Gatecreeper: Deserted (Relapse Records) [Rich Oliver]
Old school death metal is certainly having a resurgence in popularity of late. After several years of a saturation of either ultra brutal or ultra technical bands which always seemed to be a case of style over substance it is refreshing to see a new wave of bands playing death metal the way it was meant to be which is dirty, rotten, fetid and depraved. At the moment there are two bands that are being raved about - one is Tomb Mold from Canada and another is Gatecreeper from the USA. Up until now I hadn’t got round to hearing any Gatecreeper and I’m glad I have finally gone there as Deserted which is the second full length from the band is a glorious piece of death metal. Gatecreeper here have very much paid homage to the Swedish death metal scene with echoes of the greats such as Entombed, Grave and Dismember.
The HM-2 chainsaw buzz is prevalent and used to great effect on a cacophony of disgusting riffs with plenty of groove, chug and malevolent melody. There is also a clear death doom influence as well with the band not afraid to slow things down to a slow and malevolent pace. The vocals are as depraved and deranged as one would hope with snarls, shrieks and barks holding centre court over the barrage of filth unleashed by the musicians. Deserted is a great homage to the masters of the early 90’s Swedish death metal scene and Gatecreeper whilst not doing anything original do what they do so effectively it is impossible not to love it. As long as it doesn’t get overcrowded and stale like the old school thrash resurgence is getting then I wholeheartedly endorse this old school death metal revival and Gatecreeper are certainly one of the best of the bands out there doing it right now. 8/10
Green Lung: Free The Witch (Kozmik Artifactz) [Matt Bladen]
We reviewed Green Lung's debut album Woodland Rites earlier this year. It was a fantastic occult doom record that took me back to the glory days of those first four Sabbath albums, Paul S gave it a stonking 9/10 and I have to agree with my colleague. Free The Witch then is them showing their new audience where the band have been. it was released on cassette in 2018 on Deckhead Records but now it will finally be released on CD/Vinyl via Kozmik Artifactz records, including a bonus track not on the original release. If I'm honest it's not too far removed from their full length in terms of sound, it's a little less refined but it still has that fuzzy classic stoner/doom sound, lyrically it's build upon the theme of witch burning. The band focus on flipping "witch burning on its head, opting instead for a witch-positive message, celebrating British witchcraft through the ages and rediscovering the radicalism of the Old Religion." Green Lung are Tom Templar (vocals), Scott Black (guitar), Andrew Cave (bass), Matt Wiseman (drums) and John Wright (organ) and Free The Witch will be lapped up by anyone who is on the journey because of Woodland Rites and wants to discover more music from this band you may just be the next big thing in the stoner/doom scene. 8/10
Leah: Ancient Winter (Napalm Records) [Rich Oliver]
Ancient Winter is the new album from Canadian self-styled Celtic fantasy metal musician Leah. Not an artist I have heard of but amongst sher fanbase she has gained herself the nickname “Metal Enya”. Ancient Winter is her fourth album and on previous releases she has worked with musicians from bands such as Nightwish, Testament, Blind Guardian and Orphaned Land. Ancient Winter is meant to be a departure from Leah’s normal folk laden symphonic metal style and is very much a symphonic folk album with no traces of metal whatsoever. It is very much an atmospheric and emotional sound with a whole host of various different folk instruments, a Winter theme and the ethereal vocals of Leah herself.
The music itself sounds like it could have come straight from an epic fantasy movie or television series and is very stirring and emotional at times. Whilst this is very enjoyable music I didn’t find it particularly gripping or memorable. Compared to bands like Heilung or Wardruna it lacks a bit of conviction being based around fantasy rather than genuine historical music and it works more as background music rather than something to sit and focus your full attention on. I did find my attention wandering elsewhere at around the halfway point. It is very relaxing and beautiful music but unfortunately it didn’t do too much for me. 6/10
William Takashi Philpot: Light Of The Day (Self Released) [Matt Bladen]
Emerging from the permafrost of his 'day job' as the head Daemon of the grapefruit wielding Black Pyre. Here is shorn of his corpse paint and focussing on other styles of music rather than just the cvlt black metal we've seen him indulge in. What we get is 11 multifaceted, at times daring and progressive tracks that spans numerous styles all of which have been written, performed, recorded and mixed by Will. From the opening acoustic flight of Awakening this is about as far from black metal as you can get though it does carry with it an ominous tone. In Memorandum comes next with the closest thing to Black Pyre on the record (along with Boiling Earth), frantic riffs and blast beat drums (which I assume are programmed) topped off with the guttural bark from Will, it's a pretty simple number that moves into the open chords of Dreams which takes things into the realms of the more progressive death sound adding a level of ambience to the heavy death metal sound, one could say it's a little Opeth-like in it's composition.
We're only 3 tracks in and already the level of musicianship here is brilliant, with ambient textures coming through on Fading Part 1 that shift into Fading Part II a powerful riff augmented with fuzzing electronics that have some Floydian themes that bleed into the the desolate Wastelands, before the title track brings together a little of everything for what is probably the best song on the album. Now it is a self released/produced totally solo album so it doesn't have the benefit of £1,000's of recording equipment but it still sounds better than some black metal records produced professionally. It's got some serious musical depth to it, as a bonus you can get it for free (though do pay something for it) through Will's bandcamp here (https://williamtakashiphilpot.bandcamp.com/album/light-of-the-day). My tip? Play it through headphones to truly appreciate it, also listen out for the final track which was included as a joke and really takes you by surprise! 7/10
Monday, 21 October 2019
Reviews: Alter Bridge, Cirith Ungol, Cybernetic Witchcult, Sonic Moon (Reviews By Paul Hutchings)
Alter Bridge: Walk The Sky (Napalm Records)
Release album, tour, dip into side projects, regroup, repeat. That appears to be the pattern which Alter Bridge has followed for the past decade. Now an established arena band and often touted as the next big Download sized headliner, the Americans are back with studio album number six, and it’s another big one with 60 minutes and 14 songs to get through. Now, I gave The Last Hero a glowing review back in 2016. That album showed a darker, heavier side to the band and Walk The Sky opens in typical bombastic style with Wouldn’t You Rather, a fist pumping anthem which will no doubt be the setlist opener for their forthcoming UK Winter arena tour. The guitar work is razor sharp, with Mark Tremonti once again showing his undoubted talent with some blistering solo work. After that though, some of this album becomes classic rock written for arenas; yes, in the manner that Alter Bridge do so well, and some may say, do so very comfortably. And maybe that’s where my problem with Alter Bridge lies. Whereas The Last Hero was explosive and memorable (for example, Show Me A Leader still resonates deeply), there is something that at times is ever so slightly lacking at first listen on Walk The Sky. In The Deep is mediocre, whilst the keyboards on Godspeed don’t enhance what is a singalong that their huge fanbase will be screaming at the top of their lungs come December.
Now don’t get me wrong. This is far from a poor album. In fact, in many respects it moves Alter Bridge directly into the ‘top’ bracket. Myles Kennedy, surely one of the best frontmen in rock remains vocally as sonic and soaring as ever. The engine room of Scott Phillips and Brian Marshall are tighter than an Extinction Rebellion protester’s hand on a tube train and Tremonti is once more throwing riffs out for fun. Native Son rocks comprehensively, a thoroughly barnstorming track which is followed by a riff heavier than a bus full of elephants on Take The Crown. These two tracks back to back immediately pick the interest up, jagged guitars and Kennedy’s soaring tenor dragging you back in, the chorus hooks clawing deep. Indoctrination roars loud and proud, although The Bitter End is routine and a little dull. Luckily this is closely followed by possibly the standout track on this album, the Metallica/Soundgarden hybrid of Forever Falling.
There is nothing here that screams “terrible” whatsoever but after about 40 minutes there is a fatigue that sets in, especially after we pass the album’s anthem, Walking On The Sky. Maybe it’s me but cramming 14 songs into an hour suggests quantity over quality on occasion. I’m in a quandary to be honest. Today’s new classic rock is generally anything but new. In Alter Bridge, we have a band that possibly represent the brightest hope to a genre that appeals to the mainstream. They are an entry level for kids to progress to the darker and heavier bands as well as providing new music in a scene that can be staler than two week old scones and yet although I’ve seen the band live several times I have little interest in ever seeing them again. This album is enjoyable. It’s just missing the wow factor that I really, desperately want Alter Bridge to deliver. Good but safe. 7/10
Cirith Ungol: I’m Alive (Metal Blade Records)
Formed in 1972, Cirith Ungol were one of the original American power metal outfits. Four albums were released before they split in 1992, including the debut Frost & Fire and 1984’s King Of The Dead, an album that mesmerised me for years (re-released by Metal Blade over two years ago - http://musipediaofmetal.blogspot.com/2017/05/reviews-cirith-ungol-night-demon-mythra.html ) The band utilised themes of sword and sorcery, fantasy and darks, and of course were named after the spider pass in Lord of the Rings. The band reformed in 2016, with three of the original quartet still firing on all cylinders. This live release (and there is an extensive box set for the super fan to purchase) captures the band at the height of their reformed power. The bulk of the live recording comes from 2017’s Hammers Festival in Athens, with additional sections from the Hammer Of Doom Festival (2017) and the Rock-Hard Festival (2018), both in Germany. The set list is massive, covering songs from their entire back catalogue.
