them with bog standard speed metal. The vocals are a little screechy and musically it's not particularly adventurous, Eyes In The Dark is pretty neat but the rest of the album forms one long song and I quickly lost interest. If you are a diehard Mercyful Fate 5/10
Nothin2Heavy: EP (Counter Cult Records)
No we are a metal blog by design, yes we do occasionally go off piste (mainly Alex) but would we really review a band called Nothin2Heavy? Well despite the terrible syntax of their name Nothin2Heavy do at least have rock aspirations most notably that of grunge, you remember grunge right? It was that next big thing of the early 90's that was counterculture to the excessive rock of the 80's. This Mancunian trio have tried their hardest to replicate this sound as faithfully as possible. There is an urgency to this record as if the band turn up, plugged in and just laid down these four songs, there's half-mumbled vocals that occasionally shout in the realms of Seether with some low grooving grunge riffs but there are solos, so Kurt Cobain must be turning in his grave, they even bring some snotty punk on Reject. The band were formed as a bid to keep their record label afloat and their name comes from the consistent requests for something not to heavy but while not as heavy as a band like Conan they do have a danger about them and they like their music rough and ready with a lot of feedback, aggression and a sarcastic sneer. 6/10
The founder of Spirit Adrift Nate Garrett also plays with Arizona death metal merchants Gatecreeper, however Spirit Adrift is not as abusive to the ears as his other job. No this band, now on their third album, play a mixture of doom and traditional heavy metal that gets your head banging from the opening dual guitar melodies of We Will Not Die it's got that classic Ozzy/Dio vibe to it, which is deliberate as Nate Garrett said in a recent issue of Kerrang that he obsessed over the first two Ozzy solo albums while writing this record and that giving up smoking and training his voice has meant he gives his best vocal performance, along with listening to George Jones. What a performance it is, the compositions brim with experience bringing in some thrash and prog/ambient influences, the gallop of the title track, the floaty guitar solo on The Way Of Return is very Pink Floyd (I mean I'd be expecting a subpoena).
On Born Into Fire especially he's got the fist pump of Grand Magus down to a tee, big vocals and fret burning lead playing. As I said this album is tapping into that nostalgic metal sound exemplified by Haunt who they will be touring Arizona and California with. It's a cracking album this much like the Haunt records one man's vision played out with help from some great musicians around him, it's also quite righteous as well with Garrett's lyrics used to portray how he feels about the world especially toxic masculinity on Hear Her (by way of Zombies) and Living Light has some great additional vocals from Kayla Dixon of Witch Mountain on the choral ending. Divided By Darkness is a brilliant traditional metal album, the Yanks are doing this kind of thing very well at the moment so long may it continue! 8/10
Irongate: The Tree (Self Released)
It's 12 hours from Irongate's home town of Portsmouth, Ohio to New Orleans Louisiana but it seems that the sounds of the big easy (and one LA band in particular) have travelled up north as they have influenced Irongate no end. We are in foggy, heavy, low slung riff territory here nods to COC, Down and BLS abound from the grinding Anymore to the stuttering guitar chops on In The Ground. This is a band who pride themselves on leaving everything on stage in every performance this band hail from a blue collar iron making town and this can be heard in their music as they mix the heavier sounds of uncle Zakk (Spinning The Wheel) with more relaxed emotional numbers such as My Song a track that has a little Staind or Alice In Chains to it. It's a heavy Southern metal record from the opening bars across the 8 songs, the kind of music you can hear playing in Sons Of Anarchy. The Tree I believe is their debut record but it's a slick mixture of groove and southern metal/rock influences that brings in more of Zakk's Pride And Glory days towards the end. A testament then that Strength and Determination are merciless forever. 7/10
Midnight Priest: Aggressive Hauntings (Metal On Metal Records)
