Baroness: Gold & Grey (Abraxan Hymns)
Baroness are a band that feel like they have been a huge part of my life and looking back on it they have been, their seminal second album Blue Record turns 10 this year and those of us who have been on this ride since before then, with the debut Red Album in 2007, will have seen Baroness evolve into the multi-faceted musically dexterous, emotionally driven band they are today. Cut from the same initial cloth as Mastodon and Kylesa, this Georgian (as in state of) band much like their compatriots have shifted out of the sludge sound that defined them early on, bringing a broader range of sounds as they progressed. Gold & Grey is their sixth chromatically themed album once again wrapped in the beautiful artwork of frontman John Baizley, it also marks their final album that will have a colour given to it. As with all of Baizley’s writing it’s very personal and reflective, musing on the nature of the band after 12 years and a very torrid history, most recently the horrendous bus crash in Bath, between Yellow & Green and Purple which injured two people seriously.
On Purple it was a band re-establishing themselves, while still in convalescence, Gold & Grey is a now the sound of an almost completely different band, from the one on Red Album as guitarist Pete Adams left and has been replaced by Gina Gleason, Baizley credits Gina along with Nick Jost (bass, synthesizer, keyboards) and Sebastian Thomson (drums) as pushing him to “become a better songwriter, musician and vocalist” and it’s a difficult point to critique. Take I’d Do Anything it’s a maudlin number that is built around Baizley’s rough, emotive vocal backed by some atmospheric synths and single electric guitar, about as far from sludge metal as you can get as is Emmett –Radiating Light which could be Tom Waits, while Tourniquet has that balance of light and shade. This difference to where they have come from is also true of the numerous interludes that fill the album setting the scenes for song Anchors Lament or just giving it a natural flow Blankets Of Ash.
For this record the band have relocated to Philadelphia from Georgia and it’s meant that Gold & Grey is an almost cathartic experience, moving away from one chapter onto the next, in the most blazing way possible the shimmers of gold hinting at triumphs but the grey remembering tragedy. Musically the band has never been more adventurous, their base sound is still there but they just layer it with everything they have learnt over these 12 years, for instance Borderlines the first single from this album, which comes in at track 15 has a nod to the modern prog sound with its fluid guitar sound and bounce as synths phase in for what is a complex but undoubtedly catchy song, it’s the opposite of the intensely final song psych driven Pale Sun, the punchy I’m Already Gone and the heavy Throw Me An Anchor, these songs in themselves retain a level of accessibility but all show what a diverse record Gold & Grey is. There have been some comments over the production of this record but personally I love the work Dave Fridmann has done with The Flaming Lips and I think he gives the album uniqueness in a world of crystal clear sound. Baroness now can do anything they want musically, but this could just be their masterpiece. 10/10
H.E.A.T: Live At Sweden Rock (earMusic)
I’ve seen H.E.A.T live a number of times and every time their style of synth drenched sleazy AOR impresses on the live stage more so than they have on record. So how do they stack up as a recorded-live band? Well this is their second live record but their first with a visual (Blu-Ray/DVD) accompaniment and it’s comprised of songs from their most recent release Into The Great Unknown along with some older songs. Performed in front of fellow Swedes they are almost preaching to the converted as the crowd seem into it from Bastard Of Society until the very end, it also means that much of the between song banter is in Swedish which may throw non Swedes out of the illusion that they are there for a moment but the songs are strong enough and obviously built for the live stage.
Although what you do notice here that I haven’t on either their albums or when I’ve seen them is the limitations of Erik Grönwall’s vocal limitations, this could be due to studio assistance and when you are watching them his on stage charisma means that you are in the moment. Maybe I wouldn’t have noticed it on the DVD but when just presented with the audio, he hasn’t got the greatest range. Still if you want a snippet of what H.E.A.T are like live or indeed you were at the show and want to relive it then it may be worth picking up this CD/DVD set, other than that file under: fans only. 6/10
Alien Within: Blessed By The Fallen (Self Released)
Athenians Alien Within (formerly Alien TV) certainly take their stoner rock sound from some of the leaders in the genre, starting out as a punk band their musical style is influenced by Corrosion Of Conformity and Monster Magnet with heavy hitting riffs and burly vocals leading the charge, they know when to riff hard but also when to ease off and bring in melodic lead line or swirling solo. Four of the five members met while on the same paintball team which is a neat origin story but like those ball bearings there is a punch to this full length release. Red River has Pepper and co all over it, while Too High With The Devil brings in some blues chops especially in the middle eight, Downtown Miners has that desert rock haze building a slow and deliberate fuzz and a curveball comes with the thrashy Shaken Dismantled Abused. Mostly though Blessed By The Fallen has big stoner riffs bursting out of your speakers (no matter how big), which for my money puts them at the same level as their influences as everything here is played really well, from the gargantuan riffs, with the flourishes of blues funk and soul, to the excellent vocals and the crisp production it’s nine tracks that will get your fist pumping. I’ve made no bones about how good Greek stoner rock is and also how much I enjoy it but I’d put Alien Within up with Nightstalker and Planet Of Zeus, hail the riff! 8/10
Downtown Association: Born Enraged (New Dream Records)
From the cityscape of Thessaloniki Downtown Association is apparently “the outcome of some dead-serious problem bastards weirdly meeting under unknown situations and forming an urban-toxic rock n roll ensemble”. So yeah with that formation story you’ve hopefully got an idea what they may sound like. If not then I’d say they are a sleazy hard rock band with the same dangerous attitude of Motley Crue or Skid Row, though with a modern edge. Dean Mess’s vocals are rough and whiskey soaked, while the guitar of George Matikas is slinky and filthy as the rhythm section of Tasos D. and
Nik Danielos keep things nice and thick. They’ve got a mantra to raise hell however they are playing with some done-to-death tropes that really bore you after a few songs. They maybe Born Enraged but this album doesn’t sound more than mildly miffed. 5/10
Monday, 17 June 2019
Sunday, 16 June 2019
Reviews: Streambleed, Sour Tusk, Aphrodite, Shotgun Sawyer (Matt & Paul H)
Streambleed: Enslave The World Forever (Wormholedeath Records) [Paul H]
Austrian groove metal from Streambleed, formed in 2015 by guitarist Stefan Wöginger and singer Stefan Weilnböck. This is the debut album from the band, whose line-up is completed by bassist Jakob Reiter, guitarist Christian Rosner and Tobias Mayrhofer on drums. Powerfully delivered, the band certainly play with a groove that pulses vibrantly from the opening bars of Damnation through to bonus track Let It Out Loud. Chainsaw chopping guitars, snarling vocals and a maelstrom of rhythm underpin this impressive release. Certainly, if you like the roaring no-nonsense approach that Lamb of god have set the bar for, then this should be right up your street. The opening five tracks leave little to the imagination, face melting riffs and pounding drumming destroy all around. Black Rain slows the pace, and it’s probably one to leave behind. I can see the approach, but Weilnböck’s vocals are far superior when he is spitting his bile than trying to deliver the slower stuff. Normal thrashing service is resumed on Voice Of The Stream and from here on in things improve again. Big, chunky riffs and a pace that will incite pit action make this a debut release to be proud of. 7/10
Sour Tusk: Turn It Up (Self Released) [Matt]
The opening song on this debut album from Sheffield two piece is called Midnight (Born To Lose). Note the Born To Lose in parenthesis, the motto of the legendary Motorhead frontman Lemmy, that gives you all you need to know about Sour Tusk's sound. It's loud, filthy, angry and doesn't give a shit what you think about it. They formed in 2016 and have a torrid history of former members which means that they are now a duo consisting of drummer Nic Rudd and guitarist Jake Johnson both sharing vocals, well I say vocals more shouts as it's not really meant to be tuneful just full of attitude. The rawness of the vocals is perfect as songs like Behind The Sun are designed to kick you in the teeth, shoot a whiskey and then steal your girlfriend, it's Motorhead without the bellyaching basslines of Lem but you never really miss them as Jake has his guitar so down tuned that it could be used as a laxative.
I'll say the production on this record is excellent despite just having two members everything here sounds big but has a primal punk energy, take the bottom heavy Filth, it's reinforced by the production and mix, to make it a little RATM like. They make a mess of the blues on Drinking Man which is ZZ Top meets Clutch and sees the band laying down a challenge to anyone next time they are in a bar. The one small criticism I have is that the band obviously draw influence from Motorhead and Clutch but unlike those bands the lyrics are a little simplistic but then you really don't need to listen to them, just drink your tipple of choice, bang your head and shout the choruses at the top of your lungs. Do as they say Turn It Up. 8/10
Aphrodite: Lust And War (Fighter Records) [Matt]
A relatively new band Canadian speed metallers Aphrodite take their name from the Greek god of love and there is a lot to love on this album. Rampaging riffs come from the opening seconds all the way through these songs that take influence from Greek Mythology. Long time readers will know Ancient History is what I have a degree in, and to be honest theses tracks are loosely based around the myths and legends such as Ares, Medusa, Thesus but they are great starting points for these DIY styled speed metal tracks. Made up of Jo Steel on guitars, bass, drums providing the snarling bottom layer for Jan Turbo's slicing guitar solos and Tanza Speed's raw vocals. It's unrefined and frenetic like it was back in the leather clad 80's a punk edge coming through. Do these Canadian's reinvent the wheel? Christ no. But do they play riotous, fun, metal music? Hell yes. Get some Lust And War you know you want too. 7/10
Shotgun Sawyer: Bury The Hatchet (Ripple Music) [Matt]
Brett (bass), Dylan (guitar/vocals), and David (drummer) are the three members of Shotgun Sawyer from Auburn California, they play some swaggering fuzz rock that has tried to reinvent the old school sounds of Muddy Waters and Howlin Wolf into the modern era that makes them sound a lot like The Black Keys with the fuzz pedal ramped up to 11 giving some filthy rhythms along with the steady drum beat that allows the guitars to really work their magic on slinky numbers such as When The Sun Breaks and the wild Shallow Grave. Elsewhere on the album they have a bit of Zep (Ain't Tryin To Go Down Slow), some country pickin on Backwoods Bear and a bit of a ZZ Top shuffle on You Got To Run. It's at times wild at others more reserved but the fuzz and groove always comes through leading to many great guitar driven freak outs. Bury The Hatchet is the right weight and sharpness of their titular axe making for a neat slice of rock n roll. 7/10
Austrian groove metal from Streambleed, formed in 2015 by guitarist Stefan Wöginger and singer Stefan Weilnböck. This is the debut album from the band, whose line-up is completed by bassist Jakob Reiter, guitarist Christian Rosner and Tobias Mayrhofer on drums. Powerfully delivered, the band certainly play with a groove that pulses vibrantly from the opening bars of Damnation through to bonus track Let It Out Loud. Chainsaw chopping guitars, snarling vocals and a maelstrom of rhythm underpin this impressive release. Certainly, if you like the roaring no-nonsense approach that Lamb of god have set the bar for, then this should be right up your street. The opening five tracks leave little to the imagination, face melting riffs and pounding drumming destroy all around. Black Rain slows the pace, and it’s probably one to leave behind. I can see the approach, but Weilnböck’s vocals are far superior when he is spitting his bile than trying to deliver the slower stuff. Normal thrashing service is resumed on Voice Of The Stream and from here on in things improve again. Big, chunky riffs and a pace that will incite pit action make this a debut release to be proud of. 7/10
Sour Tusk: Turn It Up (Self Released) [Matt]
The opening song on this debut album from Sheffield two piece is called Midnight (Born To Lose). Note the Born To Lose in parenthesis, the motto of the legendary Motorhead frontman Lemmy, that gives you all you need to know about Sour Tusk's sound. It's loud, filthy, angry and doesn't give a shit what you think about it. They formed in 2016 and have a torrid history of former members which means that they are now a duo consisting of drummer Nic Rudd and guitarist Jake Johnson both sharing vocals, well I say vocals more shouts as it's not really meant to be tuneful just full of attitude. The rawness of the vocals is perfect as songs like Behind The Sun are designed to kick you in the teeth, shoot a whiskey and then steal your girlfriend, it's Motorhead without the bellyaching basslines of Lem but you never really miss them as Jake has his guitar so down tuned that it could be used as a laxative.