Thick, heavy riffage cascades down from the heavens in a crushing assault which blends the power metal with the doom style which the band adopted early in their career. Tim Baker’s vocals remain as astonishingly bizarre as ever, and whilst I’ve seen quite a lot of on-line criticism of the man, his raw rasping scream is an essential part of the entire Cirith Ungol sound. Tracks such as Atom Smasher, Master Of The Pit and the closing roars on Cirith Ungol would sound dreadful without the unique vocal delivery. The dual guitar delivery of Greg Lindstrom and Jim Barrazaz lights up the album with support from Night Demon’s Jarvis Leatherby on bass and the solid powerhouse drumming of Robert Garven. Whilst this may not be to those of a more modern taste, for those who enjoy old school metal this album should definitely indulge. It’s raw, it’s still loose but above all it’s a monument to a band whose legacy continues over 45 years since they first formed. 7/10
Cybernetic Witch Cult: Absurdum Ad Nauseam (Self Released)
Time for new music from the South West spacelords Cybernetic Witch Cult. The band has made substantial strides since their 2015 demo‘Morlock Rock with their 2017 release Troglodithic Trip a highlight of recent psychedelic stoner rock. With relentless self-promotion the band has appeared across Europe with some big festival appearances (Bloodstock and HRH Doom v Stoner included). Album number 3 sees the trio pushing their talents harder and further. The roars of vocalist and guitarist Alex Wyld on Hypercomputer Part I over the sludgy, doom filled track leave you assured that CWC are on fire and ready to take you on another cosmic journey. The songs are superbly anchored by the thunderous rhythm section of bassist Doug MacKinnon and drummer Lewis May, Massive riffs crash from the sky throughout, with the Sabbath heavy Cromagnonaut and the hauntingly deep The Cetacean amongst the highlights. Another fine album, Absurdum Ad Nauseam continues the progress of one of the finest bands in this genre. Well worth taking the trip. 8/10
Sonic Moon: Usually I Don’t Care For Flowers (Self Released)
A four-piece from Aarhus in Denmark, this five-track release follows up the band’s 2018 debut Ep In Orbit. Full of dark psychedelic stoner and noise, this is raw, emotional and at times haunting. There is plenty of variation across the Ep, with the pumping open track All Things Evergreen and Epitaph amongst the more impressive songs. Switching style and pace, Usually I Don’t Care For Flowers is an emotional cocktail of sorrow, rage and nihilism. 6/10
Release album, tour, dip into side projects, regroup, repeat. That appears to be the pattern which Alter Bridge has followed for the past decade. Now an established arena band and often touted as the next big Download sized headliner, the Americans are back with studio album number six, and it’s another big one with 60 minutes and 14 songs to get through. Now, I gave The Last Hero a glowing review back in 2016. That album showed a darker, heavier side to the band and Walk The Sky opens in typical bombastic style with Wouldn’t You Rather, a fist pumping anthem which will no doubt be the setlist opener for their forthcoming UK Winter arena tour. The guitar work is razor sharp, with Mark Tremonti once again showing his undoubted talent with some blistering solo work. After that though, some of this album becomes classic rock written for arenas; yes, in the manner that Alter Bridge do so well, and some may say, do so very comfortably. And maybe that’s where my problem with Alter Bridge lies. Whereas The Last Hero was explosive and memorable (for example, Show Me A Leader still resonates deeply), there is something that at times is ever so slightly lacking at first listen on Walk The Sky. In The Deep is mediocre, whilst the keyboards on Godspeed don’t enhance what is a singalong that their huge fanbase will be screaming at the top of their lungs come December.
Now don’t get me wrong. This is far from a poor album. In fact, in many respects it moves Alter Bridge directly into the ‘top’ bracket. Myles Kennedy, surely one of the best frontmen in rock remains vocally as sonic and soaring as ever. The engine room of Scott Phillips and Brian Marshall are tighter than an Extinction Rebellion protester’s hand on a tube train and Tremonti is once more throwing riffs out for fun. Native Son rocks comprehensively, a thoroughly barnstorming track which is followed by a riff heavier than a bus full of elephants on Take The Crown. These two tracks back to back immediately pick the interest up, jagged guitars and Kennedy’s soaring tenor dragging you back in, the chorus hooks clawing deep. Indoctrination roars loud and proud, although The Bitter End is routine and a little dull. Luckily this is closely followed by possibly the standout track on this album, the Metallica/Soundgarden hybrid of Forever Falling.
There is nothing here that screams “terrible” whatsoever but after about 40 minutes there is a fatigue that sets in, especially after we pass the album’s anthem, Walking On The Sky. Maybe it’s me but cramming 14 songs into an hour suggests quantity over quality on occasion. I’m in a quandary to be honest. Today’s new classic rock is generally anything but new. In Alter Bridge, we have a band that possibly represent the brightest hope to a genre that appeals to the mainstream. They are an entry level for kids to progress to the darker and heavier bands as well as providing new music in a scene that can be staler than two week old scones and yet although I’ve seen the band live several times I have little interest in ever seeing them again. This album is enjoyable. It’s just missing the wow factor that I really, desperately want Alter Bridge to deliver. Good but safe. 7/10
Cirith Ungol: I’m Alive (Metal Blade Records)
Formed in 1972, Cirith Ungol were one of the original American power metal outfits. Four albums were released before they split in 1992, including the debut Frost & Fire and 1984’s King Of The Dead, an album that mesmerised me for years (re-released by Metal Blade over two years ago - http://musipediaofmetal.blogspot.com/2017/05/reviews-cirith-ungol-night-demon-mythra.html ) The band utilised themes of sword and sorcery, fantasy and darks, and of course were named after the spider pass in Lord of the Rings. The band reformed in 2016, with three of the original quartet still firing on all cylinders. This live release (and there is an extensive box set for the super fan to purchase) captures the band at the height of their reformed power. The bulk of the live recording comes from 2017’s Hammers Festival in Athens, with additional sections from the Hammer Of Doom Festival (2017) and the Rock-Hard Festival (2018), both in Germany. The set list is massive, covering songs from their entire back catalogue.
Thick, heavy riffage cascades down from the heavens in a crushing assault which blends the power metal with the doom style which the band adopted early in their career. Tim Baker’s vocals remain as astonishingly bizarre as ever, and whilst I’ve seen quite a lot of on-line criticism of the man, his raw rasping scream is an essential part of the entire Cirith Ungol sound. Tracks such as Atom Smasher, Master Of The Pit and the closing roars on Cirith Ungol would sound dreadful without the unique vocal delivery. The dual guitar delivery of Greg Lindstrom and Jim Barrazaz lights up the album with support from Night Demon’s Jarvis Leatherby on bass and the solid powerhouse drumming of Robert Garven. Whilst this may not be to those of a more modern taste, for those who enjoy old school metal this album should definitely indulge. It’s raw, it’s still loose but above all it’s a monument to a band whose legacy continues over 45 years since they first formed. 7/10
Cybernetic Witch Cult: Absurdum Ad Nauseam (Self Released)
Time for new music from the South West spacelords Cybernetic Witch Cult. The band has made substantial strides since their 2015 demo‘Morlock Rock with their 2017 release Troglodithic Trip a highlight of recent psychedelic stoner rock. With relentless self-promotion the band has appeared across Europe with some big festival appearances (Bloodstock and HRH Doom v Stoner included). Album number 3 sees the trio pushing their talents harder and further. The roars of vocalist and guitarist Alex Wyld on Hypercomputer Part I over the sludgy, doom filled track leave you assured that CWC are on fire and ready to take you on another cosmic journey. The songs are superbly anchored by the thunderous rhythm section of bassist Doug MacKinnon and drummer Lewis May, Massive riffs crash from the sky throughout, with the Sabbath heavy Cromagnonaut and the hauntingly deep The Cetacean amongst the highlights. Another fine album, Absurdum Ad Nauseam continues the progress of one of the finest bands in this genre. Well worth taking the trip. 8/10
Sonic Moon: Usually I Don’t Care For Flowers (Self Released)
A four-piece from Aarhus in Denmark, this five-track release follows up the band’s 2018 debut Ep In Orbit. Full of dark psychedelic stoner and noise, this is raw, emotional and at times haunting. There is plenty of variation across the Ep, with the pumping open track All Things Evergreen and Epitaph amongst the more impressive songs. Switching style and pace, Usually I Don’t Care For Flowers is an emotional cocktail of sorrow, rage and nihilism. 6/10
Sunday, 20 October 2019
Review: Cradle Of Filth (Big Review By Val D'Arcy)
Cradle Of Filth: Cruelty And The Beast - Remastered/Remixed Edition (Music For The Nations)
Cruelty And The Beast is an album that needs little introduction. Cradle Of Filth’s iconic third, full-length concept album that tells of the life and crimes of Hungarian “Blood Countess” Elizabeth Bathory. I should probably take this opportunity to set out my stall, so to speak and say that this is not a review of Cruelty And The Beast. Eh? Well, 2019 will see the release of the Remistressed incarnation of this album; a remaster, for all intents and purposes but one that is the culmination of twenty plus two years of context, which I'll briefly cover in a moment. As for this review, well it’s a look at what this new release has to offer in terms of sound, experience and quality both from the perspective of comparison but also in terms of preserving the integrity and magic of the original we know and love. Cruelty And The Beast was released in 1998 through Music For Nations, it was the second album to be released through the UK label (albeit the first, Dusk… And Her Embrace was actually a re-recording of an album originally destined for Cacophonous).
It has long been regarded by many as the musical and creative pinnacle of the band’s early career and become something of a cult classic amongst fans of the genre. That said, it’s not been without its share of controversy and no subject has divided fans and opinion more than that of the production. Originally the task of Mike Exeter (Judas Priest), things became somewhat muddied when MFN recruited co-producer in the form of Jan Genkel (Therion). Whether or not it was a case of too many cooks spoiling this particular bloody broth, lack of a cohesive vision or something else, in any event, the result was lacklustre and the final sound drew criticism from fans and band members alike. Fast forward twenty plus almost two years (legal disputes we won’t speculate on here) and we have the anniversary edition of this record, imminently due for release. So, without further ado, let’s see just what Dani and Scott Atkins have been up to at Grindstone Studios.
Cradle Of Filth albums are known for their intros. I love an intro, why more bands don’t have them is a mystery to me, they are the perfect prologue, an opportunity to set the mood, allow the listener to relax into the character of the album. Once Upon Atrocity is one of the most awe inspiring and evocative intros to any of the Cradle Of Filth albums and it’s here, intact in its true unholy form. You can tell there's been a tinkering with the dynamics as the change from track one to two is not quite as seamless as it used to be. There's a slight drop in pitch between the two that probably could have been ironed out with a little more attention, but equally it's not something particularly noticeable to anyone not intimately familiar and certainly nothing to get hung up on.
Thirteen Autumns And A Widow kicks off with two immediately noticeable changes, drums and synths. These two aspects, along with the third being the backing vocals get most attention throughout. Drums first: gone is the quiet, subdued, tinny and frankly, quite sorry sound of the original drumming. Ask any honest fan of this album and despite holding a sympathetic love and nostalgia for the original master, will eventually admit they were something of a let-down and sold the record short of what it could have been. Lecter’s synth work on Cruelty And The Beast was nothing short of brilliant and so critical to building the atmosphere that flowed generously from its open veins. The synths here are fresh, revitalised; yes, there's something new afoot and it’s lifted the sound without being obtusely divergent or too auditorily invasive to one accustomed to the original. This certainly bodes well for what’s to follow and will allay any fears listeners may have had over the purpose of this release.