This is silly, from the melodramatic organ that opens the record, an organ piece that is trying to emulate Orff, it's the first song on this occult, black magic inspired release that owes it's exisitence to Mercyful Fate and the ongoing resurgence in 80's styled heavy metal (as mentioned above). Yes Aggressive Hauntings is the third album from Portuguese leather and stud metal band Midnight Priest who take the occult trappings to the nth degree putting them with bog standard speed metal. The vocals are a little screechy and musically it's not particularly adventurous, Eyes In The Dark is pretty neat but the rest of the album forms one long song and I quickly lost interest. If you are a diehard Mercyful Fate 5/10
Nothin2Heavy: EP (Counter Cult Records)
No we are a metal blog by design, yes we do occasionally go off piste (mainly Alex) but would we really review a band called Nothin2Heavy? Well despite the terrible syntax of their name Nothin2Heavy do at least have rock aspirations most notably that of grunge, you remember grunge right? It was that next big thing of the early 90's that was counterculture to the excessive rock of the 80's. This Mancunian trio have tried their hardest to replicate this sound as faithfully as possible. There is an urgency to this record as if the band turn up, plugged in and just laid down these four songs, there's half-mumbled vocals that occasionally shout in the realms of Seether with some low grooving grunge riffs but there are solos, so Kurt Cobain must be turning in his grave, they even bring some snotty punk on Reject. The band were formed as a bid to keep their record label afloat and their name comes from the consistent requests for something not to heavy but while not as heavy as a band like Conan they do have a danger about them and they like their music rough and ready with a lot of feedback, aggression and a sarcastic sneer. 6/10
Reviews: Hollis Brown, Misth, Caskets, Whitesnake (Paul H)
Hollis Brown: Ozone Park (Mascot Records)
Hollis Brown is a four-piece outfit from New York. Formed in 2009, the band is Mike Montali (Vocals/Guitar), Jonathan Bonilla (Guitar), Adam Bock (Keys), Andrew Zehnal (Drums) and Ozone Park is their third album, following up on 2015’s 3 Shots. Ozone Park is named after the neighbourhood in Queens where the band grew up. Hollis Brown has an impressive resume, having been picked by Adam Duritz to support the Counting Crows on a three-month US tour, as well as shows with Citizen Cope, Jackie Greene, Jesse Malin, Toots & The Maytals and The Zombies. After 3 Shots focused more on a social conscience, Ozone Park is based more on relationships. With a soulful heartbeat that pulses vibrantly throughout, this is an album full of quality. The bouncing funk rock of Blood From A Stone and Stubborn Man, with its pop overtones, open the album. A smart cover of Jesse Marlin’s She Don’t Love Me Now changes the direction, the acoustic and electric guitars working in total harmony.
This is the sophomore release from Stockholm progressive/melodic metal band Misth. At 84 minutes in length it appeared a bit of a beast to tackle at first glance but appearances can be deceptive, and it turned out to be an enjoyable and beautifully crafted album. The background to Misth is interesting, with singer Mary Rădsten originally singing in pop band One More Time in the 1990s. Rădsten teamed up with a band called Mercury Fang, and out of the ashes of that band Misth emerged, with the current line-up comprising keyboard player Jörgen Schelander, drummer Martin Larsson, guitarists Hakén Granant and Fredrik Glimbrand and bassist Olle Boden. The band released Rise Of A New Day in 2013 and now follow that up with this rather special album.
Influences which include Marillion, Dream Theater, Rush, Porcupine Tree, Katatonia and Anathema are evident from the opening track The Impossible Dream, a high energy song with a beautiful melody and feel which provides the gateway to the rest of the album. Rădsten’s powerful clean vocals immediately stand out, crystal clear and inviting; accompanied by swathes of rich keyboards and vocal harmonies which all indicate that this is something special. At times thumpingly heavy, at others delicate and sensitive, Misth have created a formula that is so often absent in the progressive field. The album hypnotises you and several spins later I am still discovering subtle details and jewels overlooked in earlier plays. Moving On is majestic and symphonic, a slight Eastern flavour similar to the pomp of prime Rainbow whilst Fools Of Innocence contains a chunky riff which leads the dance throughout this layered track which also benefits from some rampant drumming and soaring vocals. Misth can do the soft stuff as well, with Silent Night, which opens with strings accompanying Schelander’s haunting keyboard as the track crackles with emotion before erupting into a vivacious crescendo.