I'll say the production on this record is excellent despite just having two members everything here sounds big but has a primal punk energy, take the bottom heavy Filth, it's reinforced by the production and mix, to make it a little RATM like. They make a mess of the blues on Drinking Man which is ZZ Top meets Clutch and sees the band laying down a challenge to anyone next time they are in a bar. The one small criticism I have is that the band obviously draw influence from Motorhead and Clutch but unlike those bands the lyrics are a little simplistic but then you really don't need to listen to them, just drink your tipple of choice, bang your head and shout the choruses at the top of your lungs. Do as they say Turn It Up. 8/10
Aphrodite: Lust And War (Fighter Records) [Matt]
A relatively new band Canadian speed metallers Aphrodite take their name from the Greek god of love and there is a lot to love on this album. Rampaging riffs come from the opening seconds all the way through these songs that take influence from Greek Mythology. Long time readers will know Ancient History is what I have a degree in, and to be honest theses tracks are loosely based around the myths and legends such as Ares, Medusa, Thesus but they are great starting points for these DIY styled speed metal tracks. Made up of Jo Steel on guitars, bass, drums providing the snarling bottom layer for Jan Turbo's slicing guitar solos and Tanza Speed's raw vocals. It's unrefined and frenetic like it was back in the leather clad 80's a punk edge coming through. Do these Canadian's reinvent the wheel? Christ no. But do they play riotous, fun, metal music? Hell yes. Get some Lust And War you know you want too. 7/10
Shotgun Sawyer: Bury The Hatchet (Ripple Music) [Matt]
Brett (bass), Dylan (guitar/vocals), and David (drummer) are the three members of Shotgun Sawyer from Auburn California, they play some swaggering fuzz rock that has tried to reinvent the old school sounds of Muddy Waters and Howlin Wolf into the modern era that makes them sound a lot like The Black Keys with the fuzz pedal ramped up to 11 giving some filthy rhythms along with the steady drum beat that allows the guitars to really work their magic on slinky numbers such as When The Sun Breaks and the wild Shallow Grave. Elsewhere on the album they have a bit of Zep (Ain't Tryin To Go Down Slow), some country pickin on Backwoods Bear and a bit of a ZZ Top shuffle on You Got To Run. It's at times wild at others more reserved but the fuzz and groove always comes through leading to many great guitar driven freak outs. Bury The Hatchet is the right weight and sharpness of their titular axe making for a neat slice of rock n roll. 7/10
Saturday, 15 June 2019
Reviews: Danny Bryant, Thirty Giants, Tanzwut, The Brink (Matt & Alex)
Danny Bryant: Means To Escape (Jazzhaus Records) [Matt]
Danny Bryant has the blues, the only cure is to grab a six string, play some twelve bars and write an album. This is his 11th studio album and the first one he has produced by himself as he felt the songs on this record would benefit from a live-in-the-studio recording method to give them an organic feel. He's managed to capture that as Warning Signs (In Her Eyes) has a nice steady beat before the fireworks in the middle, it's in the middle of two tender ballads in the shape of the stripped back Skin And Bone and the piano led Where The River Ends which is an emotional piece that has some tasty Hammond in the bubbling in the background.
Means To Escape is a record that is very personal to Bryant, as it signifies the way he takes himself away from the rest of the world and by locking himself in a studio with both versions of his band (four piece and Big Band) he has managed to craft a record of contemporary blues numbers that carry all the traits of the greats, Hurting Time has a New Orleans shuffle with some soulful slide guitar and brass parps while Tired Of Trying is a big, ballsy rocker and the title track is particularly due to soaring guitar playing and Bryant's husky voice. Bryant considers this the album he's most proud of and you can understand why that is. Modern blues at it's best, a very welcoming Means To Escape. 8/10
Thirty Giants: Struggle (Self Released) [Matt]
Rising from the ashes of several Brighton based bands Thirty Giants, want to make a building levelling footprint on the UK rock scene. Struggle is their debut record and they are clearly trying to define themselves as a band that draws from certain styles but uses them to their own advantage. Those styles are that of bands such as Mastodon and Baroness (whose new album maybe an AOTY) where the drumming is expressive but battering, the bass is as important a riff machine as the six strings which also sometimes explode into blasts of melody along with crushing grooves like on 1409. This version of the band has only been in existence since 2017 but their sound is honed by live performance giving it bite but with some progressive touches that separate them. What also gives them a distinction from other UK bands playing this music is the European pronunciation of Luca who’s Italian heritage comes through but can also be heard in numerous Greek stoner/doom bands.
Personally I love the grittiness of his vocals against the cleaner tones of bassist Sam as they work well with the riffs they both lay down along with Dale, the separation of the instruments is key on the beginning of Vessels, it’s led by the bass and the guitars are both adding different sounds to it as Will’s drums keep it all together with imaginative drumming as it builds into a track that has a marching discordant ambience to it. It’s got a mish mash of genres much like the two bands I mentioned they draw influence, even moving into the hardcore style of things on Orchard Of Bones, but the treat it all with deference as they know they are on well trodden ground. As much as that maybe Thirty Giants are making their own imprints with this debut album. 7/10
Tanzwut: Seemannsgarn (AFM Records) [Alex]
Seemannsgarn translates from German to English, roughly as ‘sea story’, which makes sense. While all the hallmarks of traditional industrial are still in place – Guttural vocals, punishing guitars and pounding rhythms – there is a nautical folk twist. There are also hints of power metal present, and I will even go a far to say that the melodies have lots of flesh on the bone, in spite of the fact that the instrumentals often don’t. While industrial isn’t exactly known for vast and ambitious composition, the genres drawn on here demand a certain flair, skill and richness which Tanzwut do not express here. Firstly, the primary instrument they employ in fostering the medieval, olden days feel, are bagpipes - four of them to be exact. Now, before I provoke the wrath of hordes of furious bagpipers, let me say that I have nothing against this move. Alestorm, Nightwish and Eluveitie have successfully employed bagpipes in the past, and they certainly help to lift these anthems to a level of authenticity. However, they lose their poignancy when they are the only instrument carrying the folk aspect, without so much as an acoustic guitar, violins or woodwind to disrupt the monotony. Furthermore, a sense of tedium is also exasperated by the albums hour long run length. The result is a fun album, yet one which fails to hold my attention or pique my interest to explore the band's catalogue
Seemannsgarn opens, the bagpipes establishing a dramatic and tense beginning. Galenvogel is equally commanding, the powerful chorus compelling me to sing along, despite the fact that I don’t know any German. Die lettzte Schlacht brings huge guitars into the mix, harnessing a melodramatic vibe and doing so with pride. You get the idea by now, right? Tanzwut is having an unashamed fun time with this album, and good for them! Decent music does not need to take itself entirely seriously 100% of the time. However, around about here, a problem starts bleeding through the light-hearted facade. All the songs start to blur into one cohesive, ultra-ambitious mess. The different instrumental choice becomes grating and has the effect of homogenizing the album, in the most abnormal way possible. Say what you want about how an instrument is only as good or bad as the person playing. The skill of the four bagpipe players is not in question - each of them is undoubtedly talented behind their instrument.
What I am going to question is the effectiveness of the instrument in conveying emotion, when it can barely shift pitch or tone. One of the much needed moments of respite we get is on the traditional sounding, Franscoise Villon, where there is more focus on guitars and vocals than anything else. Alas, as cliché as it may seem to compare a German act to Rammstein, there is no denying that they have a sound which is easy to imitate. Das Gewissen and I'm freien fall try to replicate the sound as closely as possible, except, rather than gnashing guitar interludes offset by growled vocal passages, take a wild guess as to what instrument they use. That said, I do think Till Lindeman and the gang could learn a fair bit from Tanzwut. A Bagpipe or four could have made the self-titled album interesting. I guess the moral of the review is to always use traditional Celtic instruments in moderation, especially when they have a reputation for being irritating.
As I said in the intro, I do welcome the traditional influence and wish more acts within metal would employ such tactics. However, in embracing such a stereotypical, repetitive and annoying way of broadening their horizons, Tanzwut have created an album which proves an incredibly tedious and difficult listen. 4/10
The Brink: Nowhere To Run (Frontiers Records) [Alex]
Playing a style of throttling hard rock, The Brink bring the riffs and choruses hard on Nowhere To Run. There’s plenty of nods to the classics to be found, but the production and tone lend a distinctly modern sound to the debut. Energy and attitude serve to differentiate the quartet from the multitude of generic rock bands imitating their idols, and bringing nothing new to the genre. Where we do see a decades-old technique being employed here, it feels genuine and born out of a real passion for the style.
Little Janie opens, a high octane riff, and a galloping rhythm section getting the record off to an exhilarating start. The melody feels made for arenas, the bravely soaring nature, echoing many of the great vocalists of glam metal. In a possible Alice Cooper reference, Break These Chains continues the momentum, gliding at a mid-tempo ride, and picking up powerfully for the hook. Even when taking on ballads, these musicians are able to capture the exaggerated sentimentality in impressive fashion. Both Never Again and Save Goodbye are slow songs with towering guitar solos and awesome string sections. That said, One Night Only makes a return to the raunchy, crude and exciting type of anthem which the Brink excels in creating. Meanwhile, Don’t Count Me Out and Are You With Me? Utilize freneticism and volume to dispel a positive message of enjoying life while it lasts, and seizing the moment. By altering from slow to fast, the album keeps the listener interested and retains a gripping texture.
Overall, while I don’t expect Nowhere To Run to change the minds of anyone who just doesn’t care for straightforward hard rock (who are you people?), it represents the genre exceedingly well. I will admit that the genre label bears connotations of typical musical traits, which not too many hard rock acts deviate from. Even this one stand by the conventions which define their influences. However, rather than cynically pander to those influences, they embrace them, reinvigorating classic rock in a way which reminds us why we started to enjoy it in the first place. 7/10
Danny Bryant has the blues, the only cure is to grab a six string, play some twelve bars and write an album. This is his 11th studio album and the first one he has produced by himself as he felt the songs on this record would benefit from a live-in-the-studio recording method to give them an organic feel. He's managed to capture that as Warning Signs (In Her Eyes) has a nice steady beat before the fireworks in the middle, it's in the middle of two tender ballads in the shape of the stripped back Skin And Bone and the piano led Where The River Ends which is an emotional piece that has some tasty Hammond in the bubbling in the background.
Means To Escape is a record that is very personal to Bryant, as it signifies the way he takes himself away from the rest of the world and by locking himself in a studio with both versions of his band (four piece and Big Band) he has managed to craft a record of contemporary blues numbers that carry all the traits of the greats, Hurting Time has a New Orleans shuffle with some soulful slide guitar and brass parps while Tired Of Trying is a big, ballsy rocker and the title track is particularly due to soaring guitar playing and Bryant's husky voice. Bryant considers this the album he's most proud of and you can understand why that is. Modern blues at it's best, a very welcoming Means To Escape. 8/10
Thirty Giants: Struggle (Self Released) [Matt]
Rising from the ashes of several Brighton based bands Thirty Giants, want to make a building levelling footprint on the UK rock scene. Struggle is their debut record and they are clearly trying to define themselves as a band that draws from certain styles but uses them to their own advantage. Those styles are that of bands such as Mastodon and Baroness (whose new album maybe an AOTY) where the drumming is expressive but battering, the bass is as important a riff machine as the six strings which also sometimes explode into blasts of melody along with crushing grooves like on 1409. This version of the band has only been in existence since 2017 but their sound is honed by live performance giving it bite but with some progressive touches that separate them. What also gives them a distinction from other UK bands playing this music is the European pronunciation of Luca who’s Italian heritage comes through but can also be heard in numerous Greek stoner/doom bands.