Cruelty Brought Thee Orchids is not only my favourite song on this album but one of my favourite songs by this band altogether. So as the second track ends and we enter the few moments of pause before it starts, I'm full of nervous anticipation. Cue those timeless words "Here me now, all crimes should be treasured if they bring thee pleasure somehow". The introduction subsides and we’re thrown face first into the full impact of this remaster; it’s bigger, fuller, more forceful. The guitar melodies from 0:55 to 1:21 appear to have been enhanced which is great, this was one of the more beautiful aspects of this song which was easily lost in the original mix, in amongst the general blur and poor balance of the instrumentals. The drum triplets that kick in at 2:05, again one of the more subtle intricacies of this song, now sound far more prominent and draw real attention to Nick’s signature style.
The chuggy riff from 2:48 sounds heavier and nastier; always one of the highlights of this track now even more enjoyable than before. When Sarah's vocals kick in at 3:02 I find myself thinking two things. Firstly, how clear and appreciated they now sound; what a relief. Secondly, what are they doing here at all? They're sixteen seconds too early! That's right, previously muted out backing vocals have been turned right up and given an extra couple of bars. Not just here either, at 4:12 there is a whole previously unheard vocal passage that sounds perfectly in place, like it always should have been there. Indeed it should; I do recall many years ago, Sarah expressed a very honest dislike of the original production for this very reason, so it's good that her and Danielle’s voices can finally be appreciated here.
Beneath The Howling Stars; immediately you’ll notice an enhancement to the synth in the opening seconds. Robin’s bass seems to have been turned right down; not sure how I feel about this as it was such a prominent characteristic of the original (despite being almost entirely lost for the rest of the songs). It’s still there in discernable form, but doesn’t stick out quite in the way it used to. The drums sound super clean here and as we get to 1:40 (the best part of this song) the full potential of the composition finally shines through. Stuart and Gian’s guitars are front and centre, which is a very good thing as this is one of the richest melodic passages of the whole album; it sounds fantastic. The next best bit, at 2:47 remains wholly intact and very close to its virgin form. It’s worth pointing here that despite renovation being the main purpose behind this release, not all aspects of this album needed to be changed. Part of the overall success here can be attributed to the clever way in which change has been applied selectively. It doesn’t feel like change has been used for its own sake which is a huge relief; ain’t broke don’t fix it etc.
That said, there is a marked boost to the drum roll at 3:48 before moving into the bridge from 4:11 to Sarah’s vocals, the piano sounds cleaner, this together with the augmented double bass from 4:32 makes for a far more cohesive passage. The alternate background effect from 4:55 sounds like ominous winds howling (and continues all the way to 5:22), it fits perfectly. Again, as we loop back at 5:41, once more noticing the lack of bass, but this time it feels like a far more natural omission. The original version created something of an odd staccato effect with its overt pronunciation, which having heard it so many times it sounded normal, but now hearing it like this I actually quite like it. You’ll really sit up at 7:02, this whole conclusion sounds totally different. The guitars have been brought right to the fore, as have the keys, drums and bass lowered right down which really allows the melody to close out this song, a great ending.
Venus In Fear I'm pleased to report remains untouched. An odd track to have to explain to anyone in the outside world for sure, but a stroke of genius as far as this album is concerned. Desire In Violent Overture sounds largely the same (except of course for the drums) until 0:54, here the synths sound a little grander and cleaner. Where this song does really benefit from the returning of those drums of course, is at 1:30 when that double bass kicks in, meaning this whole section now has a richer, more dense texture and of course the melody is more than capable of handling the extra load. Other than that I don't feel loads has been done to this track thankfully, the drum triplets at 2:54 do sound great though. Again, they were such a strong feature of the original, it's good to hear them as nature (or Nick) intended. Danielle’s narration as the young countess sounds as evil and sexy as ever. As the shortest and fastest track on the album it hasn’t lost any of its bite or impact.
Twisted Nails Of Faith starts much as everyone will know and love; the spooky combination of Ingrid Pitt’s narration and those dark synth effects. There's no major change at all until 1:01 when the new, improved drums kick in. Again, those tight little triplets at 1:21, are so pleasing to mine ears. They continue at 2:03 with all instrumentals (bar synth) stripped back and it’s at this moment you realise just how much of this album is really complemented by the strength of Nick's drumming. I avoid use of the word carried intentionally here, as this is not in any way to say that other components are so imperfect, but I suppose serves to highlight how much this remaster was needed. The original was a bit like having a sports car on trolley wheels. That one area of deficiency actually choked the performance of most other aspects. Now it's been made right you can finally enjoy squeezing every last drop of its abundant potential. 2:40 through 3:20 sounds one hundred percent bigger, a slight rebalancing of the levels and everything fits in its natural order.
Both guitars appear to have been lifted slightly, bass and drums more in harmony with each other to great effect. Although I do feel like this has left the blast beat at 3:40 a little stifled; this particular beat was such a dominant feature of this passage that it could have done with being brought out a little more. Now for the best bit of this track, which starts to build in crescendo from 4:11. Again, much like 2:03 with everything stripped back and drums back at the front, you're really appreciating the new sound and it makes this gradual accumulation even more satisfying; all the way to that beautiful climax at 5:04. Let's pause for a moment to appreciate it. In the original version it was one of the single most transcendental and euphoric enactments of the entire album. I'm glad to say not that much has materially changed here, besides the lift in the drums and a bit of a general pick up it’s stayed very true to its glorious, native form.
Bathory Aria is probably one of the more obvious benefactors of drums 2.0. For the most part of the introductory 1:29 it's a relatively superficial change. It’s at 1:30 that the first Oh Wow moment strikes. The new dynamics of the instrumentals have really opened up the sound allowing it to take on an appropriately grand persona that is vast but balanced. From here on it builds to continue the gradual reveal of its final evolutionary form. Like many of the songs, it's very much the same at heart, but more mature, bigger, wiser, better and just so satisfying to hear. Once more the backing vocals have been given some real care and attention, they clearly shine through now in several passages where before they were nigh inaudible endowing a subtle elegance on Benighted Like Usher. For such a complex piece of music and all the many facades of this particular composition, the production does well to keep so much of the original integrity intact. As we move away from A Murder Of Ravens In Fugue, the chords at 6:56 that take us to Eyes That Witnessed Madness sound heavier and stronger and more purposeful. I was relieved to hear that in spite of the new sound the drum rolls from 7:23 to 7:36 and from here on to the end of the track have kept that original haunting, echoey quality that made them sound like they were being played from inside the Countess' Castle itself.
Portrait Of The Dead Countess is included in the running, having not made the cut on some previous editions. Again, this track appears to remain unchanged. Lustmord And Wargasm starts with those familiar, achingly eerie synths and as I listen I’m hoping that this song remains for the most part, unchanged. At 0:55 it kicks in and relief washes over me. It's the same song, with proper drums. The vocal track appears to have been slightly tweaked and balanced in adjustment to the fuller sound, but besides that this is the song I know and love. When THAT riff kicks in at 2:30 it sounds deliciously heavy and oh so satisfying. The synth passage at 3:56 (one of the best on the album in my opinion) feels somewhat rejuvenated and the backing vocal track has been brought forward a little which only aids the crescendo to the scream at 4:50, a slight enhancement to the echo in the narration. This leads into maybe the most noticeable change to this track which comes in the returning of the synthesised organ from 5:35 to 6:06 and the layered, spoken words over the top which have been bulked out a bit. None of this detracts from the energy or feel of this track, it’s still the same untamed, ferocious beast, just with a minor facelift.
Hallowed Be Thy Name was an odd choice in my opinion for this release. Not to say it’s not a great cover; it’s probably one of the stronger covers Cradle have ever put out. It's another song that suffered from the same lacklustre production as the rest of the Cruelty album. But I can't say I ever sat listening to it and thought, this really needs a remaster. Honestly, I'd probably rather have heard the other tracks from the special edition of Cruelty And The Beast reworked but I'm not going to complain. Perhaps if could have had whatever I wanted I’d ask for this to have come with an all new cover of Countess Bathory but I’m digressing with some vigour. Besides, I'm here to critique the quality of the revised production to not to quibble over track listing. Again, the drums sound how they should, albeit the impact of the change is maybe lessened given the slower pace of the track compared to the general tempo of Cruelty And The Beast.
But there we have it, almost two years in the waiting and finally I can listen to one of my favourite albums in its full, uninhibited form. The original will always have a place in my heart and on my turntable, with all its imperfections it’s become a comfort and friend over the years. Many memories and associations hang on its cobwebbed rafters that I'm not going to give up so easily; but it’s not until you hear this Remistressed version, in its full bloody glory that you’ll appreciate how badly this undertaking and effort was needed. If not to replace the original, then to shine light on the many forgotten aspects of the music and vocals that were just simply not there before, marred by the imbalance of its former self. Furthermore, when everything is presented in its corrected harmony the catalytic effect on the overall experience is quite amazing. 9/10
Cruelty And The Beast is an album that needs little introduction. Cradle Of Filth’s iconic third, full-length concept album that tells of the life and crimes of Hungarian “Blood Countess” Elizabeth Bathory. I should probably take this opportunity to set out my stall, so to speak and say that this is not a review of Cruelty And The Beast. Eh? Well, 2019 will see the release of the Remistressed incarnation of this album; a remaster, for all intents and purposes but one that is the culmination of twenty plus two years of context, which I'll briefly cover in a moment. As for this review, well it’s a look at what this new release has to offer in terms of sound, experience and quality both from the perspective of comparison but also in terms of preserving the integrity and magic of the original we know and love. Cruelty And The Beast was released in 1998 through Music For Nations, it was the second album to be released through the UK label (albeit the first, Dusk… And Her Embrace was actually a re-recording of an album originally destined for Cacophonous).
It has long been regarded by many as the musical and creative pinnacle of the band’s early career and become something of a cult classic amongst fans of the genre. That said, it’s not been without its share of controversy and no subject has divided fans and opinion more than that of the production. Originally the task of Mike Exeter (Judas Priest), things became somewhat muddied when MFN recruited co-producer in the form of Jan Genkel (Therion). Whether or not it was a case of too many cooks spoiling this particular bloody broth, lack of a cohesive vision or something else, in any event, the result was lacklustre and the final sound drew criticism from fans and band members alike. Fast forward twenty plus almost two years (legal disputes we won’t speculate on here) and we have the anniversary edition of this record, imminently due for release. So, without further ado, let’s see just what Dani and Scott Atkins have been up to at Grindstone Studios.