Throughout Fallen From Grace the musicianship is first class, and nowhere more so than the eleven and a half minute Masquerade. Suggestions of classic melancholic Queensryche start of the track before it moves up a gear, grit and fire kicking in with a classic string accompaniment to the chugging guitars, Rădsten’s vocal performance astonishing in its power and beauty. As the pace increases, so does the quality of the playing, shades of Dream Theater and Rush [La Villa Strangiato towards the end of the track no less] as it progresses. Then a real gem in Won’t Let You Down, uplifting and magnificent harmonies on the chorus, with some superb guitar work. The album closes with Wishing Well, a Zeppelin/Rush style [Think Jacob’s Ladder] intro before another scintillating track bursts into life. I don’t know what it is about this release. Maybe it’s the progressive elements that whilst intricate aren’t over elaborate, the perfect contrast and balance or the simply incredible variation in vocal delivery but this release captivated me from start to finish. Fallen From Grace is a fantastic album and despite the length, it’s worth the investment. Stunning in every way. 9/10
If you want 83 minutes of misogynistic, crass and highly sexually inappropriate lyrics from a 67-year-old man whose made a living out of such dire songwriting, then I highly recommend the latest album from David Coverdale’s Whitesnake. Welcome to 1983 once more. Formed in 1978 by David Coverdale after his departure from Deep Purple, Whitesnake were originally a hard rock outfit whose soul lay in the very depths of the Blues. The early albums Trouble and Lovehunter [despite its well dodgy artwork] were soaked in the blues, with songs like Walking In The Shadow Of The Blues and Take Me With You as much a showcase for the expressive guitar work of Bernie Marsden and Micky Moody as they were for the band. Even then, Whitesnake was lyrically suspect but it was an era where the trouser snake bulged.
A change to a more commercial sound with Ready And Willing, Come And Get It, Saints & Sinners [which featured the original version of Here I Go Again] and 1984’s commercial breakthrough Slide It In followed, although it was remixed by Geffen for the US release [John Sykes and Neil Murray replacing Micky Moody and Colin Hodgkinson’s guitar and bass parts respectively]. 1987’s Self-titled album saw the band move to their platinum peak, riding the MTV wave with the ballad Is This Love and the re-recorded version of Here I Go Again. 8 million sales make Whitesnake the biggest seller in the band’s catalogue. Since 1989’s Slip Of The Tongue, it’s fair to say that Coverdale and Whitesnake’s fortunes have been variable to say the least. With only drummer Tommy Aldridge remaining from that 1989 line-up, the last two decades has seen sporadic releases, inconsistent live performances and of course, 2015’s The Purple Album which I fucking hated – see my review: http://musipediaofmetal.blogspot.com/2015/06/reviews-whitesnake-monster-review-by.html
Eight years after Forevermore, the ‘Snake return with their 12th studio album. Lyrically it’s as abysmal as always, Coverdale still churning out those toe-curling lyrics that raised your parents’ eyes back in the eighties when 12 years of age you innocently ran around the house singing “I’m a love hunter baby”. Yes, those innuendos and misogynistic lines are as cringeworthy as they were back in 1982. Clearly time and events of the last 20 years haven’t reached Coverdale in his LA mansion. “When you’re resting beside me at the end of the day, the warmth of your body takes my breath away” [When I Think of You (Color Me Blue)];“Making love in the cool of the night, I’m gonna treat you right” [Gonna Be Alright]; “I can’t keep my hands to myself, baby I’m screwed” [Shut Up And Kiss Me]. Yeah, not alright. Musically the production is slick and polished, although if you are hoping for any kind of return to the blues-based rock of the late 1970s then you’ll be sorely disappointed. Coverdale knows that his market is very much the American radio-friendly rock and aims his snake directly at it.
Hollis Brown is a four-piece outfit from New York. Formed in 2009, the band is Mike Montali (Vocals/Guitar), Jonathan Bonilla (Guitar), Adam Bock (Keys), Andrew Zehnal (Drums) and Ozone Park is their third album, following up on 2015’s 3 Shots. Ozone Park is named after the neighbourhood in Queens where the band grew up. Hollis Brown has an impressive resume, having been picked by Adam Duritz to support the Counting Crows on a three-month US tour, as well as shows with Citizen Cope, Jackie Greene, Jesse Malin, Toots & The Maytals and The Zombies. After 3 Shots focused more on a social conscience, Ozone Park is based more on relationships. With a soulful heartbeat that pulses vibrantly throughout, this is an album full of quality. The bouncing funk rock of Blood From A Stone and Stubborn Man, with its pop overtones, open the album. A smart cover of Jesse Marlin’s She Don’t Love Me Now changes the direction, the acoustic and electric guitars working in total harmony.