Personally I love the grittiness of his vocals against the cleaner tones of bassist Sam as they work well with the riffs they both lay down along with Dale, the separation of the instruments is key on the beginning of Vessels, it’s led by the bass and the guitars are both adding different sounds to it as Will’s drums keep it all together with imaginative drumming as it builds into a track that has a marching discordant ambience to it. It’s got a mish mash of genres much like the two bands I mentioned they draw influence, even moving into the hardcore style of things on Orchard Of Bones, but the treat it all with deference as they know they are on well trodden ground. As much as that maybe Thirty Giants are making their own imprints with this debut album. 7/10
Tanzwut: Seemannsgarn (AFM Records) [Alex]
Seemannsgarn translates from German to English, roughly as ‘sea story’, which makes sense. While all the hallmarks of traditional industrial are still in place – Guttural vocals, punishing guitars and pounding rhythms – there is a nautical folk twist. There are also hints of power metal present, and I will even go a far to say that the melodies have lots of flesh on the bone, in spite of the fact that the instrumentals often don’t. While industrial isn’t exactly known for vast and ambitious composition, the genres drawn on here demand a certain flair, skill and richness which Tanzwut do not express here. Firstly, the primary instrument they employ in fostering the medieval, olden days feel, are bagpipes - four of them to be exact. Now, before I provoke the wrath of hordes of furious bagpipers, let me say that I have nothing against this move. Alestorm, Nightwish and Eluveitie have successfully employed bagpipes in the past, and they certainly help to lift these anthems to a level of authenticity. However, they lose their poignancy when they are the only instrument carrying the folk aspect, without so much as an acoustic guitar, violins or woodwind to disrupt the monotony. Furthermore, a sense of tedium is also exasperated by the albums hour long run length. The result is a fun album, yet one which fails to hold my attention or pique my interest to explore the band's catalogue
Seemannsgarn opens, the bagpipes establishing a dramatic and tense beginning. Galenvogel is equally commanding, the powerful chorus compelling me to sing along, despite the fact that I don’t know any German. Die lettzte Schlacht brings huge guitars into the mix, harnessing a melodramatic vibe and doing so with pride. You get the idea by now, right? Tanzwut is having an unashamed fun time with this album, and good for them! Decent music does not need to take itself entirely seriously 100% of the time. However, around about here, a problem starts bleeding through the light-hearted facade. All the songs start to blur into one cohesive, ultra-ambitious mess. The different instrumental choice becomes grating and has the effect of homogenizing the album, in the most abnormal way possible. Say what you want about how an instrument is only as good or bad as the person playing. The skill of the four bagpipe players is not in question - each of them is undoubtedly talented behind their instrument.
What I am going to question is the effectiveness of the instrument in conveying emotion, when it can barely shift pitch or tone. One of the much needed moments of respite we get is on the traditional sounding, Franscoise Villon, where there is more focus on guitars and vocals than anything else. Alas, as cliché as it may seem to compare a German act to Rammstein, there is no denying that they have a sound which is easy to imitate. Das Gewissen and I'm freien fall try to replicate the sound as closely as possible, except, rather than gnashing guitar interludes offset by growled vocal passages, take a wild guess as to what instrument they use. That said, I do think Till Lindeman and the gang could learn a fair bit from Tanzwut. A Bagpipe or four could have made the self-titled album interesting. I guess the moral of the review is to always use traditional Celtic instruments in moderation, especially when they have a reputation for being irritating.
As I said in the intro, I do welcome the traditional influence and wish more acts within metal would employ such tactics. However, in embracing such a stereotypical, repetitive and annoying way of broadening their horizons, Tanzwut have created an album which proves an incredibly tedious and difficult listen. 4/10
The Brink: Nowhere To Run (Frontiers Records) [Alex]
Playing a style of throttling hard rock, The Brink bring the riffs and choruses hard on Nowhere To Run. There’s plenty of nods to the classics to be found, but the production and tone lend a distinctly modern sound to the debut. Energy and attitude serve to differentiate the quartet from the multitude of generic rock bands imitating their idols, and bringing nothing new to the genre. Where we do see a decades-old technique being employed here, it feels genuine and born out of a real passion for the style.
Little Janie opens, a high octane riff, and a galloping rhythm section getting the record off to an exhilarating start. The melody feels made for arenas, the bravely soaring nature, echoing many of the great vocalists of glam metal. In a possible Alice Cooper reference, Break These Chains continues the momentum, gliding at a mid-tempo ride, and picking up powerfully for the hook. Even when taking on ballads, these musicians are able to capture the exaggerated sentimentality in impressive fashion. Both Never Again and Save Goodbye are slow songs with towering guitar solos and awesome string sections. That said, One Night Only makes a return to the raunchy, crude and exciting type of anthem which the Brink excels in creating. Meanwhile, Don’t Count Me Out and Are You With Me? Utilize freneticism and volume to dispel a positive message of enjoying life while it lasts, and seizing the moment. By altering from slow to fast, the album keeps the listener interested and retains a gripping texture.
Overall, while I don’t expect Nowhere To Run to change the minds of anyone who just doesn’t care for straightforward hard rock (who are you people?), it represents the genre exceedingly well. I will admit that the genre label bears connotations of typical musical traits, which not too many hard rock acts deviate from. Even this one stand by the conventions which define their influences. However, rather than cynically pander to those influences, they embrace them, reinvigorating classic rock in a way which reminds us why we started to enjoy it in the first place. 7/10
Friday, 14 June 2019
Reviews: Sweet Oblivion, Decimated King, Yung Druid, Moonlight Haze (Matt & Paul H)
Sweet Oblivion: Self Titled (Frontiers Records) [Matt]
Some voices are instantly recognisable, they live long in the memory for any fans of progressive metal one of those voices is that of Geoff Tate, for so long the frontman of American prog metal act Queensryche, he now plays solo shows riffing on his previous bands seminal Operation Mindcrime album. Here he has been snapped up as the vocalist for Sweet Oblivion a conglomerate of Italian musicians led by Simone Mularoni, DGM. Now if you haven't heard DGM they are a melodic progressive metal band that are clearly influenced by Queensryche's heyday, so with the Sweet Oblivion project Mularoni set about writing music specifically suited to Tate's style that would be akin to those classic 80's Queensryche records, with a few flourishes of other styles to flesh it out.
Opening with the driving True Colours this album opens with exactly what you would want, the brilliant vocals of Tate in fine fettle, he is in a class of one really, so with the riff driven song behind him it will get every fanboy bring to mind Jet City Woman etc, the only exception being this has a neat guitar/keyboard solo in the middle. A strong opening them, which is followed by the more anthemic title track which brings the drama of Empire or I Don't Believe In Love to it built around a big bass riff and some choppy guitars, Behind Your Eyes is a little more AOR with a swaggering riff and some of those spoken word refrains Tate is prone to doing. Things go into the symphonic metal territory for Hide Away which has orchestral swells and some pianos along with those spoken words again. The first proper ballad appears at track five and it's the bombastic My Last Story and it's exactly as you'd expect full of passion from Tate. A great backing band with one of metal's best vocalists what more could you want? 8/10
Decimated King: Dead Air (Self Released) [Paul H]
Although the band’s origins stretch back well over a decade, Dead Air is the debut release from this death metal five piece who hail from Christchurch, New Zealand. Debut EP Ashes surfaced in 2012 but since then numerous line-up changes and several other catastrophes have slowed their progress. Dead Air is interesting. Organic in its feel, this isn’t your typical adrenaline fuelled death metal. Multiple time changes add to a progressive feel; there is some shrill guitar work, with an underlying menace which comes from a tight and brutal rhythm section. These time changes also make the album something of a challenge, as it rarely segues comfortably. Although I’m not enthused with Angus Shaw’s raspy vocal delivery, it works well on tracks such as Barbiturate, the lengthy Despair and the jagged edge of Despair. The duel guitars of Tom McGrath and Benjamin Ellis work well together, trading solos and adding thickness to the riffs. The drums are solid and the bass lines of Brad Lucas link well. Whilst there is some repetition in the style (isn’t there always in death metal) there is certainly enough meat in this hearty meal to get your teeth into. 6/10
Yung Druid: Self Titled (Totem Cat Records) [Matt]
Out of the green fug of London comes stoner band Yung Druid, musically built on the sturdy foundations of lumbering riffs, crunching rhythms and some wild vocals Yung Druid take from the more drug addled style of desert rock mixed with nice slabs of doom such as Underneath The Aching Sky which is the first track that sees Jack Oliver actually sing rather than the ethereal wails he gives to the first two songs on the album. This big hitter is probably my favorite on the record and it;s followed by the groovy Lung which brings back otherworldly vocals style. It sounds a lot like bands such as Weedeater, Bongzilla and Bongripper, as you can see the green leaf features heavily and that continues on Yung Druid with track names such as Take Me To Your Dealer the obvious nods to this bands influence of the Devil's lettuce. Woozy psych numbers such as Went Into A Wooden Room are countered by down tuned riff-fests, perfect for rolling up your favourite herb and just kicking back/ 6/10
Moonlight Haze: De Rerum Natura (Scarlet Records) [Matt]
Moonlight Haze are the new band formed by vocalist Chiara Tricarico and drummer/keyboardist Giulio Capone after both of them left symphonic metal act Temperance. De Rerum Natura is their debut album and translates to On The Nature Of Things named after the philosophical epic poem written by Lucretius. Musically it doesn't change too much from the Temperance style showing that if it ain't broke don't fix it, Chiara's soaring operatic vocals over the strong symphonic backing of intense riffs from the two guitarists and battering blastbeats. There are nuances though as the synth created scores give every song a huge feel, even on the ballads they can lead it with some delicate piano, but also there are some folk passages here and there that makes it distinctive from the hundreds of bands in this oversaturated genre. Truthfully if you like the first couple of Temperance albums then you'll enjoy the huge choruses and symphonic stylings of Moonlight Haze, if not then there's nothing to change your mind. 7/10
Some voices are instantly recognisable, they live long in the memory for any fans of progressive metal one of those voices is that of Geoff Tate, for so long the frontman of American prog metal act Queensryche, he now plays solo shows riffing on his previous bands seminal Operation Mindcrime album. Here he has been snapped up as the vocalist for Sweet Oblivion a conglomerate of Italian musicians led by Simone Mularoni, DGM. Now if you haven't heard DGM they are a melodic progressive metal band that are clearly influenced by Queensryche's heyday, so with the Sweet Oblivion project Mularoni set about writing music specifically suited to Tate's style that would be akin to those classic 80's Queensryche records, with a few flourishes of other styles to flesh it out.