Cradle Of Filth albums are known for their intros. I love an intro, why more bands don’t have them is a mystery to me, they are the perfect prologue, an opportunity to set the mood, allow the listener to relax into the character of the album. Once Upon Atrocity is one of the most awe inspiring and evocative intros to any of the Cradle Of Filth albums and it’s here, intact in its true unholy form. You can tell there's been a tinkering with the dynamics as the change from track one to two is not quite as seamless as it used to be. There's a slight drop in pitch between the two that probably could have been ironed out with a little more attention, but equally it's not something particularly noticeable to anyone not intimately familiar and certainly nothing to get hung up on.
Thirteen Autumns And A Widow kicks off with two immediately noticeable changes, drums and synths. These two aspects, along with the third being the backing vocals get most attention throughout. Drums first: gone is the quiet, subdued, tinny and frankly, quite sorry sound of the original drumming. Ask any honest fan of this album and despite holding a sympathetic love and nostalgia for the original master, will eventually admit they were something of a let-down and sold the record short of what it could have been. Lecter’s synth work on Cruelty And The Beast was nothing short of brilliant and so critical to building the atmosphere that flowed generously from its open veins. The synths here are fresh, revitalised; yes, there's something new afoot and it’s lifted the sound without being obtusely divergent or too auditorily invasive to one accustomed to the original. This certainly bodes well for what’s to follow and will allay any fears listeners may have had over the purpose of this release.
Cruelty Brought Thee Orchids is not only my favourite song on this album but one of my favourite songs by this band altogether. So as the second track ends and we enter the few moments of pause before it starts, I'm full of nervous anticipation. Cue those timeless words "Here me now, all crimes should be treasured if they bring thee pleasure somehow". The introduction subsides and we’re thrown face first into the full impact of this remaster; it’s bigger, fuller, more forceful. The guitar melodies from 0:55 to 1:21 appear to have been enhanced which is great, this was one of the more beautiful aspects of this song which was easily lost in the original mix, in amongst the general blur and poor balance of the instrumentals. The drum triplets that kick in at 2:05, again one of the more subtle intricacies of this song, now sound far more prominent and draw real attention to Nick’s signature style.
The chuggy riff from 2:48 sounds heavier and nastier; always one of the highlights of this track now even more enjoyable than before. When Sarah's vocals kick in at 3:02 I find myself thinking two things. Firstly, how clear and appreciated they now sound; what a relief. Secondly, what are they doing here at all? They're sixteen seconds too early! That's right, previously muted out backing vocals have been turned right up and given an extra couple of bars. Not just here either, at 4:12 there is a whole previously unheard vocal passage that sounds perfectly in place, like it always should have been there. Indeed it should; I do recall many years ago, Sarah expressed a very honest dislike of the original production for this very reason, so it's good that her and Danielle’s voices can finally be appreciated here.
Beneath The Howling Stars; immediately you’ll notice an enhancement to the synth in the opening seconds. Robin’s bass seems to have been turned right down; not sure how I feel about this as it was such a prominent characteristic of the original (despite being almost entirely lost for the rest of the songs). It’s still there in discernable form, but doesn’t stick out quite in the way it used to. The drums sound super clean here and as we get to 1:40 (the best part of this song) the full potential of the composition finally shines through. Stuart and Gian’s guitars are front and centre, which is a very good thing as this is one of the richest melodic passages of the whole album; it sounds fantastic. The next best bit, at 2:47 remains wholly intact and very close to its virgin form. It’s worth pointing here that despite renovation being the main purpose behind this release, not all aspects of this album needed to be changed. Part of the overall success here can be attributed to the clever way in which change has been applied selectively. It doesn’t feel like change has been used for its own sake which is a huge relief; ain’t broke don’t fix it etc.
That said, there is a marked boost to the drum roll at 3:48 before moving into the bridge from 4:11 to Sarah’s vocals, the piano sounds cleaner, this together with the augmented double bass from 4:32 makes for a far more cohesive passage. The alternate background effect from 4:55 sounds like ominous winds howling (and continues all the way to 5:22), it fits perfectly. Again, as we loop back at 5:41, once more noticing the lack of bass, but this time it feels like a far more natural omission. The original version created something of an odd staccato effect with its overt pronunciation, which having heard it so many times it sounded normal, but now hearing it like this I actually quite like it. You’ll really sit up at 7:02, this whole conclusion sounds totally different. The guitars have been brought right to the fore, as have the keys, drums and bass lowered right down which really allows the melody to close out this song, a great ending.
Venus In Fear I'm pleased to report remains untouched. An odd track to have to explain to anyone in the outside world for sure, but a stroke of genius as far as this album is concerned. Desire In Violent Overture sounds largely the same (except of course for the drums) until 0:54, here the synths sound a little grander and cleaner. Where this song does really benefit from the returning of those drums of course, is at 1:30 when that double bass kicks in, meaning this whole section now has a richer, more dense texture and of course the melody is more than capable of handling the extra load. Other than that I don't feel loads has been done to this track thankfully, the drum triplets at 2:54 do sound great though. Again, they were such a strong feature of the original, it's good to hear them as nature (or Nick) intended. Danielle’s narration as the young countess sounds as evil and sexy as ever. As the shortest and fastest track on the album it hasn’t lost any of its bite or impact.
Twisted Nails Of Faith starts much as everyone will know and love; the spooky combination of Ingrid Pitt’s narration and those dark synth effects. There's no major change at all until 1:01 when the new, improved drums kick in. Again, those tight little triplets at 1:21, are so pleasing to mine ears. They continue at 2:03 with all instrumentals (bar synth) stripped back and it’s at this moment you realise just how much of this album is really complemented by the strength of Nick's drumming. I avoid use of the word carried intentionally here, as this is not in any way to say that other components are so imperfect, but I suppose serves to highlight how much this remaster was needed. The original was a bit like having a sports car on trolley wheels. That one area of deficiency actually choked the performance of most other aspects. Now it's been made right you can finally enjoy squeezing every last drop of its abundant potential. 2:40 through 3:20 sounds one hundred percent bigger, a slight rebalancing of the levels and everything fits in its natural order.
Both guitars appear to have been lifted slightly, bass and drums more in harmony with each other to great effect. Although I do feel like this has left the blast beat at 3:40 a little stifled; this particular beat was such a dominant feature of this passage that it could have done with being brought out a little more. Now for the best bit of this track, which starts to build in crescendo from 4:11. Again, much like 2:03 with everything stripped back and drums back at the front, you're really appreciating the new sound and it makes this gradual accumulation even more satisfying; all the way to that beautiful climax at 5:04. Let's pause for a moment to appreciate it. In the original version it was one of the single most transcendental and euphoric enactments of the entire album. I'm glad to say not that much has materially changed here, besides the lift in the drums and a bit of a general pick up it’s stayed very true to its glorious, native form.
Bathory Aria is probably one of the more obvious benefactors of drums 2.0. For the most part of the introductory 1:29 it's a relatively superficial change. It’s at 1:30 that the first Oh Wow moment strikes. The new dynamics of the instrumentals have really opened up the sound allowing it to take on an appropriately grand persona that is vast but balanced. From here on it builds to continue the gradual reveal of its final evolutionary form. Like many of the songs, it's very much the same at heart, but more mature, bigger, wiser, better and just so satisfying to hear. Once more the backing vocals have been given some real care and attention, they clearly shine through now in several passages where before they were nigh inaudible endowing a subtle elegance on Benighted Like Usher. For such a complex piece of music and all the many facades of this particular composition, the production does well to keep so much of the original integrity intact. As we move away from A Murder Of Ravens In Fugue, the chords at 6:56 that take us to Eyes That Witnessed Madness sound heavier and stronger and more purposeful. I was relieved to hear that in spite of the new sound the drum rolls from 7:23 to 7:36 and from here on to the end of the track have kept that original haunting, echoey quality that made them sound like they were being played from inside the Countess' Castle itself.
Portrait Of The Dead Countess is included in the running, having not made the cut on some previous editions. Again, this track appears to remain unchanged. Lustmord And Wargasm starts with those familiar, achingly eerie synths and as I listen I’m hoping that this song remains for the most part, unchanged. At 0:55 it kicks in and relief washes over me. It's the same song, with proper drums. The vocal track appears to have been slightly tweaked and balanced in adjustment to the fuller sound, but besides that this is the song I know and love. When THAT riff kicks in at 2:30 it sounds deliciously heavy and oh so satisfying. The synth passage at 3:56 (one of the best on the album in my opinion) feels somewhat rejuvenated and the backing vocal track has been brought forward a little which only aids the crescendo to the scream at 4:50, a slight enhancement to the echo in the narration. This leads into maybe the most noticeable change to this track which comes in the returning of the synthesised organ from 5:35 to 6:06 and the layered, spoken words over the top which have been bulked out a bit. None of this detracts from the energy or feel of this track, it’s still the same untamed, ferocious beast, just with a minor facelift.
Hallowed Be Thy Name was an odd choice in my opinion for this release. Not to say it’s not a great cover; it’s probably one of the stronger covers Cradle have ever put out. It's another song that suffered from the same lacklustre production as the rest of the Cruelty album. But I can't say I ever sat listening to it and thought, this really needs a remaster. Honestly, I'd probably rather have heard the other tracks from the special edition of Cruelty And The Beast reworked but I'm not going to complain. Perhaps if could have had whatever I wanted I’d ask for this to have come with an all new cover of Countess Bathory but I’m digressing with some vigour. Besides, I'm here to critique the quality of the revised production to not to quibble over track listing. Again, the drums sound how they should, albeit the impact of the change is maybe lessened given the slower pace of the track compared to the general tempo of Cruelty And The Beast.
But there we have it, almost two years in the waiting and finally I can listen to one of my favourite albums in its full, uninhibited form. The original will always have a place in my heart and on my turntable, with all its imperfections it’s become a comfort and friend over the years. Many memories and associations hang on its cobwebbed rafters that I'm not going to give up so easily; but it’s not until you hear this Remistressed version, in its full bloody glory that you’ll appreciate how badly this undertaking and effort was needed. If not to replace the original, then to shine light on the many forgotten aspects of the music and vocals that were just simply not there before, marred by the imbalance of its former self. Furthermore, when everything is presented in its corrected harmony the catalytic effect on the overall experience is quite amazing. 9/10
A View From The Back Of The Room: Winterfylleth (Live Review By Paul Hutchings)
Winterfylleth, Agrona and Levitas at The Exchange, Bristol
With a number of gigs to choose from, what swung this for me was the opportunity to catch the Welsh hordes Agrona on a bigger stage than we often get to see them. So with apologies to Bloodshot Dawn who were playing in Fuel on the same night, the Ed and I headed across the bridge to summon our demons for a night of darkness.