Mike Montali’s warm vocals are a deep joy to listen to, with the subtle interplay between guitar and keyboard in total harmony with the songs. This is Americana, it’s soul, it’s rock ‘n’ roll; hardly surprising given the melting pot of music that the band grew up amongst. Do Me Right has a RHCP riff before moving into more alternative territory, a pulsing bass line driving the song forward, whilst the soulful Forever In Me changes tack with a metronomic beat, simple organ chord and Montali’s clear vocals taking centre stage. Someday Soon and The Way She Does It are perfect for a lazy Sunday morning, the relaxed laid back feel not detracting from the synchronicity between all the band. Ending with the fuzzed up Bad Mistakes with its hints at The Rival Sons and another funked up song in Go For It, Hollis Brown demonstrate that not only is variety the spice of life, it’s also a sign of quality. 8/10
Misth: Fallen From Grace (Granaten Records)
Misth: Fallen From Grace (Granaten Records)
This is the sophomore release from Stockholm progressive/melodic metal band Misth. At 84 minutes in length it appeared a bit of a beast to tackle at first glance but appearances can be deceptive, and it turned out to be an enjoyable and beautifully crafted album. The background to Misth is interesting, with singer Mary Rădsten originally singing in pop band One More Time in the 1990s. Rădsten teamed up with a band called Mercury Fang, and out of the ashes of that band Misth emerged, with the current line-up comprising keyboard player Jörgen Schelander, drummer Martin Larsson, guitarists Hakén Granant and Fredrik Glimbrand and bassist Olle Boden. The band released Rise Of A New Day in 2013 and now follow that up with this rather special album.
Influences which include Marillion, Dream Theater, Rush, Porcupine Tree, Katatonia and Anathema are evident from the opening track The Impossible Dream, a high energy song with a beautiful melody and feel which provides the gateway to the rest of the album. Rădsten’s powerful clean vocals immediately stand out, crystal clear and inviting; accompanied by swathes of rich keyboards and vocal harmonies which all indicate that this is something special. At times thumpingly heavy, at others delicate and sensitive, Misth have created a formula that is so often absent in the progressive field. The album hypnotises you and several spins later I am still discovering subtle details and jewels overlooked in earlier plays. Moving On is majestic and symphonic, a slight Eastern flavour similar to the pomp of prime Rainbow whilst Fools Of Innocence contains a chunky riff which leads the dance throughout this layered track which also benefits from some rampant drumming and soaring vocals. Misth can do the soft stuff as well, with Silent Night, which opens with strings accompanying Schelander’s haunting keyboard as the track crackles with emotion before erupting into a vivacious crescendo.
Throughout Fallen From Grace the musicianship is first class, and nowhere more so than the eleven and a half minute Masquerade. Suggestions of classic melancholic Queensryche start of the track before it moves up a gear, grit and fire kicking in with a classic string accompaniment to the chugging guitars, Rădsten’s vocal performance astonishing in its power and beauty. As the pace increases, so does the quality of the playing, shades of Dream Theater and Rush [La Villa Strangiato towards the end of the track no less] as it progresses. Then a real gem in Won’t Let You Down, uplifting and magnificent harmonies on the chorus, with some superb guitar work. The album closes with Wishing Well, a Zeppelin/Rush style [Think Jacob’s Ladder] intro before another scintillating track bursts into life. I don’t know what it is about this release. Maybe it’s the progressive elements that whilst intricate aren’t over elaborate, the perfect contrast and balance or the simply incredible variation in vocal delivery but this release captivated me from start to finish. Fallen From Grace is a fantastic album and despite the length, it’s worth the investment. Stunning in every way. 9/10
Caskets: Orbit/Head First (Self Released)
Alternative, grungy but with a hardened edge, Caskets is a four-piece from London whose latest offering Orbit/Head First was released back in February. Two tracks, the first being unsurprisingly Orbit. A weighty 8:41 in duration, Caskets throw it down with an earthy organic sound, full of down tuned guitar work and fuzzy riffs, they stray into stoner country at times. Head First, a mere seven minutes long meanders but contains a couple of decent hooks to keep the listener entertained. Caskets deliver their recordings in small pieces, with this EP the fourth release since debut Caskets in 2016. Comprising Laurence Bowers on drums, Dylan Perryman on guitar, Saul Perryman on vocals and bass and guitarist Dominic Powers, Caskets have sufficient bite to maintain interest throughout. It’s not my usual listening, but the neat guitar work on Head First certainly commands the attention. 6/10
Whitesnake: Flesh & Blood (Ward Records Ltd)
If you want 83 minutes of misogynistic, crass and highly sexually inappropriate lyrics from a 67-year-old man whose made a living out of such dire songwriting, then I highly recommend the latest album from David Coverdale’s Whitesnake. Welcome to 1983 once more. Formed in 1978 by David Coverdale after his departure from Deep Purple, Whitesnake were originally a hard rock outfit whose soul lay in the very depths of the Blues. The early albums Trouble and Lovehunter [despite its well dodgy artwork] were soaked in the blues, with songs like Walking In The Shadow Of The Blues and Take Me With You as much a showcase for the expressive guitar work of Bernie Marsden and Micky Moody as they were for the band. Even then, Whitesnake was lyrically suspect but it was an era where the trouser snake bulged.