Opening with the driving True Colours this album opens with exactly what you would want, the brilliant vocals of Tate in fine fettle, he is in a class of one really, so with the riff driven song behind him it will get every fanboy bring to mind Jet City Woman etc, the only exception being this has a neat guitar/keyboard solo in the middle. A strong opening them, which is followed by the more anthemic title track which brings the drama of Empire or I Don't Believe In Love to it built around a big bass riff and some choppy guitars, Behind Your Eyes is a little more AOR with a swaggering riff and some of those spoken word refrains Tate is prone to doing. Things go into the symphonic metal territory for Hide Away which has orchestral swells and some pianos along with those spoken words again. The first proper ballad appears at track five and it's the bombastic My Last Story and it's exactly as you'd expect full of passion from Tate. A great backing band with one of metal's best vocalists what more could you want? 8/10
Decimated King: Dead Air (Self Released) [Paul H]
Although the band’s origins stretch back well over a decade, Dead Air is the debut release from this death metal five piece who hail from Christchurch, New Zealand. Debut EP Ashes surfaced in 2012 but since then numerous line-up changes and several other catastrophes have slowed their progress. Dead Air is interesting. Organic in its feel, this isn’t your typical adrenaline fuelled death metal. Multiple time changes add to a progressive feel; there is some shrill guitar work, with an underlying menace which comes from a tight and brutal rhythm section. These time changes also make the album something of a challenge, as it rarely segues comfortably. Although I’m not enthused with Angus Shaw’s raspy vocal delivery, it works well on tracks such as Barbiturate, the lengthy Despair and the jagged edge of Despair. The duel guitars of Tom McGrath and Benjamin Ellis work well together, trading solos and adding thickness to the riffs. The drums are solid and the bass lines of Brad Lucas link well. Whilst there is some repetition in the style (isn’t there always in death metal) there is certainly enough meat in this hearty meal to get your teeth into. 6/10
Yung Druid: Self Titled (Totem Cat Records) [Matt]
Out of the green fug of London comes stoner band Yung Druid, musically built on the sturdy foundations of lumbering riffs, crunching rhythms and some wild vocals Yung Druid take from the more drug addled style of desert rock mixed with nice slabs of doom such as Underneath The Aching Sky which is the first track that sees Jack Oliver actually sing rather than the ethereal wails he gives to the first two songs on the album. This big hitter is probably my favorite on the record and it;s followed by the groovy Lung which brings back otherworldly vocals style. It sounds a lot like bands such as Weedeater, Bongzilla and Bongripper, as you can see the green leaf features heavily and that continues on Yung Druid with track names such as Take Me To Your Dealer the obvious nods to this bands influence of the Devil's lettuce. Woozy psych numbers such as Went Into A Wooden Room are countered by down tuned riff-fests, perfect for rolling up your favourite herb and just kicking back/ 6/10
Moonlight Haze: De Rerum Natura (Scarlet Records) [Matt]
Moonlight Haze are the new band formed by vocalist Chiara Tricarico and drummer/keyboardist Giulio Capone after both of them left symphonic metal act Temperance. De Rerum Natura is their debut album and translates to On The Nature Of Things named after the philosophical epic poem written by Lucretius. Musically it doesn't change too much from the Temperance style showing that if it ain't broke don't fix it, Chiara's soaring operatic vocals over the strong symphonic backing of intense riffs from the two guitarists and battering blastbeats. There are nuances though as the synth created scores give every song a huge feel, even on the ballads they can lead it with some delicate piano, but also there are some folk passages here and there that makes it distinctive from the hundreds of bands in this oversaturated genre. Truthfully if you like the first couple of Temperance albums then you'll enjoy the huge choruses and symphonic stylings of Moonlight Haze, if not then there's nothing to change your mind. 7/10
Reviews: Memoriam, Gov't Mule, Nocturnus AD, Voluntas (Paul H, Rich & Matt)
Memoriam: Requiem For The Dead (Nuclear Blast) [Paul H]
You could call Memoriam rather prolific these days, such is their output. Album number 3 in almost as many years and yes, it’s another blistering release. Willets, Whale, Fairfax and Healy have clearly hit a rich vein of form and have struck once more whilst the iron still smoulders. Last year’s The Silent Vigil proved that For The Fallen was no fluke, not that we’d have expected that anyway. Requiem For The Dead is honestly a brutal pounding beast. Opener Shell Shock delivers a salvo of intent, massive riffs, thunderous drumming and the usual Willets growl. Undefeated contains some of the best riffs of the year, a majestic driving track which demands attention. And Memoriam are now frustrated and angry enough to move away from their war themes to focus on the state of the country with Austerity Kills. This track is sobering in its content but bitter in its aggression and bile towards the Government. Willets vocals rage with injustice, “A shameful crisis of morality, as millions live and die, in poverty, Is this the 21st Century? There has to be a better way”, whilst Fairfax riffs away, massive boulders of riffs which crunch and drive bone and sinew apart.
Refuse To Be Led has a massive dose of melody which surges through it whilst it retains all the essential Memoriam criteria. The Veteran examines the fallout which befalls too many of the Country’s servicemen, homeless and suffering from PTSD. This time Memoriam have grabbed the social imbalances in the world and are rightly raging. The thumping title track steers the album towards the end, driving rhythm and chainsaw riffage in typical pulverising form. The blistering Fixed Bayonets steam rollers forward, whilst Willets’ growling vocal recounts the unimaginable horror of going over the top in WWI. The powerful instrumental Interment brings this album to a close. Memoriam are as relevant today as they have ever been, vital in fact. This album sits proudly in their ever-growing catalogue. A work of quality. At times simple, always efficient and quite simply a demonstration of UK death metal at its best. 9/10
Gov't Mule: Bring On The Music – Live at the Capitol Theatre (Mascot Records) [Paul H]
Filmed and recorded at the Capitol Theatre in Port Chester, NY in April 2018, Bring On The Music captures the ‘Mule in their natural environment, live on stage where they can jam away to their hearts content. If you’ve ever been lucky enough to see the band live, then you’ll know that with over 300 tracks to their name, no two shows are the same. Here, the DVD varies wildly to the set list recorded for the double CD. Bring On The Music, taken from the song of the same name, deals with the loss and the passing of time as well as the band’s relationship with their devoted audience. It’s also the closing track on this gargantuan release which clocks in at over two and a half hours in duration. With the shortest track on the release Little Toy Brain just a little over five minutes, there are multiple extended musical explorations to enjoy.
From the 12 minutes plus Thorazine Shuffle to the title track of 2017’s Revolution Come Revolution Go, this is a release to put on, pull up a chair with a cuppa and just sit back and marvel at the superb quality of musicianship on display. Warren Haynes leads on guitar and vocals, and boy can he shred. Haynes is joined by 1994 alumni Matt Abts on drums, Danny Louis on keyboards (with the Mule since 2002) and 2008’s last change to the line-up, Jorgen Carlsson on bass. Between them they groove, rock, mellow out and generally have a great time in this musical celebration of 25 years as a band. Highlights are plentiful, and the best advice I can give is to get hold of a copy, assume the position and enjoy. 8/10
Nocturnus AD: Paradox (Profound Lore Records) [Rich]
When metal bands do a sequel to a classic album more often than not it is an unmitigated disaster and nearly always an inferior product to the original. Thankfully this is one of those rare occasions where a sequel album meets expectations and is very good. Nocturnus released their debut album The Key way back in 1990 it was categorically ahead of its time being a unique fusion of technical thrash metal, death metal, futuristic sounding keyboards and science fiction themes and whilst overlooked at the time is now seen as a forward thinking and defining album within the history of progressive and technical death metal. Fast forward 29 years later and we have Nocturnus AD an offshoot from the original band formed by vocalist and drummer Mike Browning who performed on The Key and Thresholds albums. Paradox pretty much picks up from where The Key left off with its old school sound, style and production definitely sounding like an album from the early 1990’s rather than 2019. Being an old school death metaller this approach pleases me. I far prefer it when death metal sounds dirty rather than clean and processed. Musically this is very much a continuation of The Key with Coroner styled technical thrash metal meeting Floridian death metal with the now retro sounding keyboards prevalent throughout. It’s still a unique sound and still sounds magnificent today with songs such as Seizing The Throne, The Antechamber and Apotheosis drawing me into this science fiction world with furious riffs, blazing solos, pummeling drums, unworldly synths and the harsh vocals of Mike Browning. Paradox whilst not as great an album as The Key still very much does its legacy justice and is a worthy sequel. If you loved the early Nocturnus albums then this album will very much satisfy your sci fi death metal cravings. 8/10
Voluntas: Walk To Hell (Self Released) [Matt]
Bristol based Voluntas have managed to secure themselves a place in the Bloodstock M2TM Bristol Final on 6th Jul, in preparation for that they have released their debut EP Walk To Hell. It's a mind bending mix of progressive thrash metal with some death metal grinding and grunts. They have influences as eclectic as Death, Pantera and Metallica, you can hear it all over, if I were pinpoint it I'd say Voluntas remind me a lot of Coroner with the edgy riffs, that shift gears without apology. Big heavy grooves drive Price Is Blood on which the production let's you hear the big bassline behind it as the vocals come at a rapid fire pace moving between the aforementioned guttural grunts and raspy almost spoken word delivery. It's a really unique sound but fans of the more experimental side of thrash will lap this up, though the vocals style may alienate some, this band are much better when they're are full death metal style, it doesn't help that they are quite high in the mix either. Musically though they are very good if you prefer your thrash with bit more variation than normal. Let down a little by the mix Walk To Hell is a sturdy foundation for Voluntas to build upon. 7/10
You could call Memoriam rather prolific these days, such is their output. Album number 3 in almost as many years and yes, it’s another blistering release. Willets, Whale, Fairfax and Healy have clearly hit a rich vein of form and have struck once more whilst the iron still smoulders. Last year’s The Silent Vigil proved that For The Fallen was no fluke, not that we’d have expected that anyway. Requiem For The Dead is honestly a brutal pounding beast. Opener Shell Shock delivers a salvo of intent, massive riffs, thunderous drumming and the usual Willets growl. Undefeated contains some of the best riffs of the year, a majestic driving track which demands attention. And Memoriam are now frustrated and angry enough to move away from their war themes to focus on the state of the country with Austerity Kills. This track is sobering in its content but bitter in its aggression and bile towards the Government. Willets vocals rage with injustice, “A shameful crisis of morality, as millions live and die, in poverty, Is this the 21st Century? There has to be a better way”, whilst Fairfax riffs away, massive boulders of riffs which crunch and drive bone and sinew apart.
Refuse To Be Led has a massive dose of melody which surges through it whilst it retains all the essential Memoriam criteria. The Veteran examines the fallout which befalls too many of the Country’s servicemen, homeless and suffering from PTSD. This time Memoriam have grabbed the social imbalances in the world and are rightly raging. The thumping title track steers the album towards the end, driving rhythm and chainsaw riffage in typical pulverising form. The blistering Fixed Bayonets steam rollers forward, whilst Willets’ growling vocal recounts the unimaginable horror of going over the top in WWI. The powerful instrumental Interment brings this album to a close. Memoriam are as relevant today as they have ever been, vital in fact. This album sits proudly in their ever-growing catalogue. A work of quality. At times simple, always efficient and quite simply a demonstration of UK death metal at its best. 9/10
Gov't Mule: Bring On The Music – Live at the Capitol Theatre (Mascot Records) [Paul H]
Filmed and recorded at the Capitol Theatre in Port Chester, NY in April 2018, Bring On The Music captures the ‘Mule in their natural environment, live on stage where they can jam away to their hearts content. If you’ve ever been lucky enough to see the band live, then you’ll know that with over 300 tracks to their name, no two shows are the same. Here, the DVD varies wildly to the set list recorded for the double CD. Bring On The Music, taken from the song of the same name, deals with the loss and the passing of time as well as the band’s relationship with their devoted audience. It’s also the closing track on this gargantuan release which clocks in at over two and a half hours in duration. With the shortest track on the release Little Toy Brain just a little over five minutes, there are multiple extended musical explorations to enjoy.