With all three bands familiar, it was a chance to enjoy the larger stage that The Exchange offers. What they also tend to provide is a decent sound and it was a joy to catch M2TM finalists Levitas (8) once more. We’ve seen the band many times now, but their gloomy, post-black metal storm never fails to impress. With drummer Sam Heffernan pulling a double shift, you could have almost expected him to have eased through the set but no, this was full out hammering of the kit. Using his favoured pedals, he anchored a 30 minute set which showcased why we hold the band in high esteem. The roaring vocals, the intense riffing and the deafening bass lines bludgeon but then caress in equal measure. Levitas tread the path between light and dark with care, and captivate with their no-nonsense approach. Tracks from their Charnal Sky Ep drew warm applause from the early crowd whilst the sound certainly allowed for improved listening enjoyment. With few words between songs, Levitas simply deliver the music. We’ve raved about them before here; they won’t be to everyone’s tastes but their live show deserves more attention.
Harrowing howls and screams pierced the air as the Welsh Horde Agrona (8) warmed their pipes. It didn’t take long for the band to then increase the temperature with a five-song set that filled their allocated 30 minutes. Agrona are a slick machine these days, the corpse paint always applied early and their sound check usually swift and accurate. Once more we were treated to decent sound, although this may have only been applicable to the audience by all accounts. Regardless, Agrona’s set verged once more on epic, featuring predominantly songs from debut album Realm Of The Fallen. Opening with I Chose To Burn, delivered with harrowing lyrics from singer Adara, the band raced through a blistering Storm’s End before wrapping things up with Summoning The Void. Musically tight, the band have an admirable and professional work ethic, and this was in evidence again. With the band using continuous atmospheric loops to great effect, the twin guitar attack from Arawn and Aeron cut through the thunderous din that Ankou and Kreulon were cooking up. The tormenting screams of duel vocalists Taranis and Adara completed the ghastly scene. Short but sweet it may have been, Agrona continue to impress. You should also purchase one of their fantastic new hoodies which are top quality.
When it comes to the UK black metal scene, few bands get near Winterfylleth (8). It’s been a while since I’d seen the Mancunian outfit but they rarely disappoint. Thankfully there weren’t too many musical gremlins plaguing the band’s sound on this occasion, something that very often happens to the band. Opening with The Divination Of Antiquity this was a stellar set which focused very much on the earlier music with three from The Mercian Sphere including the rarely heard The Honour Of Good Men On The Path To Glory. The band’s 70 minute set flew by, with the occasional smile puncturing the grimaces and frowns that are part of the band’s style as they tremolo riffed their way towards the magnificent closing song Mam Tor (The Shivering Mountain) from 2008’s The Ghost Of Heritage. Clad completely in black, the band focused intently on delivering a solid show which deserved to have more punters in attendance. Still, those that did responded well, with applause, roars and even the outbreak of some minor scuffling pits towards the end of the set. Winterfylleth remain an essential band in the UK metal scene and it’s always a treat to catch them live. This was no different.
With a number of gigs to choose from, what swung this for me was the opportunity to catch the Welsh hordes Agrona on a bigger stage than we often get to see them. So with apologies to Bloodshot Dawn who were playing in Fuel on the same night, the Ed and I headed across the bridge to summon our demons for a night of darkness.
With all three bands familiar, it was a chance to enjoy the larger stage that The Exchange offers. What they also tend to provide is a decent sound and it was a joy to catch M2TM finalists Levitas (8) once more. We’ve seen the band many times now, but their gloomy, post-black metal storm never fails to impress. With drummer Sam Heffernan pulling a double shift, you could have almost expected him to have eased through the set but no, this was full out hammering of the kit. Using his favoured pedals, he anchored a 30 minute set which showcased why we hold the band in high esteem. The roaring vocals, the intense riffing and the deafening bass lines bludgeon but then caress in equal measure. Levitas tread the path between light and dark with care, and captivate with their no-nonsense approach. Tracks from their Charnal Sky Ep drew warm applause from the early crowd whilst the sound certainly allowed for improved listening enjoyment. With few words between songs, Levitas simply deliver the music. We’ve raved about them before here; they won’t be to everyone’s tastes but their live show deserves more attention.
Harrowing howls and screams pierced the air as the Welsh Horde Agrona (8) warmed their pipes. It didn’t take long for the band to then increase the temperature with a five-song set that filled their allocated 30 minutes. Agrona are a slick machine these days, the corpse paint always applied early and their sound check usually swift and accurate. Once more we were treated to decent sound, although this may have only been applicable to the audience by all accounts. Regardless, Agrona’s set verged once more on epic, featuring predominantly songs from debut album Realm Of The Fallen. Opening with I Chose To Burn, delivered with harrowing lyrics from singer Adara, the band raced through a blistering Storm’s End before wrapping things up with Summoning The Void. Musically tight, the band have an admirable and professional work ethic, and this was in evidence again. With the band using continuous atmospheric loops to great effect, the twin guitar attack from Arawn and Aeron cut through the thunderous din that Ankou and Kreulon were cooking up. The tormenting screams of duel vocalists Taranis and Adara completed the ghastly scene. Short but sweet it may have been, Agrona continue to impress. You should also purchase one of their fantastic new hoodies which are top quality.
When it comes to the UK black metal scene, few bands get near Winterfylleth (8). It’s been a while since I’d seen the Mancunian outfit but they rarely disappoint. Thankfully there weren’t too many musical gremlins plaguing the band’s sound on this occasion, something that very often happens to the band. Opening with The Divination Of Antiquity this was a stellar set which focused very much on the earlier music with three from The Mercian Sphere including the rarely heard The Honour Of Good Men On The Path To Glory. The band’s 70 minute set flew by, with the occasional smile puncturing the grimaces and frowns that are part of the band’s style as they tremolo riffed their way towards the magnificent closing song Mam Tor (The Shivering Mountain) from 2008’s The Ghost Of Heritage. Clad completely in black, the band focused intently on delivering a solid show which deserved to have more punters in attendance. Still, those that did responded well, with applause, roars and even the outbreak of some minor scuffling pits towards the end of the set. Winterfylleth remain an essential band in the UK metal scene and it’s always a treat to catch them live. This was no different.
Saturday, 19 October 2019
A View From The Back Of The Room: Lethargy (Live Review By Matt Bladen)
Lethargy, Pearler, Fallen Temples & Heavy On The Ride, Patti Pavilion, Swansea
Hmm well what can I say? I know that seems a weird way to open a review but if I'm honest 24 hours after this show I'm still processing it. It was supposed to be a glorious return from a band that should have made it had their been any justice, but maybe it was the weather, maybe it was the crowd, maybe it was the sound (more on that later) I'm still having to think about it. Firstly though to the venue itself, having arrived in Swansea earlier in the day we managed to find some food and a brew (alcoholic and non) it was time to head to the venue which lays a little way outside of Swansea town centre. It's a unique place that held gigs in the past and has recently been revamped by new owners accompanied by quite a swish looking Indian restaurant next door. It's a cavernous space with huge ceilings, large arches and chandeliers. It's a wide room with a reasonably high stage, bar at the back merch and seats on either side. it looks like it could hold quite a large crowd and is also perfect for the events that I assume it holds when gigs aren't being staged. Now as we entered the main area there was a mix of punters and band members mulling around with the organisers Big Day Production doing some pre-gig scurrying.
Unfortunately as the first act Heavy On The Ride (7) took to the stage the crowd didn't really increase that much, in front of a sparse crowd, the three piece opened the night with some fuzz drenched desert rock on what was the first special performance of the night. This was to be memorable because it was drummer Sean Mahoney's final show with the band, possibly due to his focus on main band Deadshed Jokers who have just released one of the albums of the year. Here though he battered the kit as the band played grooves as desolate as Arizona with the guitars and bass of Jordan Huxtable and Michael Bale locking in for some woozy riffs and instrumental jams as all three played like powerhouses. After 30 minutes of being taken to another world it was time to end with the band re-establishing their position as one of South Wales' premier desert rock merchants, sending off their drummer on a high.
Now then to the sound, throughout Heavy On The Ride's set they called for numerous adjustments to the on stage sound and this trend continued with second act of the night Fallen Temples (9), so much so that they managed to mess up the beginning of their songs, as drummer Joe Stirland couldn't hear what either of his compatriots were playing. Now if you've seen Fallen Temples before you'll know this pretty much never happens, they are one of the slickest bands around on our scene, they've played Bloodstock after being specially invited after the final of this years Metal To The Masses, they will also be playing with Skindred at the massive show in Cwmbran Stadium later this month. Tracks like Cut The Wire, Phoenix hit hard, riffs for days, grooves deeper than the Mariana Trench from Joe Lewis and some slinky guitar solos from Adam who this time was not being attacked by a smoke machine so could deliver his gutsy vocal delivery perfectly, they were the first band of the show to bring people to the barrier as their 70's influenced hard rock style appeals to a broad audience and they play like veterans treating each gig as an arena show, Lewis especially stalks the stage when given the room to do so as Stirland has definitely got Lars Ulrich syndrome standing up whenever possible. Laying down a challenge to every band to come Fallen Temples were on top form here, winning over the crowd from the first heavy riff and keeping them there until the last.
So with a small change over next it was time for the two local acts. The first were a band who I have seen before a few times and always leave me vexed. I've mentioned that visually they're mismash of 90's grunge and 80's LA Sleaze metal but sound wise it's heavy groove rock. However despite this Pearler (6) seem to have a fanatical following, much of this is in part due to the bands tongue in cheek attitude and their publicity machine putting their innuendo-ridden catchphrase "You know when you've had one" on every piece of merch, every poster, every social media post and even in the M.C's introduction of the band. It means that when they came to the stage they were guaranteed a big ovation from the partisan crowd who lapped up their humour. Unfortunately musically they are not the most interesting, perhaps as they followed that incendiary show from Fallen Temples, or maybe even the anticipation of the more progressive musical style to come. Pearler so often leave me a little unstimulated, to use their own innuendo, but with their promotional skill and broad appeal, their fan base lapped it up.