A change to a more commercial sound with Ready And Willing, Come And Get It, Saints & Sinners [which featured the original version of Here I Go Again] and 1984’s commercial breakthrough Slide It In followed, although it was remixed by Geffen for the US release [John Sykes and Neil Murray replacing Micky Moody and Colin Hodgkinson’s guitar and bass parts respectively]. 1987’s Self-titled album saw the band move to their platinum peak, riding the MTV wave with the ballad Is This Love and the re-recorded version of Here I Go Again. 8 million sales make Whitesnake the biggest seller in the band’s catalogue. Since 1989’s Slip Of The Tongue, it’s fair to say that Coverdale and Whitesnake’s fortunes have been variable to say the least. With only drummer Tommy Aldridge remaining from that 1989 line-up, the last two decades has seen sporadic releases, inconsistent live performances and of course, 2015’s The Purple Album which I fucking hated – see my review: http://musipediaofmetal.blogspot.com/2015/06/reviews-whitesnake-monster-review-by.html
Eight years after Forevermore, the ‘Snake return with their 12th studio album. Lyrically it’s as abysmal as always, Coverdale still churning out those toe-curling lyrics that raised your parents’ eyes back in the eighties when 12 years of age you innocently ran around the house singing “I’m a love hunter baby”. Yes, those innuendos and misogynistic lines are as cringeworthy as they were back in 1982. Clearly time and events of the last 20 years haven’t reached Coverdale in his LA mansion. “When you’re resting beside me at the end of the day, the warmth of your body takes my breath away” [When I Think of You (Color Me Blue)];“Making love in the cool of the night, I’m gonna treat you right” [Gonna Be Alright]; “I can’t keep my hands to myself, baby I’m screwed” [Shut Up And Kiss Me]. Yeah, not alright. Musically the production is slick and polished, although if you are hoping for any kind of return to the blues-based rock of the late 1970s then you’ll be sorely disappointed. Coverdale knows that his market is very much the American radio-friendly rock and aims his snake directly at it.
And if you want hard rock that you can drive with the top down in the Californian sunshine and IF you can ignore the lyrics, this album would probably work. Opener Good To See You, the pumping [no innuendo intended] title track and the feisty Get Up all race along at speed. The inevitable ballads are as uncomfortable as ever; When I Think Of You (Color Me Blue) and the appalling After All which contains the line “After all, You have my love and my devotion, After all, it’s deeper than the ocean” both induce a nausea that is unwelcome and disturbing. The end of Get Up, a track which the current Deep Purple line-up could have delivered so much better, includes Coverdale moaning in such a way I trawled the internet to see if he’d had an asthma attack during the recording of it.
Coverdale’s band remains the outfit responsible for The Purple Album. Just needed to put that out there. Tommy Aldridge on drums, guitarists Reb Beach and Joel Hoekstra, bassist Michael Devlin and Michele Luppi on keyboards; their performance here typically brash and American, lots of showy guitar and big, booming drums. And they do their job well. But I cannot and will not shy away from the fact that Coverdale’s lyrics detract from anything the rest of the band do. Yes, there are hundreds of bands who write in similar style, and I have favourites from the 1970s and 1980s where the songs are just as questionable, but in 2019? Yes, it’s just music and maybe I’m being oversensitive, but that’s me and this is my opinion. It’s our role as reviewers to challenge and question. It’s your decision as a reader to think. This is an album that may be polished and professional, but its inappropriateness is astonishing. 4/10
Coverdale’s band remains the outfit responsible for The Purple Album. Just needed to put that out there. Tommy Aldridge on drums, guitarists Reb Beach and Joel Hoekstra, bassist Michael Devlin and Michele Luppi on keyboards; their performance here typically brash and American, lots of showy guitar and big, booming drums. And they do their job well. But I cannot and will not shy away from the fact that Coverdale’s lyrics detract from anything the rest of the band do. Yes, there are hundreds of bands who write in similar style, and I have favourites from the 1970s and 1980s where the songs are just as questionable, but in 2019? Yes, it’s just music and maybe I’m being oversensitive, but that’s me and this is my opinion. It’s our role as reviewers to challenge and question. It’s your decision as a reader to think. This is an album that may be polished and professional, but its inappropriateness is astonishing. 4/10
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