From the 12 minutes plus Thorazine Shuffle to the title track of 2017’s Revolution Come Revolution Go, this is a release to put on, pull up a chair with a cuppa and just sit back and marvel at the superb quality of musicianship on display. Warren Haynes leads on guitar and vocals, and boy can he shred. Haynes is joined by 1994 alumni Matt Abts on drums, Danny Louis on keyboards (with the Mule since 2002) and 2008’s last change to the line-up, Jorgen Carlsson on bass. Between them they groove, rock, mellow out and generally have a great time in this musical celebration of 25 years as a band. Highlights are plentiful, and the best advice I can give is to get hold of a copy, assume the position and enjoy. 8/10
Nocturnus AD: Paradox (Profound Lore Records) [Rich]
When metal bands do a sequel to a classic album more often than not it is an unmitigated disaster and nearly always an inferior product to the original. Thankfully this is one of those rare occasions where a sequel album meets expectations and is very good. Nocturnus released their debut album The Key way back in 1990 it was categorically ahead of its time being a unique fusion of technical thrash metal, death metal, futuristic sounding keyboards and science fiction themes and whilst overlooked at the time is now seen as a forward thinking and defining album within the history of progressive and technical death metal. Fast forward 29 years later and we have Nocturnus AD an offshoot from the original band formed by vocalist and drummer Mike Browning who performed on The Key and Thresholds albums. Paradox pretty much picks up from where The Key left off with its old school sound, style and production definitely sounding like an album from the early 1990’s rather than 2019. Being an old school death metaller this approach pleases me. I far prefer it when death metal sounds dirty rather than clean and processed. Musically this is very much a continuation of The Key with Coroner styled technical thrash metal meeting Floridian death metal with the now retro sounding keyboards prevalent throughout. It’s still a unique sound and still sounds magnificent today with songs such as Seizing The Throne, The Antechamber and Apotheosis drawing me into this science fiction world with furious riffs, blazing solos, pummeling drums, unworldly synths and the harsh vocals of Mike Browning. Paradox whilst not as great an album as The Key still very much does its legacy justice and is a worthy sequel. If you loved the early Nocturnus albums then this album will very much satisfy your sci fi death metal cravings. 8/10
Voluntas: Walk To Hell (Self Released) [Matt]
Bristol based Voluntas have managed to secure themselves a place in the Bloodstock M2TM Bristol Final on 6th Jul, in preparation for that they have released their debut EP Walk To Hell. It's a mind bending mix of progressive thrash metal with some death metal grinding and grunts. They have influences as eclectic as Death, Pantera and Metallica, you can hear it all over, if I were pinpoint it I'd say Voluntas remind me a lot of Coroner with the edgy riffs, that shift gears without apology. Big heavy grooves drive Price Is Blood on which the production let's you hear the big bassline behind it as the vocals come at a rapid fire pace moving between the aforementioned guttural grunts and raspy almost spoken word delivery. It's a really unique sound but fans of the more experimental side of thrash will lap this up, though the vocals style may alienate some, this band are much better when they're are full death metal style, it doesn't help that they are quite high in the mix either. Musically though they are very good if you prefer your thrash with bit more variation than normal. Let down a little by the mix Walk To Hell is a sturdy foundation for Voluntas to build upon. 7/10
Thursday, 13 June 2019
Reviews: Words That Burn, Beasto Blanco, Reckless Manslaughter, Decayer (Liam)
Words That Burn: Pyres (Self Released)
The diversity in this album is brilliant. Elements of Electronicore, Power Metal vocals and riffs that sound like they've been plucked right from Slipknot's back catalog. From start to finish I was hooked with this album, bare in mind the metal crew are from Ireland, it sounds like a supergroup of Blind Guardian, Slipknot & Parkway Drive. It's just an amazing album. With my stand out track being Deathgrip. It's one of the few albums lately that get better as it goes along, it has massive replay value, so I can see myself jamming to this band more often that I thought I would. When it does start it lulls you into a false sense of security by making you think it's just another Metalcore record, with the chugs and snarls of guitar battling the powerful, breathtaking vocals. But it's more than that, it's the new generation of metal we've been waiting for. If this record is anything to go by, the future for this band, and metal in general, looks to be in safe hands. 7/10
Beasto Blanco: We Are (Rat Pack Records)
Some good fashion hard rock featuring long time Alice Cooper bassist Chuck Garric and Cooper's daughter Calico Cooper. The record is a breath of fresh air to the genre. Most bands sound the same, but Beasto Blanko have their own sound with the combined vocals of Cooper & Garric and the guitar work of Brother Latham make the band have their own unique sound. From front to back the record is a real monster (or even a beast - Ed). It impresses riff after riff with headbanging singalong moments throughout. If you're a fan of hard rock bands such as Alter Bridge, then the band will sit well with you. With enough driving force behind them, and the ability to produce the some massive riffs, the band can easily headline arenas and festivals. 7/10
The diversity in this album is brilliant. Elements of Electronicore, Power Metal vocals and riffs that sound like they've been plucked right from Slipknot's back catalog. From start to finish I was hooked with this album, bare in mind the metal crew are from Ireland, it sounds like a supergroup of Blind Guardian, Slipknot & Parkway Drive. It's just an amazing album. With my stand out track being Deathgrip. It's one of the few albums lately that get better as it goes along, it has massive replay value, so I can see myself jamming to this band more often that I thought I would. When it does start it lulls you into a false sense of security by making you think it's just another Metalcore record, with the chugs and snarls of guitar battling the powerful, breathtaking vocals. But it's more than that, it's the new generation of metal we've been waiting for. If this record is anything to go by, the future for this band, and metal in general, looks to be in safe hands. 7/10
Beasto Blanco: We Are (Rat Pack Records)
Some good fashion hard rock featuring long time Alice Cooper bassist Chuck Garric and Cooper's daughter Calico Cooper. The record is a breath of fresh air to the genre. Most bands sound the same, but Beasto Blanko have their own sound with the combined vocals of Cooper & Garric and the guitar work of Brother Latham make the band have their own unique sound. From front to back the record is a real monster (or even a beast - Ed). It impresses riff after riff with headbanging singalong moments throughout. If you're a fan of hard rock bands such as Alter Bridge, then the band will sit well with you. With enough driving force behind them, and the ability to produce the some massive riffs, the band can easily headline arenas and festivals. 7/10
Reckless Manslaughter: Caverns Of Perdition (FDA Rekotz)
Some old school death metal from Germany. Considering it's the bands first album in 6 years, they still have the fresh sound of Cannibal Corpse straight from the early 90's, but not as complex in terms of song structure. Then again, simplicity works wonders. As proven by this record. The band take the death metal formula and add their own touch to it. With the amount of death metal bands trying to break through it's nice to see there are still bands keeping it fresh sounding with new riffs. I think the best feature of the album is not all the songs are ridiculously fast, but are played at a slower tempo for the genre. This gives it almost a new life and makes it stand out. I'll be honest, I've never sat down and thought 'I need this death metal to be slower'. (Then again, that's just Doom Metal really, but I digress) It just sounds stupid, but when it comes to bite the bullet, it actually works pretty damn well. If you're an avid fan of the genre, then check this album out and give it a chance. It's definitely worth a listen. 6/10
Some old school death metal from Germany. Considering it's the bands first album in 6 years, they still have the fresh sound of Cannibal Corpse straight from the early 90's, but not as complex in terms of song structure. Then again, simplicity works wonders. As proven by this record. The band take the death metal formula and add their own touch to it. With the amount of death metal bands trying to break through it's nice to see there are still bands keeping it fresh sounding with new riffs. I think the best feature of the album is not all the songs are ridiculously fast, but are played at a slower tempo for the genre. This gives it almost a new life and makes it stand out. I'll be honest, I've never sat down and thought 'I need this death metal to be slower'. (Then again, that's just Doom Metal really, but I digress) It just sounds stupid, but when it comes to bite the bullet, it actually works pretty damn well. If you're an avid fan of the genre, then check this album out and give it a chance. It's definitely worth a listen. 6/10
Decayer: End Note (We Are Triumphant)
I've said it before and I'll keep on saying it, metalcore has gone stale and with Decayer, it's just another band to add to that list. I mean the record itself is decent, a couple of good songs such as Acid Teeth & Nine Years, but the record itself needs more oomph too it. It needs to stand out more. The band has potential, no doubt about it. But instead of sticking to one stale genre, incorporate others into it. Expand the sound. Then this band will be excellent. But right now, it's decent. But more recycled music. 4/10
I've said it before and I'll keep on saying it, metalcore has gone stale and with Decayer, it's just another band to add to that list. I mean the record itself is decent, a couple of good songs such as Acid Teeth & Nine Years, but the record itself needs more oomph too it. It needs to stand out more. The band has potential, no doubt about it. But instead of sticking to one stale genre, incorporate others into it. Expand the sound. Then this band will be excellent. But right now, it's decent. But more recycled music. 4/10
Reviews: Darchon, Le Menhir, Concrete Funeral, Parasitic Twins/Carnival Rejects (Paul H & Paul S)
Darchon: Oionos (Mercenary Music) [Paul S]
Darchon are a very mysterious one man band based in Greece. Darchon has been making music since 2009 and has produced one album before this one in 2015’s The Stygian Black Beyond. Oionos is made up of 4 tracks, 3 very long songs and a shorter instrumental. The main style fairly basic, very lo-fi, early Darkthrone Black Metal that just drips early nineties. The lo-fi style Black Metal is joined by a keyboard playing atmospheric riffs. The overall sound is like tempered second wave Black Metal nastiness. There is also a lot of repetition that gives the album a hypnotic, trace inducing feel. First track Nyx Melena is 16 minutes of blast beats with savage tremolo picked riffs, and atmospheric keyboards. Everything slows down for the last 3 minutes of slow doomy riffs, with the keyboards a little higher in the mix. Moros starts where Nyx Melena left off with slow and discordant riffs. After a couple of minutes it goes back to hypnotic blasting, which gets even faster after about 9 minutes.
Darchon are a very mysterious one man band based in Greece. Darchon has been making music since 2009 and has produced one album before this one in 2015’s The Stygian Black Beyond. Oionos is made up of 4 tracks, 3 very long songs and a shorter instrumental. The main style fairly basic, very lo-fi, early Darkthrone Black Metal that just drips early nineties. The lo-fi style Black Metal is joined by a keyboard playing atmospheric riffs. The overall sound is like tempered second wave Black Metal nastiness. There is also a lot of repetition that gives the album a hypnotic, trace inducing feel. First track Nyx Melena is 16 minutes of blast beats with savage tremolo picked riffs, and atmospheric keyboards. Everything slows down for the last 3 minutes of slow doomy riffs, with the keyboards a little higher in the mix. Moros starts where Nyx Melena left off with slow and discordant riffs. After a couple of minutes it goes back to hypnotic blasting, which gets even faster after about 9 minutes.