I will say that the sound on the stage seemed to cause issues, throughout the evening but for Pearler it was a little better as at least they could hear themselves. For us in the audience, the sheer volume meant everything was a little muddy, as the sound engineer seemed to have a "louder is better" attitude to a rock show which is not always the case especially in a venue which is so high, sometimes if the volume is toned down a little it means the band can hear without needing the monitors full and the sound from the stage can carry making it sound impressive but not deafening.
Still thankfully for the headliners, there seemed to be a little more cohesion. This was needed as Lethargy (8) have always had a complex sound that brings together grunge, rock and prog. This was their second show in nearly 10 years, the first being the previous evening in Neath. The band were signed to Classic Rock's record label Powerage and were tagged with the "next big thing" label. To be honest had there been any justice they would have been huge, they were probably the best band signed to that label but issues arise and the band split. Rhythm guitarist/vocalist Andrew Hunt and his brother drummer Gareth went on to form Buffalo Summer (Gareth also pounds the skins for Pearler), with bassist/vocalist Marc Trevelyan Jones and lead guitarist/vocalist Phil Humphreys pursuing their own individual careers. But here in Swansea in front of friends and family members the band I saw for the last time in 2011 returned to the stage drenched in one heck of light show and dove into a set made up of songs from that Powerage debut Purification and their new album After All This Is Gone (review coming soon). Songs from the new album like Redefine sat with earlier numbers such as Bleachin' Bones as the band showed a little rust but for anyone who hadn't seem them the riffs were big and those gorgeous vocal harmonies were as good as ever. Lead vocals are split between Phil, Marc and Andrew and all of them gave their all Andre, Gareth and Marc locking in as they once did so Phil can blaze away with some great solo sections. It was great to see them back in full flight I for one hope this wasn't a one (two) off as it would be great to see Lethargy do more shows and maybe even reach those heights promised.
Hmm well what can I say? I know that seems a weird way to open a review but if I'm honest 24 hours after this show I'm still processing it. It was supposed to be a glorious return from a band that should have made it had their been any justice, but maybe it was the weather, maybe it was the crowd, maybe it was the sound (more on that later) I'm still having to think about it. Firstly though to the venue itself, having arrived in Swansea earlier in the day we managed to find some food and a brew (alcoholic and non) it was time to head to the venue which lays a little way outside of Swansea town centre. It's a unique place that held gigs in the past and has recently been revamped by new owners accompanied by quite a swish looking Indian restaurant next door. It's a cavernous space with huge ceilings, large arches and chandeliers. It's a wide room with a reasonably high stage, bar at the back merch and seats on either side. it looks like it could hold quite a large crowd and is also perfect for the events that I assume it holds when gigs aren't being staged. Now as we entered the main area there was a mix of punters and band members mulling around with the organisers Big Day Production doing some pre-gig scurrying.
Unfortunately as the first act Heavy On The Ride (7) took to the stage the crowd didn't really increase that much, in front of a sparse crowd, the three piece opened the night with some fuzz drenched desert rock on what was the first special performance of the night. This was to be memorable because it was drummer Sean Mahoney's final show with the band, possibly due to his focus on main band Deadshed Jokers who have just released one of the albums of the year. Here though he battered the kit as the band played grooves as desolate as Arizona with the guitars and bass of Jordan Huxtable and Michael Bale locking in for some woozy riffs and instrumental jams as all three played like powerhouses. After 30 minutes of being taken to another world it was time to end with the band re-establishing their position as one of South Wales' premier desert rock merchants, sending off their drummer on a high.
Now then to the sound, throughout Heavy On The Ride's set they called for numerous adjustments to the on stage sound and this trend continued with second act of the night Fallen Temples (9), so much so that they managed to mess up the beginning of their songs, as drummer Joe Stirland couldn't hear what either of his compatriots were playing. Now if you've seen Fallen Temples before you'll know this pretty much never happens, they are one of the slickest bands around on our scene, they've played Bloodstock after being specially invited after the final of this years Metal To The Masses, they will also be playing with Skindred at the massive show in Cwmbran Stadium later this month. Tracks like Cut The Wire, Phoenix hit hard, riffs for days, grooves deeper than the Mariana Trench from Joe Lewis and some slinky guitar solos from Adam who this time was not being attacked by a smoke machine so could deliver his gutsy vocal delivery perfectly, they were the first band of the show to bring people to the barrier as their 70's influenced hard rock style appeals to a broad audience and they play like veterans treating each gig as an arena show, Lewis especially stalks the stage when given the room to do so as Stirland has definitely got Lars Ulrich syndrome standing up whenever possible. Laying down a challenge to every band to come Fallen Temples were on top form here, winning over the crowd from the first heavy riff and keeping them there until the last.
So with a small change over next it was time for the two local acts. The first were a band who I have seen before a few times and always leave me vexed. I've mentioned that visually they're mismash of 90's grunge and 80's LA Sleaze metal but sound wise it's heavy groove rock. However despite this Pearler (6) seem to have a fanatical following, much of this is in part due to the bands tongue in cheek attitude and their publicity machine putting their innuendo-ridden catchphrase "You know when you've had one" on every piece of merch, every poster, every social media post and even in the M.C's introduction of the band. It means that when they came to the stage they were guaranteed a big ovation from the partisan crowd who lapped up their humour. Unfortunately musically they are not the most interesting, perhaps as they followed that incendiary show from Fallen Temples, or maybe even the anticipation of the more progressive musical style to come. Pearler so often leave me a little unstimulated, to use their own innuendo, but with their promotional skill and broad appeal, their fan base lapped it up.
I will say that the sound on the stage seemed to cause issues, throughout the evening but for Pearler it was a little better as at least they could hear themselves. For us in the audience, the sheer volume meant everything was a little muddy, as the sound engineer seemed to have a "louder is better" attitude to a rock show which is not always the case especially in a venue which is so high, sometimes if the volume is toned down a little it means the band can hear without needing the monitors full and the sound from the stage can carry making it sound impressive but not deafening.
Still thankfully for the headliners, there seemed to be a little more cohesion. This was needed as Lethargy (8) have always had a complex sound that brings together grunge, rock and prog. This was their second show in nearly 10 years, the first being the previous evening in Neath. The band were signed to Classic Rock's record label Powerage and were tagged with the "next big thing" label. To be honest had there been any justice they would have been huge, they were probably the best band signed to that label but issues arise and the band split. Rhythm guitarist/vocalist Andrew Hunt and his brother drummer Gareth went on to form Buffalo Summer (Gareth also pounds the skins for Pearler), with bassist/vocalist Marc Trevelyan Jones and lead guitarist/vocalist Phil Humphreys pursuing their own individual careers. But here in Swansea in front of friends and family members the band I saw for the last time in 2011 returned to the stage drenched in one heck of light show and dove into a set made up of songs from that Powerage debut Purification and their new album After All This Is Gone (review coming soon). Songs from the new album like Redefine sat with earlier numbers such as Bleachin' Bones as the band showed a little rust but for anyone who hadn't seem them the riffs were big and those gorgeous vocal harmonies were as good as ever. Lead vocals are split between Phil, Marc and Andrew and all of them gave their all Andre, Gareth and Marc locking in as they once did so Phil can blaze away with some great solo sections. It was great to see them back in full flight I for one hope this wasn't a one (two) off as it would be great to see Lethargy do more shows and maybe even reach those heights promised.
A View From The Back Of The Room: Ravenbreed (Live Review By Paul Hutchings)
Ravenbreed, Tribeless and King Kraken, Le Pub, Newport
Standing directly in front of the wildly impressive Zoe Allen as Cardiff’s powerhouse outfit Ravenbreed nailed their set superbly, I reflected on what it was that makes a gig ‘good’, ‘special’ or ‘exceptional’. Is it huge lighting rigs, lashings of special effects and more pyrotechnics than the US Army used in the Gulf War? Is it the quality of the sound, the size of the venue or the flash merchandise at exorbitant prices? No, I realised that what makes a gig really stand out is heart and honesty from all those involved. And that is what this evening had in spades. Heart and honesty.
Standing directly in front of the wildly impressive Zoe Allen as Cardiff’s powerhouse outfit Ravenbreed nailed their set superbly, I reflected on what it was that makes a gig ‘good’, ‘special’ or ‘exceptional’. Is it huge lighting rigs, lashings of special effects and more pyrotechnics than the US Army used in the Gulf War? Is it the quality of the sound, the size of the venue or the flash merchandise at exorbitant prices? No, I realised that what makes a gig really stand out is heart and honesty from all those involved. And that is what this evening had in spades. Heart and honesty.
Once again, the unstoppable bulldozer that is King Kraken (9) opened the evening. They may have only played a 30-minute set, but these boys are steadily building and maintaining the momentum that they have worked so hard to set in train during 2019. War Machine kicked things off, a huge song which deserves worldwide airplay. Thunderous riffs, powerful drumming and the roar of the caged beast Mark Donoghue. It’s simply massive. The sinister Kidnap followed. A brilliant track that rightly leaves you a little uncomfortable was enhanced when Donoghue slipped his leash to prowl the pit, his howling of “Gonna make you learn to love me” sending chills down the spine. Tight and professional, Kraken are gelling superbly these days and in Adam Kowalski Healey possess one of the most fluid and fantastic guitarists on the circuit. His effortless playing makes the difficult things look so easy and the solid backing of the rest of the band allows him opportunity to express himself. Castle Of Bones brought a criminally short set to a conclusion, the roar of the appreciative audience was the least Kraken deserved.
I’d not seen Tribeless (8) before but they grew on me and more importantly Mrs H, who spent the entire set dancing away in front of the stage. A three-piece from RCT, Tribeless focus on a less metal and more alternative rock style which isn’t my usual thing, but which had sufficient edge to keep me watching. Drummer Max Rhead held everything together tightly with guitarist Latif Bryant riffing away. This left vocalist Lydia McDonald plenty of scope to hold the room which she did comfortably, her crisp clean vocals adding neatly to the band’s delivery. The band rely on a fair bit of digital backing music to flesh out their sound but that didn’t distract from their energy and genuine enthusiasm. The Journey and Glass Souls bookended a nine-song set which also featured their debut single Angels and they look to have a bright future.
The future looks increasingly bright for Cardiff’s Ravenbreed (9) who are impressing more on every viewing. Whilst the focus is rightly on Zoe Emelia Allen, it’s the flanking support of bassist Ross Formosa and guitarist Mikey Watkins that provides the essential materials for Allen to work with, allowing her to deliver in flamboyant style. Anchoring the whole machine, drummer Oli Watkins doesn’t miss a beat. A set crammed with anthemic songs, Ravenbreed’s sound veers from Pantera to Foo Fighters, from Guns N Roses to Alice in Chains, and that is one of their selling points. Like King Kraken, the band offer something a little different and their live set is unique and quite compelling. Indeed, it was impossible not to move and clap along as their set progressed, their sheer heaviness combined with just the right amount of dirty sleaze. Some fabulous audience participation on Falling Away topped another great set and a raucous cover of Ace Of Spades to close saw Le Pub bouncing with sheer enjoyment. And there you have it. An evening full of energy, passion and smiles. Just how music is meant to be. And long may it remain this way.
I’d not seen Tribeless (8) before but they grew on me and more importantly Mrs H, who spent the entire set dancing away in front of the stage. A three-piece from RCT, Tribeless focus on a less metal and more alternative rock style which isn’t my usual thing, but which had sufficient edge to keep me watching. Drummer Max Rhead held everything together tightly with guitarist Latif Bryant riffing away. This left vocalist Lydia McDonald plenty of scope to hold the room which she did comfortably, her crisp clean vocals adding neatly to the band’s delivery. The band rely on a fair bit of digital backing music to flesh out their sound but that didn’t distract from their energy and genuine enthusiasm. The Journey and Glass Souls bookended a nine-song set which also featured their debut single Angels and they look to have a bright future.
The future looks increasingly bright for Cardiff’s Ravenbreed (9) who are impressing more on every viewing. Whilst the focus is rightly on Zoe Emelia Allen, it’s the flanking support of bassist Ross Formosa and guitarist Mikey Watkins that provides the essential materials for Allen to work with, allowing her to deliver in flamboyant style. Anchoring the whole machine, drummer Oli Watkins doesn’t miss a beat. A set crammed with anthemic songs, Ravenbreed’s sound veers from Pantera to Foo Fighters, from Guns N Roses to Alice in Chains, and that is one of their selling points. Like King Kraken, the band offer something a little different and their live set is unique and quite compelling. Indeed, it was impossible not to move and clap along as their set progressed, their sheer heaviness combined with just the right amount of dirty sleaze. Some fabulous audience participation on Falling Away topped another great set and a raucous cover of Ace Of Spades to close saw Le Pub bouncing with sheer enjoyment. And there you have it. An evening full of energy, passion and smiles. Just how music is meant to be. And long may it remain this way.
Friday, 18 October 2019
Reviews: Dawn Ray'd, In Mourning, Gentihaa, Vambo (Paul S, Paul H, Matt & Steve)
Dawn Ray’d: Behold Sedition Plainsong (Prosthetic Records) [Paul Scoble]
Dawn Ray’d have been making a lot of noise, over the last couple of years. The Liverpool based band were one of the first Anarchist/Anti-fascist Black Metal bands to get a lot of notice from the metal press. Back in 2017 when the bands debut The Unlawful Assembly was released, Dawn Ray’d seemed to be a lone voice, but in the last 2 years the Anti-fascist metal scene has blossomed into one of the most important, interesting and musically exiting scenes in Heavy Metal. (Paul himself has written extensively about it here: https://musipediaofmetal.blogspot.com/2019/06/opinion-anti-fascist-black-metal-nsbm.html) So, in 2 years Dawn Ray’d have gone from a lone voice to being the leaders of a massively expanding group of musicians who love Black Metal but hate fascism.
Dawn Ray’d have been making a lot of noise, over the last couple of years. The Liverpool based band were one of the first Anarchist/Anti-fascist Black Metal bands to get a lot of notice from the metal press. Back in 2017 when the bands debut The Unlawful Assembly was released, Dawn Ray’d seemed to be a lone voice, but in the last 2 years the Anti-fascist metal scene has blossomed into one of the most important, interesting and musically exiting scenes in Heavy Metal. (Paul himself has written extensively about it here: https://musipediaofmetal.blogspot.com/2019/06/opinion-anti-fascist-black-metal-nsbm.html) So, in 2 years Dawn Ray’d have gone from a lone voice to being the leaders of a massively expanding group of musicians who love Black Metal but hate fascism.
Dawn Ray’d formed in 2015. The group, made up of Matthew B (Drums), Fabian D (Guitar) and Simon B (Vocals, Violin), released an EP, A Thorn, A Blight in the year they formed and their first album 2 years later. The bands sound has always had a folk element to it, Simon B’s violin is an important part of the Dawn Ray’d sound. The folk in question isn’t the bright, happy folk of Scandinavian folk metal, it’s a style that is post industrial revolution, a style that was the punk of the nineteenth century. The darker folk that is part of Dawn Ray’d gives the band a sound that is reminiscent of Anarchist Black Metal pioneer SorgSvart. This darker folk is also similar in feel to the early work of British band Skyclad, which is interesting considering the overtly left wing lyrics that Skyclad founder Martin Walkiyer wrote while he was part of Skyclad.
The other part of the bands sound is of course, fairly savage Black Metal. On previous Dawn Ray’d releases there was a slight Atmospheric feel to the Black Metal, but that has morphed into an earlier, nastier second wave style. The guitar sound is closer to the buzzsaw sound of early second wave bands, and that was perfected on Ulver’s Nattens Madrigal. The songs are all short, around the 3 to 4 minute mark, giving the album a punchy, punk feel, which is very appropriate. The lyrics are, as you’d expect, highly politically charged. They are angry, impassioned diatribes against fascism, capitalism and controlling authoritarian systems. The anger on this album feels greater and more urgent, the world has become a worse place since The Unlawful Assembly in 2017, and this is reflected in the rage that is all over the album.
The album is opened by the track Raise The Flails, which is a folky introduction to the album. The track gets much heavier at the end as is blends into the next track. The Smell Of Ancient Dust is the first full song on the album; it’s a mix of blasting second wave black metal and violin, the track has a very heavy, slow, powerful ending. Like Smoke Into Fog opens with a blast of feedback, before going into a brilliant up-tempo, thrashy part that flows beautifully. The track then takes a turn, and we get a softer folky part that is emotive and effecting. This softer section then gets heavy in a staccato, aggressive way, until another high speed blast brings the song to an end. To All To All To All! opens with blasting black metal, before an introspective softer section soothes the listener. The blast returns, before a heavy folk section brings the track to an end. A Time For Courage At The Borderlands is a slower prospect for the most part, measured blast beats mix well with the folk. Songs In The Key Of Compromise is simple, dramatic and very effective, with some really great tremolo picked riffs.
Until The Forge Goes Cold is mid-paced at the beginning, but then goes into some fantastic fast, flowing black metal that is packed with inertia and pace. The track comes to a close in a slow and powerful way. A Stone's Throw is a beautiful mix of clean guitar and violin with soft chanted vocals. it’s graceful, elegant and exquisite. Soon Will Be The Age Of Lessons wipes away all the beauty of the track that came before it with an incredibly heavy, aggressive opening, with some of the angriest vocals I’ve heard in a long time. The heavy nastiness is replaced with frantic blasting, before the slow and fucking angry returns. The song also has a very pleasing violin solo, that adds a nice amount of melody. Salvation Rite opens with some melancholy folk, before the track gets powerful and aggressive. There are blasting tremolo picked riffs, but this song is more about powerful mid-paced riffs and deeply melancholic folk. The album is brought to an end by the track The Curse The Dappled Light, which is a mix of blasting black metal, and more measured mid-paced riffs. The song and the album come to an end with another beautiful piece of soft acoustic folk.
Behold Sedition Plainsong is a fantastic album. It’s the follow up that The Unlawful Assembly deserved. The album is angrier in both lyrics and music, however the band haven’t solely used blasting aggression and extremity to achieve their aim. The album has more light and shade than its predecessor. There are different moods, pacings and feelings on this album. The band have allowed themselves introspection and thoughtfulness and as a result have produced a more rounded album. Yes, the album is angry (we live in horrific times, if you aren’t angry, then you are either part of the 1%, or you aren’t paying attention), but it’s a well informed, knowledgeable and enlightened anger that is far more incendiary than simple rage. This is exactly the album that Dawn Ray’d needed to make at this point. It can act as a rallying call to any other bands that love Black Metal and hate fascism. In the Heavy Metal Battle of Cable Street, Dawn Ray’d are leading the way, throwing cobbles at the black shirts; driving the fascists back. Black Metal is Anarchy, Anarchy is Black Metal, Dawn Ray’d have proved that with this album. 9 /10
In Mourning: Garden Of Storms (Agonia Records) [Paul Hutchings]
Often compared to Opeth, Swedes In Mourning are most definitely not a copycat outfit. In fact, the comparisons are misjudged in many respects. I’ve listened to little of their music so came at Garden of Storms relatively fresh. Their sixth album, following on from 2016’s Afterglow, the album opens with Black Storm, a maelstrom of melody of riffs, dark passages, death growls and clean verses. Melodic death metal in its style, it is in these opening minutes that one can see why the comparisons are made with their Stockholm brothers. Yields Of Fire follows, the soaring Radiohead style delivery moving to a progressive style before frighteningly demonic growls and tremolo riffing push the gentle vibe further back for several moments. Whilst sections of songs are ball-crushingly heavy, In Mourning never lose sight of the underlying melody throughout the album. Yields Of Fire builds in stature, fluctuating between huge blastbeats of death metal and soaring almost indie harmonies. Hierophant is a different beast entirely, jagged time signatures, pumping bass lines and intense driving rhythm give way to a passage of almost oriental style, the clean vocals of Tobias Netzell contrasting with his ferocious death growls.
With each of the seven tracks well over six minutes, there is ample time to explore the qualities of the band and map the performance of debutants Sebastian Svalland (Bass) and drummer Joakim Strandberg-Nilsson. Lengthy intricate passages are dealt with comfortably, the interplay is detailed, locked down tight and heavy such as Huntress Moon and Tribunal Of Suns and the spectacular finale, the nine-minute plus The Lost Outpost. The calmer sections are no less impressive, as the band drift into the progressive zone of The Pineapple Thief, Riverside and even Marillion. An album that is both simple and complicated, In Mourning’s sixth release is another special album in a year when special albums seem to arrive every week. 8/10
Gentihaa: Reverse Entropy (Symmetric Records) [Matt Bladen]
Released on Bob Katsionis' record label, Reverse Entropy is the debut album from fantasy themed symphonic black metal band Gentihaa. Coming out of the bowels of somewhere evil this Athenian act have created a debut album that could rival the any of the album by genre leaders Dimmu Borgir, especially the older material as Reverse Entropy uses the clean harsh dynamics in the vocals Dimmu had when ICS Vortex was in the band, they have also got the bands striking visual element as well. However they are not just the slaves to Nordic darkness they have the intensity of Nevermore, with Metamorphosis a key example, along with more classic metal sounds and the melo-death aggression of Nightrage on the face ripping Beyond.