The last 2 minutes is slow and discordant again. Astron Uranion Ieron Selas is slow and heavy, and gets more and more intense as the track goes on. We go back to blasting after about 6 minutes, and then goes back to slow for the last couple of minutes. Ionos is a shorter instrumental that is all about the keyboards. It’s a pleasingly melodic and atmospheric ending to the album. Oionos is a simple album, it isn’t meant to be complex. The sound is basic, and lo-fi, the tracks are purposely simple and repetitive, but that makes it trance inducing and hypnotic. It doesn’t do that much, but what it does, it does very well. If you love the early second wave of Black Metal then you should definitely check this out. 7/10
Le Menhir: Ombre (Self Released) [Paul H]
This is the second EP from Le Menhir, following 2018’s Aube, and centres around the themes of creation and destruction. A one-man outfit, Le Menhir is Paul Sparshott from Sheffield who delivers all the music and vocals. Three dark melancholic songs fill this 12-minute EP. The three tracks are Nocturne, which explores the formation of life against vast odds from nothingness; Fossile which delves into the juxtaposition of death enabling new life to be born and Silice which provides a brief instrumental interlude between the two tracks. I’m not a big fan of the staccato style vocals which Sparshott uses. It feels forced. Of the three songs, Fossile is the strongest, with a jangling guitar repeating chords over a haunting backdrop. It’s a brave artist who puts themselves out into the solo spotlight. Le Menhir’s tendrils have the potential to create something much bigger. It’s just not quite there yet. 6/10
Concrete Funeral: Ultimum Judicium (Black Page Records) [Paul H]
Canadian death thrashers Concrete Funeral have been thunderously plying their trade since 2015 but we now have their debut release, Ultimum Judicium and it’s a juicy beast of a package. At just over 30 minutes there is little ceremony here, with the band getting down to no-nonsense thrash with a death metal tinge on opening track Speak Of The Devil (technically second song after intro which is also the title track). Searing pace, screaming guttural vocals and shredding guitars are the main characteristics throughout this album. Its ferocity is at times unconstrained. Perfect to listen to if you’ve just had a fight with the boss; nothing spectacular or breath-taking but old school forms and shapes often don’t need to be innovative; Concrete Funeral have a feel which should impress thrash fans both young and old. 6/10
Parasitic Twins/The Carnival Rejects: The Parasitic Rejects EP (Man Demolish Records) [Paul S]
This EP is split between Nasty, angry sludge from Parasitic Twins, and Crust Punk from The Carnival Rejects. The Carnival Rejects go first. We get 3 tracks, the first 2 are incredibly bouncy, uptempo crust punk. There is a bit of pop punk feel to the tempo, this is really fun stuff that will have you jumping. The vocals are good, again, lots of energy and life. The rhythm of the vocals reminded me of early Offspring, not the sound, just the rhythm. The third track from The Carnival Rejects is more strait crust punk, slower with a bit of an Oi, Oi, Oi feel to it. Really great fun, liked these 3 tracks. The first 2 tracks from Parasitic Twins are what I would expect from them, viscous, nasty, angry sludge. Short, blunt and aggressive, with a relentless quality that is really enjoyable. The third track is a cover of Babylon AD’s song Spaceman. It’s more relaxed than the other tracks on this EP, and is a nice, if surprising, way to end a really enjoyable EP. Right! Thats a successful split EP, time to record a couple of albums, I’d love to hear more from both of these bands, definitely signals great things in their futures. 7/10
Le Menhir: Ombre (Self Released) [Paul H]
This is the second EP from Le Menhir, following 2018’s Aube, and centres around the themes of creation and destruction. A one-man outfit, Le Menhir is Paul Sparshott from Sheffield who delivers all the music and vocals. Three dark melancholic songs fill this 12-minute EP. The three tracks are Nocturne, which explores the formation of life against vast odds from nothingness; Fossile which delves into the juxtaposition of death enabling new life to be born and Silice which provides a brief instrumental interlude between the two tracks. I’m not a big fan of the staccato style vocals which Sparshott uses. It feels forced. Of the three songs, Fossile is the strongest, with a jangling guitar repeating chords over a haunting backdrop. It’s a brave artist who puts themselves out into the solo spotlight. Le Menhir’s tendrils have the potential to create something much bigger. It’s just not quite there yet. 6/10
Concrete Funeral: Ultimum Judicium (Black Page Records) [Paul H]
Canadian death thrashers Concrete Funeral have been thunderously plying their trade since 2015 but we now have their debut release, Ultimum Judicium and it’s a juicy beast of a package. At just over 30 minutes there is little ceremony here, with the band getting down to no-nonsense thrash with a death metal tinge on opening track Speak Of The Devil (technically second song after intro which is also the title track). Searing pace, screaming guttural vocals and shredding guitars are the main characteristics throughout this album. Its ferocity is at times unconstrained. Perfect to listen to if you’ve just had a fight with the boss; nothing spectacular or breath-taking but old school forms and shapes often don’t need to be innovative; Concrete Funeral have a feel which should impress thrash fans both young and old. 6/10
Parasitic Twins/The Carnival Rejects: The Parasitic Rejects EP (Man Demolish Records) [Paul S]
This EP is split between Nasty, angry sludge from Parasitic Twins, and Crust Punk from The Carnival Rejects. The Carnival Rejects go first. We get 3 tracks, the first 2 are incredibly bouncy, uptempo crust punk. There is a bit of pop punk feel to the tempo, this is really fun stuff that will have you jumping. The vocals are good, again, lots of energy and life. The rhythm of the vocals reminded me of early Offspring, not the sound, just the rhythm. The third track from The Carnival Rejects is more strait crust punk, slower with a bit of an Oi, Oi, Oi feel to it. Really great fun, liked these 3 tracks. The first 2 tracks from Parasitic Twins are what I would expect from them, viscous, nasty, angry sludge. Short, blunt and aggressive, with a relentless quality that is really enjoyable. The third track is a cover of Babylon AD’s song Spaceman. It’s more relaxed than the other tracks on this EP, and is a nice, if surprising, way to end a really enjoyable EP. Right! Thats a successful split EP, time to record a couple of albums, I’d love to hear more from both of these bands, definitely signals great things in their futures. 7/10
Reviews: Degrees Of Truth, Extrema, Gorilla, Litterbox Massacre (Rich, Matt & Paul H)
Degrees Of Truth: Time Travel Artefact (Self Released) [Matt]
Italian band Degrees Of Truth have released what is probably the most cinematic album of the year, fronted by breathtaking vocals of Claudia Nora Pezzotta along with some soulful male vocals from one of the members who I haven't been able to find the name of, Time Travel Artefact is their second album and has had a long gestation period but when you hear the scope you will hear why. This is some brilliant progressive metal, with the melodic crunch of Dream Theater coming in on tracks such as The Remedy which has intertwining guitars and keys and a metallic edge. However they are not one dimensional, in fact Degrees Of Truth are a multi-faceted band who really show their potential on this record by incorporating all manner of styles, it's sort of like Celine Dion fronting a metal band who play covers of Meat Loaf, Pink Floyd and Dream Theater with numerous styles coming through.
Take for instance the four part Dream Suite that takes up the bulk of the album, Compass is very Latin flavoured opening that builds on the back of Gianluca Parnisari's keyboards, leading to some ascendant guitar playing from Andrea 'Boma' Boccarusso. It's a dramatic opening to this mini opus where they can dabble with any sounds they want to, from the Middle Eastern strings on Dream II: Long Way Silk Road which is backed by the traditional metal rhythm section of Luca Ravezzani (drums) and Samuele Di Nardo (bass). It moves into the epic 14 minute Dream III: Lithos which is theatrical, stirring and heart pumping in equal measure, now as the album progresses there are more songs that take a slower pace with Love Me, Protect Me a song so saccharine that it must have been written for a Disney movie. Time Travel Artefact has been worth the wait, a symphonic progressive metal album that will hopefully see these Italian's playing a stage near you soon. 7/10
Extrema: Headbanging Forever (Universal Music Italy) [Rich]
Gorilla: Treecreeper (Heavy Psych Sounds) [Paul H]
You’ll not hear a filthier, fuzzed up album all year. 12 years since Gorilla released Rock Our Souls, the hard n’ heavy trio of Johnny Gorilla (guitar and voice), Sarah Jane (bass) and Ryan Matthew (drums) punch the lights all over the place with 47 minutes of riff heavy tunes. Imagine Blue Cheer, Motörhead and St Vitus all playing in one room at the same time. That’s what Gorilla sound like. Tracks such as the raging opener Scum Of The Earth, the psychedelic meander of Cyclops and the balls out thunder of Gorilla Time Rock n’ Roll, which is as close to old school Motörhead as you can get all contribute to an album that fairly much grabs you by the scruff of the neck, swings you around and then tells you to get the beers in! It’s gritty, it’s gnarly and it’s heavy. Embrace your Gorilla (but only after asking their permission of course). 8/10
Italian band Degrees Of Truth have released what is probably the most cinematic album of the year, fronted by breathtaking vocals of Claudia Nora Pezzotta along with some soulful male vocals from one of the members who I haven't been able to find the name of, Time Travel Artefact is their second album and has had a long gestation period but when you hear the scope you will hear why. This is some brilliant progressive metal, with the melodic crunch of Dream Theater coming in on tracks such as The Remedy which has intertwining guitars and keys and a metallic edge. However they are not one dimensional, in fact Degrees Of Truth are a multi-faceted band who really show their potential on this record by incorporating all manner of styles, it's sort of like Celine Dion fronting a metal band who play covers of Meat Loaf, Pink Floyd and Dream Theater with numerous styles coming through.
Take for instance the four part Dream Suite that takes up the bulk of the album, Compass is very Latin flavoured opening that builds on the back of Gianluca Parnisari's keyboards, leading to some ascendant guitar playing from Andrea 'Boma' Boccarusso. It's a dramatic opening to this mini opus where they can dabble with any sounds they want to, from the Middle Eastern strings on Dream II: Long Way Silk Road which is backed by the traditional metal rhythm section of Luca Ravezzani (drums) and Samuele Di Nardo (bass). It moves into the epic 14 minute Dream III: Lithos which is theatrical, stirring and heart pumping in equal measure, now as the album progresses there are more songs that take a slower pace with Love Me, Protect Me a song so saccharine that it must have been written for a Disney movie. Time Travel Artefact has been worth the wait, a symphonic progressive metal album that will hopefully see these Italian's playing a stage near you soon. 7/10
Extrema: Headbanging Forever (Universal Music Italy) [Rich]
Extrema are an old school band who have been going since 1986 with Headbanging Forever being the seventh album from the Italian thrashers. Despite more recent albums by the band being forays into groove metal territory Headbanging Forever is very much a thrash album with an old school feel and sound. As well as the clear old school thrash influences there is a degree of influence from old school heavy metal especially in the melodic leanings and hooks throughout the album. There are moments of groove throughout the album but these are few and far between. There are plenty of tempo changes throughout from moments of speed and fury to a more mid placed solid headbanging rhythm. Headbanging Forever is a solid thrash album but held up to some of the fantastic thrash albums already released in 2019 this is a bit underwhelming in comparison. There are plenty of savage thrash riffs, solos galore, furious drumming and snarled vocals but not much stuck with me. Headbanging Forever is solid and fun thrash but ultimately fairly disposable. 7/10
Gorilla: Treecreeper (Heavy Psych Sounds) [Paul H]
You’ll not hear a filthier, fuzzed up album all year. 12 years since Gorilla released Rock Our Souls, the hard n’ heavy trio of Johnny Gorilla (guitar and voice), Sarah Jane (bass) and Ryan Matthew (drums) punch the lights all over the place with 47 minutes of riff heavy tunes. Imagine Blue Cheer, Motörhead and St Vitus all playing in one room at the same time. That’s what Gorilla sound like. Tracks such as the raging opener Scum Of The Earth, the psychedelic meander of Cyclops and the balls out thunder of Gorilla Time Rock n’ Roll, which is as close to old school Motörhead as you can get all contribute to an album that fairly much grabs you by the scruff of the neck, swings you around and then tells you to get the beers in! It’s gritty, it’s gnarly and it’s heavy. Embrace your Gorilla (but only after asking their permission of course). 8/10
Litterbox Massacre: Welcome To The Scratching Post (Alex Sevigny Audio) [Rich]
Two of my great loves in life are cats and extreme metal so what happens when you combine those two worlds - Litterbox Massacre that is what you get who are a two piece brutal death metal band themed around our feline friends (or furry overlords). Welcome To The Scratching Post is the debut EP by the band and the question is did it have me purring in delight or hissing in disgust? I have a general hatred of gimmicky bands but my dislike of this EP didn’t stem from the gimmick as it’s a silly side project by members of Artificial Pathogen and clearly isn’t to be taken seriously. My dislike of Litterbox Massacre stems from the brutal/slam style they perform which really isn’t to my taste being made up of overbearing vocals and slamming ‘brootal’ breakdowns. I’m an old school death metal guy so this sort of style I find repetitive, grating and puerile. This just wasn’t for me and not even the cat theme could save it. Now if someone wants to form a death metal band centered around cats but sound like Asphyx or Obituary then I’m all ears. 3/10
Wednesday, 12 June 2019
A View From The Back Of The Room: Alien Weaponry & Excursia
Alien Weaponry & Excursia, Fuel Rock Club, Cardiff
WARNING!! If you like Alien Weaponry then I'd stop reading now. We do usually try to be positive and supportive with our reviews but this is not one of those times I'm afraid. But if you want an honest account of what this Monday night gig in Fuel was like.
Having got the news only a few hours before that South Wales Edge Lords Sodomized Cadaver weren't playing their scheduled special guest slot, despite drummer Gavin having been on holiday for a number of days already. The idea that this hadn't had any thought put into it about a replacement being sourced is, quite frankly laughable. Especially when just two days again the M2TM final took place showcasing six bands who could have easily fitted on to this bill giving them the expose that so many bands struggle to achieve. It was a golden opportunity missed by all involved.
It also meant that previous openers Excursia (8) were bumped up to main support after a later start time, though the doors were opened at 7pm to make way for the sold out crowd, Fuel's second in three days, they took to the stage, well most of them, their singer was in with the punters and they proceeded to do what they do, obviously buoyed by their new position as special guests they put in a good performance, probably one of the best I've seen from them. Their slightly progressive riffs peeling out of the Fuel PA with a renewed viciousness, that got the ever filling room of partisan headliner fans. They were treated to probably the best set of the night to be honest, so well done them for turning up early. Excursia like the headliners are all young guys (like really young) and we've said before they are brimming with potential, which they seem to be realising. They, unlike so many others, got to display this potential in front of more than the usual 10 people that go to local gigs, it was just a shame that no other band were deemed worthy enough to share that spotlight. Still applause from the crowd meant that they enjoyed this inaugural show of the evening with Excursia and were now adequately prepared to rock.
Yes adequate at term that sums up Alien Weaponry (4) for me I'm afraid. Touted as the "next big thing" (a term I hate) by so many 'major' magazines we first saw this band at Bloodstock last year where they were firmly sitting on the hype train that has lead them to opening the mainstage at Download this year! Myself and Paul, along with numerous members of the MoM fraternity were massively underwhelmed by the bands formulaic riffs and compositions, the only thing different to countless others being the use of their Maori heritage. Still for reasons that are still unclear they are one of the most talked about, almost worshipped bands around at the moment so when intimate headline shows were announced tickets were snapped up. I bought a ticket off a friend who was going. I was going mainly for the Sodomized and Excursia support (though I do wish I would have gone to Bristol for Mortishead and Embodiment instead now) and so I could give the band a second chance as first impressions aren't everything.
When Excursia had finished I looked around the room and saw about 12 people who I've ever seen set foot in a Fuel gig, there were tonnes of people supporting this young band but none of these people have been to any of the other shows in Fuel this year by my reckoning. Still the room was packed out which I guess was the point of the show really, drawing members of the media (I bought a ticket) and some festival alumni to a small bar in Cardiff on a Monday night. What is abundantly clear about Alien Weaponry is that they are not short of finance, they brought their own sound desk to the venue and they have a lot of high quality merch, they also keep it in the family with their parents doing the sound and the selling said merch, they are a very slick operation, which is reflected in the rockstar attitude of the band which I assume is part of the appeal.
Their set was largely forgettable to be honest their music all sounds the same with chuggy riffs and shouted vocals the major theme, it bored me at Bloodstock, it bored me here, but with one exception I was the only person bored. Down the front and even at the back it was manic, pits, bouncing, large sweaty guys pretty much shirtless, they were lapping up while I was still befuddled about the reasons why.
I went from confusion to frustration as things progressed as if every show that was put on in Fuel or small venues such as this had a sold out attendance then every band would have a chance of getting to where Alien Weaponry are. However so many were here just for the "I was there moment" I overheard the phrase "they'll never play venues this size again" so many times it was like talking to parrots, this wasn't about supporting the music or the band but boosting the egos of many who attended so in a year's time they can say "I was at that show, look at me". Moments like that are supposed to be spontaneous, not stage managed, I've seen thousands of bands and not one was for ego reasons, I watch live music because I want to and I love a band because I love them, not because someone tells me too and not because they could be famous in the future.
Obviously I also realize that opinions are like a certain part of the anatomy, so it's all relative but I just don't think Alien Weaponry are very good, they certainly aren't good enough to have this amount of hype about them, there are hundreds if not thousands of bands that could be in this headline slot or opening the mainstage of Download that have been working longer, harder and by extension are better than Alien Weaponry and they are overlooked. I'm not talking underground local bands I mean actual established touring bands, they are more than just a gimmick but unfortunately that sells tickets and get people excited so maybe I'm in the wrong, who knows. Still I'd rather be wrong and honest than right and insincere.
WARNING!! If you like Alien Weaponry then I'd stop reading now. We do usually try to be positive and supportive with our reviews but this is not one of those times I'm afraid. But if you want an honest account of what this Monday night gig in Fuel was like.
Having got the news only a few hours before that South Wales Edge Lords Sodomized Cadaver weren't playing their scheduled special guest slot, despite drummer Gavin having been on holiday for a number of days already. The idea that this hadn't had any thought put into it about a replacement being sourced is, quite frankly laughable. Especially when just two days again the M2TM final took place showcasing six bands who could have easily fitted on to this bill giving them the expose that so many bands struggle to achieve. It was a golden opportunity missed by all involved.
It also meant that previous openers Excursia (8) were bumped up to main support after a later start time, though the doors were opened at 7pm to make way for the sold out crowd, Fuel's second in three days, they took to the stage, well most of them, their singer was in with the punters and they proceeded to do what they do, obviously buoyed by their new position as special guests they put in a good performance, probably one of the best I've seen from them. Their slightly progressive riffs peeling out of the Fuel PA with a renewed viciousness, that got the ever filling room of partisan headliner fans. They were treated to probably the best set of the night to be honest, so well done them for turning up early. Excursia like the headliners are all young guys (like really young) and we've said before they are brimming with potential, which they seem to be realising. They, unlike so many others, got to display this potential in front of more than the usual 10 people that go to local gigs, it was just a shame that no other band were deemed worthy enough to share that spotlight. Still applause from the crowd meant that they enjoyed this inaugural show of the evening with Excursia and were now adequately prepared to rock.
Yes adequate at term that sums up Alien Weaponry (4) for me I'm afraid. Touted as the "next big thing" (a term I hate) by so many 'major' magazines we first saw this band at Bloodstock last year where they were firmly sitting on the hype train that has lead them to opening the mainstage at Download this year! Myself and Paul, along with numerous members of the MoM fraternity were massively underwhelmed by the bands formulaic riffs and compositions, the only thing different to countless others being the use of their Maori heritage. Still for reasons that are still unclear they are one of the most talked about, almost worshipped bands around at the moment so when intimate headline shows were announced tickets were snapped up. I bought a ticket off a friend who was going. I was going mainly for the Sodomized and Excursia support (though I do wish I would have gone to Bristol for Mortishead and Embodiment instead now) and so I could give the band a second chance as first impressions aren't everything.
When Excursia had finished I looked around the room and saw about 12 people who I've ever seen set foot in a Fuel gig, there were tonnes of people supporting this young band but none of these people have been to any of the other shows in Fuel this year by my reckoning. Still the room was packed out which I guess was the point of the show really, drawing members of the media (I bought a ticket) and some festival alumni to a small bar in Cardiff on a Monday night. What is abundantly clear about Alien Weaponry is that they are not short of finance, they brought their own sound desk to the venue and they have a lot of high quality merch, they also keep it in the family with their parents doing the sound and the selling said merch, they are a very slick operation, which is reflected in the rockstar attitude of the band which I assume is part of the appeal.
Their set was largely forgettable to be honest their music all sounds the same with chuggy riffs and shouted vocals the major theme, it bored me at Bloodstock, it bored me here, but with one exception I was the only person bored. Down the front and even at the back it was manic, pits, bouncing, large sweaty guys pretty much shirtless, they were lapping up while I was still befuddled about the reasons why.
I went from confusion to frustration as things progressed as if every show that was put on in Fuel or small venues such as this had a sold out attendance then every band would have a chance of getting to where Alien Weaponry are. However so many were here just for the "I was there moment" I overheard the phrase "they'll never play venues this size again" so many times it was like talking to parrots, this wasn't about supporting the music or the band but boosting the egos of many who attended so in a year's time they can say "I was at that show, look at me". Moments like that are supposed to be spontaneous, not stage managed, I've seen thousands of bands and not one was for ego reasons, I watch live music because I want to and I love a band because I love them, not because someone tells me too and not because they could be famous in the future.
Obviously I also realize that opinions are like a certain part of the anatomy, so it's all relative but I just don't think Alien Weaponry are very good, they certainly aren't good enough to have this amount of hype about them, there are hundreds if not thousands of bands that could be in this headline slot or opening the mainstage of Download that have been working longer, harder and by extension are better than Alien Weaponry and they are overlooked. I'm not talking underground local bands I mean actual established touring bands, they are more than just a gimmick but unfortunately that sells tickets and get people excited so maybe I'm in the wrong, who knows. Still I'd rather be wrong and honest than right and insincere.
Bloodstock Metal To The Masses Grand Final (Live Review By Paul)
Bloodstock Metal To The Masses Grand Final, Fuel Rock Club, Cardiff
And so, it finally happened. Nearly 30 bands, six frenetic heats, two epic semi finals done. The final arrived. To say anticipation was great for the evening would be one of the greatest understatements of all time. The build up had been frenzied on social media; we ran interviews with each of the bands plus a look back and forward with last year’s winners Democratus; the bands plastered their pages with reminders and pleas for support … and the bloody event only went and sold out! It promised much and delivered so much more.
For the Musipedia crew, this was an event to relax and enjoy. We’d worked damn hard throughout the competition and with only this review to write, it was an opportunity to kick back, have a few beers and enjoy the company of old and new friends whilst watching the magic unfold. Having grabbed a pre-gig meal and pint in the excellent Head Of Steam, we arrived a good hour and a half before doors at Fuel to find all the bands had successfully navigated their way through the traffic chaos thanks to the Tory tax-dodgers event at the Stadium and loaded in. Sound-checks were well underway and there was already an air of excitement. Nerves were being settled, the bands were in jovial form and eager early birds headed to the bar whilst Wales played out the death throes of their defeat in Croatia.
The draw was unkind once more to Haverfordwest’s In Which It Burns (8) who seem to inevitably pull the opening slot. Up first again, following the decision to push Cranial Separation’s set to the end of the evening. Going on first never worries the West Wales boys and with their usual aggression they took the event by the scruff of the neck. A healthy crowd was treated to possibly the best performance I’ve ever seen by the band, as they simply scorched the earth around them with their intense anti-establishment groove metal. Frontman Stretch was straining every sinew of his vest clad frame, snarling his vocals and firing forward crushing riffs for fun. The band have impressed me ever since I saw them at Fuel a couple of years ago and their shows in this tournament have been astonishingly consistent. The Creed and 6341 slayed big time, whilst newer material slotted comfortably alongside. Guitarist Steve, his wiry frame covered in tattoos, played the gig of his life, his fretwork excellent whilst Vinny and Mikey had the engine room locked down tightly. The bar had not only been set but smashed. This was the standard every band needed to meet.
Having released their debut album Thrill Of A Kill a week earlier (see review on 7th June), Swansea’s Sepulchre (8) were already on a high and took that energy and enthusiasm into a strongly delivered set. A brief technical difficulty threatened to derail them early doors, but they recovered well, inciting the first pit action of the evening (and I’m still aching) with their anthem Kill Me. It’s hard to be objective when you are in the thick of the pit but from the chaos around me it was evident that Spatula were bringing it home big time. Frontman Darren Evans adding riffs, lead breaks and the gritty vocals in his own inimitable style. Betrayed By God closed out a set that was bursting with passion, and you couldn’t argue that Sepulchre hadn’t given it their all. That bar which IWIB had torn down was now stamped on by Sepulchre. Two bands in and the breathing was already in trouble.
Whilst Sepulchre had impressed during their journey through to the final, it had been Cardiff’s Blind Divide (10) that demonstrated the exact way to build on previous experiences. This was final number 3 for the band, and with the prize just out of reach in 2018 you sensed that this time the band was going to grab it and hold it tightly. And they did just that with the most ferocious set I’d ever seen from them. From the opening bars it was clear that Blind Divide were not here to make up the numbers. The crowd had swollen in the main room and the pit action continued in ferocious style. Two new numbers including the awesome Betrayer mixed up their set as they had promised and the roar of approval between songs was deafening. Blind Divide delivered everything we had hoped and at this stage of the evening manoeuvred into pole position. It was a position they refused to let go. But we still had a lot more to enjoy.
Possibly the discovery of the whole competition has been the big hard rock and metal sound of King Kraken (8). The five piece who have not even been together for a year yet had thundered their way into the final. They wear their hearts on their sleeves and certainly were in no mood to go down without the ugliest fight they could offer. New tracks, additional effects including Mark Donoghue’s tolling bell on the opening number, and a massive army roaring their efforts made for another bombastic Kraken set. As the pits which appeared to have settled opened once more to the pulverising Freak, Kraken pushed even harder. Drenched in sweat, they gave their all and are now an established and welcome addition to the Welsh circuit. They are slowly spreading their musical tentacles across the country and I can only see this band going one way. Skyward.
Two more bands to go but no sign of the energy levels dropping despite the oppressive heat which Fuel generates. With the audience now cramming into the room, it was time for Fallen Temples (9) to show their quality. Adam, Joe and Joe played superbly, the dual Joe combination solidly tight, allowing Adam the freedom to express with his guitar work and strong vocals. Cut The Wire stoked the temperature, Phoenix poured a bit more fuel on the fire and then they hit accelerate until the finish line. Like all the bands here, we’ve eulogised over the quality on display with our previous reviews and Fallen Temples are no exception. Simply brilliant musicians, confident but humble with it, they showed once more why they are one of the most enjoyable bands in South Wales. If you missed them at this show, make up for it at the next available opportunity. You won’t regret it.
All the buoyant enthusiasm of the previous acts was however, punctured by the final competing band, Levitas (7). The band’s miserable post black metal ceremony saw the venue plunged into darkness, as their passages of riffing despair circled their deathly tendrils around the room. To be fair, this wasn’t the best Levitas performance with some of the clean vocals struggling a little. The band have been one of the major success stories of the whole event and I love their sound but, on the night, it perhaps was a little too left field in comparison to the other acts. There is plenty more to come from this technically excellent outfit and I look forward to our next encounter.
With the serious stuff out of the way it was really time to party before the final decision from Bloodstock’s Rob Bannister was announced and who better to maintain the fun but those cheap dildo wielding death metal nutters Cranial Separation (7). Decked out in some fetching Hawaiian shirts (last seen on the Jaegermeister Stage at Bloodstock August 2018), the band bludgeoned their way through 30 minutes of typically irreverent and pulverising death metal which included a new track (or two?). The pits opened back up, lunacy prevailed and Cranial did what Cranial do.
A week ago, last year’s year’s winner Democratus (8) destroyed the second semi-final in Bristol with a powerhouse guest headline display. With a partisan crowd behind them and Kerrin back in the fold after his recent absence, the band took the opportunity to demonstrate why they have been worthy champions for 2018-19. Powerful, comfortably confident and assured about their delivery, new tracks Preacher Of Hate showed promise whilst Divided They Fall also received solid feedback from the faithful who had thronged to the front, head banging and pitting one last time. A Life For A Lie rang out, no words were necessary from frontman Steve Jenkins to get the audience in full participation mode. There it ended; the last show as winners but Democratus have shown how to push on after winning the event and their profile is off the scale in comparison to this time last year. A model to follow for sure.
So that was it … but wait. The announcement still had to be made. Who had impressed Rob Bannister sufficiently to gain the golden ticket? Well, in true ironic style, the raffle for the two tickets was won by Adam from Blind Divide before the band’s drummer Anthony claimed the slab of Hobgoblin. With the metal gods shining down, it was no surprise but thoroughly deserved that Blind Divide got the nod and were hailed as 2019 winners. It didn’t stop there though, as Fallen Temples were awarded a guest slot which once more was fully deserved and recognition for their hard work.
It’s been hell of a competition. We’ve had tears, anger, sorrow and so much joy through the last couple of months. The guys and girls at Fuel have been immense, putting up with an at times rabidly ferocious audience. The sound team have excelled, with Fuel’s notoriously poor sound no longer a real issue. Kurtis Bagley played a blinder on the night and the sound was excellent. Thanks to Rob for travelling to Cardiff to judge; a task I’d have balked at due to the level of quality. And to Alyn and Tim, who stoically organised and maintained their heads when all around were losing theirs at times. Composure, hilarity and amazingly, a bit of professionalism are wording that spring to mind. Yeah, I know, but it’s true.
And so, it finally happened. Nearly 30 bands, six frenetic heats, two epic semi finals done. The final arrived. To say anticipation was great for the evening would be one of the greatest understatements of all time. The build up had been frenzied on social media; we ran interviews with each of the bands plus a look back and forward with last year’s winners Democratus; the bands plastered their pages with reminders and pleas for support … and the bloody event only went and sold out! It promised much and delivered so much more.
For the Musipedia crew, this was an event to relax and enjoy. We’d worked damn hard throughout the competition and with only this review to write, it was an opportunity to kick back, have a few beers and enjoy the company of old and new friends whilst watching the magic unfold. Having grabbed a pre-gig meal and pint in the excellent Head Of Steam, we arrived a good hour and a half before doors at Fuel to find all the bands had successfully navigated their way through the traffic chaos thanks to the Tory tax-dodgers event at the Stadium and loaded in. Sound-checks were well underway and there was already an air of excitement. Nerves were being settled, the bands were in jovial form and eager early birds headed to the bar whilst Wales played out the death throes of their defeat in Croatia.
The draw was unkind once more to Haverfordwest’s In Which It Burns (8) who seem to inevitably pull the opening slot. Up first again, following the decision to push Cranial Separation’s set to the end of the evening. Going on first never worries the West Wales boys and with their usual aggression they took the event by the scruff of the neck. A healthy crowd was treated to possibly the best performance I’ve ever seen by the band, as they simply scorched the earth around them with their intense anti-establishment groove metal. Frontman Stretch was straining every sinew of his vest clad frame, snarling his vocals and firing forward crushing riffs for fun. The band have impressed me ever since I saw them at Fuel a couple of years ago and their shows in this tournament have been astonishingly consistent. The Creed and 6341 slayed big time, whilst newer material slotted comfortably alongside. Guitarist Steve, his wiry frame covered in tattoos, played the gig of his life, his fretwork excellent whilst Vinny and Mikey had the engine room locked down tightly. The bar had not only been set but smashed. This was the standard every band needed to meet.
Having released their debut album Thrill Of A Kill a week earlier (see review on 7th June), Swansea’s Sepulchre (8) were already on a high and took that energy and enthusiasm into a strongly delivered set. A brief technical difficulty threatened to derail them early doors, but they recovered well, inciting the first pit action of the evening (and I’m still aching) with their anthem Kill Me. It’s hard to be objective when you are in the thick of the pit but from the chaos around me it was evident that Spatula were bringing it home big time. Frontman Darren Evans adding riffs, lead breaks and the gritty vocals in his own inimitable style. Betrayed By God closed out a set that was bursting with passion, and you couldn’t argue that Sepulchre hadn’t given it their all. That bar which IWIB had torn down was now stamped on by Sepulchre. Two bands in and the breathing was already in trouble.
Whilst Sepulchre had impressed during their journey through to the final, it had been Cardiff’s Blind Divide (10) that demonstrated the exact way to build on previous experiences. This was final number 3 for the band, and with the prize just out of reach in 2018 you sensed that this time the band was going to grab it and hold it tightly. And they did just that with the most ferocious set I’d ever seen from them. From the opening bars it was clear that Blind Divide were not here to make up the numbers. The crowd had swollen in the main room and the pit action continued in ferocious style. Two new numbers including the awesome Betrayer mixed up their set as they had promised and the roar of approval between songs was deafening. Blind Divide delivered everything we had hoped and at this stage of the evening manoeuvred into pole position. It was a position they refused to let go. But we still had a lot more to enjoy.
Possibly the discovery of the whole competition has been the big hard rock and metal sound of King Kraken (8). The five piece who have not even been together for a year yet had thundered their way into the final. They wear their hearts on their sleeves and certainly were in no mood to go down without the ugliest fight they could offer. New tracks, additional effects including Mark Donoghue’s tolling bell on the opening number, and a massive army roaring their efforts made for another bombastic Kraken set. As the pits which appeared to have settled opened once more to the pulverising Freak, Kraken pushed even harder. Drenched in sweat, they gave their all and are now an established and welcome addition to the Welsh circuit. They are slowly spreading their musical tentacles across the country and I can only see this band going one way. Skyward.
Two more bands to go but no sign of the energy levels dropping despite the oppressive heat which Fuel generates. With the audience now cramming into the room, it was time for Fallen Temples (9) to show their quality. Adam, Joe and Joe played superbly, the dual Joe combination solidly tight, allowing Adam the freedom to express with his guitar work and strong vocals. Cut The Wire stoked the temperature, Phoenix poured a bit more fuel on the fire and then they hit accelerate until the finish line. Like all the bands here, we’ve eulogised over the quality on display with our previous reviews and Fallen Temples are no exception. Simply brilliant musicians, confident but humble with it, they showed once more why they are one of the most enjoyable bands in South Wales. If you missed them at this show, make up for it at the next available opportunity. You won’t regret it.
All the buoyant enthusiasm of the previous acts was however, punctured by the final competing band, Levitas (7). The band’s miserable post black metal ceremony saw the venue plunged into darkness, as their passages of riffing despair circled their deathly tendrils around the room. To be fair, this wasn’t the best Levitas performance with some of the clean vocals struggling a little. The band have been one of the major success stories of the whole event and I love their sound but, on the night, it perhaps was a little too left field in comparison to the other acts. There is plenty more to come from this technically excellent outfit and I look forward to our next encounter.
With the serious stuff out of the way it was really time to party before the final decision from Bloodstock’s Rob Bannister was announced and who better to maintain the fun but those cheap dildo wielding death metal nutters Cranial Separation (7). Decked out in some fetching Hawaiian shirts (last seen on the Jaegermeister Stage at Bloodstock August 2018), the band bludgeoned their way through 30 minutes of typically irreverent and pulverising death metal which included a new track (or two?). The pits opened back up, lunacy prevailed and Cranial did what Cranial do.
A week ago, last year’s year’s winner Democratus (8) destroyed the second semi-final in Bristol with a powerhouse guest headline display. With a partisan crowd behind them and Kerrin back in the fold after his recent absence, the band took the opportunity to demonstrate why they have been worthy champions for 2018-19. Powerful, comfortably confident and assured about their delivery, new tracks Preacher Of Hate showed promise whilst Divided They Fall also received solid feedback from the faithful who had thronged to the front, head banging and pitting one last time. A Life For A Lie rang out, no words were necessary from frontman Steve Jenkins to get the audience in full participation mode. There it ended; the last show as winners but Democratus have shown how to push on after winning the event and their profile is off the scale in comparison to this time last year. A model to follow for sure.
So that was it … but wait. The announcement still had to be made. Who had impressed Rob Bannister sufficiently to gain the golden ticket? Well, in true ironic style, the raffle for the two tickets was won by Adam from Blind Divide before the band’s drummer Anthony claimed the slab of Hobgoblin. With the metal gods shining down, it was no surprise but thoroughly deserved that Blind Divide got the nod and were hailed as 2019 winners. It didn’t stop there though, as Fallen Temples were awarded a guest slot which once more was fully deserved and recognition for their hard work.
It’s been hell of a competition. We’ve had tears, anger, sorrow and so much joy through the last couple of months. The guys and girls at Fuel have been immense, putting up with an at times rabidly ferocious audience. The sound team have excelled, with Fuel’s notoriously poor sound no longer a real issue. Kurtis Bagley played a blinder on the night and the sound was excellent. Thanks to Rob for travelling to Cardiff to judge; a task I’d have balked at due to the level of quality. And to Alyn and Tim, who stoically organised and maintained their heads when all around were losing theirs at times. Composure, hilarity and amazingly, a bit of professionalism are wording that spring to mind. Yeah, I know, but it’s true.
They have run an immense programme and rightly deserve the plaudits. Thank you both. Our final observation is that this is the year the fans have returned in their droves. Full houses are now commonplace in this area and we want to maintain this. It’s been a true honour to cover this competition and we now turn our attention to the main event, BOA in August with the plan to undertake more pre-festival interviews and reviews. We hope you’ve enjoyed our coverage. If not, nothing I can say will change that. Thanks for reading. See you at a gig soon.
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