The album is opened by the track Raise The Flails, which is a folky introduction to the album. The track gets much heavier at the end as is blends into the next track. The Smell Of Ancient Dust is the first full song on the album; it’s a mix of blasting second wave black metal and violin, the track has a very heavy, slow, powerful ending. Like Smoke Into Fog opens with a blast of feedback, before going into a brilliant up-tempo, thrashy part that flows beautifully. The track then takes a turn, and we get a softer folky part that is emotive and effecting. This softer section then gets heavy in a staccato, aggressive way, until another high speed blast brings the song to an end. To All To All To All! opens with blasting black metal, before an introspective softer section soothes the listener. The blast returns, before a heavy folk section brings the track to an end. A Time For Courage At The Borderlands is a slower prospect for the most part, measured blast beats mix well with the folk. Songs In The Key Of Compromise is simple, dramatic and very effective, with some really great tremolo picked riffs.
Until The Forge Goes Cold is mid-paced at the beginning, but then goes into some fantastic fast, flowing black metal that is packed with inertia and pace. The track comes to a close in a slow and powerful way. A Stone's Throw is a beautiful mix of clean guitar and violin with soft chanted vocals. it’s graceful, elegant and exquisite. Soon Will Be The Age Of Lessons wipes away all the beauty of the track that came before it with an incredibly heavy, aggressive opening, with some of the angriest vocals I’ve heard in a long time. The heavy nastiness is replaced with frantic blasting, before the slow and fucking angry returns. The song also has a very pleasing violin solo, that adds a nice amount of melody. Salvation Rite opens with some melancholy folk, before the track gets powerful and aggressive. There are blasting tremolo picked riffs, but this song is more about powerful mid-paced riffs and deeply melancholic folk. The album is brought to an end by the track The Curse The Dappled Light, which is a mix of blasting black metal, and more measured mid-paced riffs. The song and the album come to an end with another beautiful piece of soft acoustic folk.
Behold Sedition Plainsong is a fantastic album. It’s the follow up that The Unlawful Assembly deserved. The album is angrier in both lyrics and music, however the band haven’t solely used blasting aggression and extremity to achieve their aim. The album has more light and shade than its predecessor. There are different moods, pacings and feelings on this album. The band have allowed themselves introspection and thoughtfulness and as a result have produced a more rounded album. Yes, the album is angry (we live in horrific times, if you aren’t angry, then you are either part of the 1%, or you aren’t paying attention), but it’s a well informed, knowledgeable and enlightened anger that is far more incendiary than simple rage. This is exactly the album that Dawn Ray’d needed to make at this point. It can act as a rallying call to any other bands that love Black Metal and hate fascism. In the Heavy Metal Battle of Cable Street, Dawn Ray’d are leading the way, throwing cobbles at the black shirts; driving the fascists back. Black Metal is Anarchy, Anarchy is Black Metal, Dawn Ray’d have proved that with this album. 9 /10
In Mourning: Garden Of Storms (Agonia Records) [Paul Hutchings]
Often compared to Opeth, Swedes In Mourning are most definitely not a copycat outfit. In fact, the comparisons are misjudged in many respects. I’ve listened to little of their music so came at Garden of Storms relatively fresh. Their sixth album, following on from 2016’s Afterglow, the album opens with Black Storm, a maelstrom of melody of riffs, dark passages, death growls and clean verses. Melodic death metal in its style, it is in these opening minutes that one can see why the comparisons are made with their Stockholm brothers. Yields Of Fire follows, the soaring Radiohead style delivery moving to a progressive style before frighteningly demonic growls and tremolo riffing push the gentle vibe further back for several moments. Whilst sections of songs are ball-crushingly heavy, In Mourning never lose sight of the underlying melody throughout the album. Yields Of Fire builds in stature, fluctuating between huge blastbeats of death metal and soaring almost indie harmonies. Hierophant is a different beast entirely, jagged time signatures, pumping bass lines and intense driving rhythm give way to a passage of almost oriental style, the clean vocals of Tobias Netzell contrasting with his ferocious death growls.
With each of the seven tracks well over six minutes, there is ample time to explore the qualities of the band and map the performance of debutants Sebastian Svalland (Bass) and drummer Joakim Strandberg-Nilsson. Lengthy intricate passages are dealt with comfortably, the interplay is detailed, locked down tight and heavy such as Huntress Moon and Tribunal Of Suns and the spectacular finale, the nine-minute plus The Lost Outpost. The calmer sections are no less impressive, as the band drift into the progressive zone of The Pineapple Thief, Riverside and even Marillion. An album that is both simple and complicated, In Mourning’s sixth release is another special album in a year when special albums seem to arrive every week. 8/10
Gentihaa: Reverse Entropy (Symmetric Records) [Matt Bladen]
Released on Bob Katsionis' record label, Reverse Entropy is the debut album from fantasy themed symphonic black metal band Gentihaa. Coming out of the bowels of somewhere evil this Athenian act have created a debut album that could rival the any of the album by genre leaders Dimmu Borgir, especially the older material as Reverse Entropy uses the clean harsh dynamics in the vocals Dimmu had when ICS Vortex was in the band, they have also got the bands striking visual element as well. However they are not just the slaves to Nordic darkness they have the intensity of Nevermore, with Metamorphosis a key example, along with more classic metal sounds and the melo-death aggression of Nightrage on the face ripping Beyond.
The album has been produced by Katsionis with SixforNine frontman and former Septicflesh drummer Fotis Benardo doing the mastering. That's yet another name I'd add to the list of bands Gentihaa owe a debt to, especially with their more symphonic compositions. The album deals with "a futuristic story based on an novel that was lost and found on the Internet" it's a dark Gothic tale lending itself to the bands sound. Formed by guitarist Valgran, he recruited Andre (Vocals), Rös Dracùl (guitars), Béheaal (bass) and Merenhor (drums) to form this talented band with special kudos to Andre on vocals whos harsh voice is terrifying while his clean vocals competes admirably with Evergrey Tom S Englund who guests on two tracks, there aren't many who would be able to compete with him so take that as a massive complement. Katsionis and Bernardo have made sure this record sounds huge the guitars rip and tear, the orchestrations swell, the rhythm section is ferocious and I've already mentioned the vocals.
If you want standard black metal then you'll be left wanting by this release as it's not trve cvlt, it's a lot more than that drawing from numerous bands who could all be considered extreme in their own way, it makes for a much intensity and scope as they dive between blastbeats and acoustic textures, utilised the best on the final track Singularity which features the second appearance by Englund. Reverse Entropy is a debut album that kicks down your door and dares you to dislike it. I don't just like it, I think this album kills! 8/10
Vambo: Vambo (Self Released) [Steve Haines]
Average. Standard. Middle of the Road. You get the idea. You can stop reading now if you’re just waiting for the verdict. As I’ve said before, I have three broad classes of albums: the first demands my attention, the second I can listen to quite happily without being special and the third makes me want to rip off my ears and throw them at the listening device. This album sits in the very middle of the second category. A soft rock album with a hint of a sleazy edge that, were it to be played on a pub jukebox, would see me bob my head quite happily without ever noticing anything about the music. The musicianship is good, the singing is good, the lyrics often cliched but never memorable.
Average. Standard. Middle of the Road. You get the idea. You can stop reading now if you’re just waiting for the verdict. As I’ve said before, I have three broad classes of albums: the first demands my attention, the second I can listen to quite happily without being special and the third makes me want to rip off my ears and throw them at the listening device. This album sits in the very middle of the second category. A soft rock album with a hint of a sleazy edge that, were it to be played on a pub jukebox, would see me bob my head quite happily without ever noticing anything about the music. The musicianship is good, the singing is good, the lyrics often cliched but never memorable.
I’m tempted to say there is something of the Scott Weiland/Velvet Revolver about it but that promises way too much. There is absolutely nothing wrong with the album and We’re Not The Same does hint at a more interesting direction but it is a false dawn as it is followed by token ballad Dancing With The Devil. It is a debut album so in the respect of a solid platform for growth and development it definitely hits that brief, but there is little new here. That said, there is enough here to suggest that there is enough talent and raw material to propel them onto greater things. In terms of this album as a standalone body of work - it’s just, well, nice. 6/10
Thursday, 17 October 2019
A View From The Back Of The Room: Alice Cooper (Live Review By Liam True)
Alice Cooper, The Stranglers & MC50, Motorpoint Arena, Cardiff
Walking around Cardiff and you can see the different generations of Alice Cooper fans. From the older rockers to the newer fans, and we’re all united in the spirit of the master of shock rock himself. But before we get graced with his presence, there are two bands who I never thought I'd see.
MC50 (8) are a band that I never thought I'd ever see. Although coming to the UK last year I wasn’t able to see them. Now they’re here. The Detroit punkers storm though their set with passion and content, only stopping to catch their breath between songs. Although only addressing the audience once, they let their music do the talking, because they can get away with it. Playing only a 9-song set filled with nothing but their classic hits they get the crowd ready and moving. Well, some of the crowd at least. While coming to final song Looking At You, guitarist Wayne Kramer states ‘This song is dedicated to someone we all dislike’ He only mentions the word orange and the entire crowd cheer in return. The MC50 have come, played, and Kicked Out The Jams Motherfuckers.
The Stranglers (6) aren’t my kind of music to be completely honest. But the majority of the crowd are big fans and having a blast. Me however, I'm not that impressed. They interacted with the crowd with some banter, calling themselves a ‘Bunch of twats’ heckling two women who took their seats halfway through the first song and having the time of their lives. And that’s what it’s all about. Their set filled with classic songs such as Golden Brown and Peaches get the biggest reactions from the crowd and people are dancing from the floor to the balcony's. The band however fall just a bit flat for myself. Although I'm glad I've seen them, once is enough for me.
Now it’s time for the main event. The moment we all came here for. Ol’ Black Eyes himself. It’s my first-time seeing Alice Cooper (10) and have heard big things about his live performance so I came here expecting a spectacle. And it was delivered. From the moment the curtain dropped and the band launched into Feed My Frankenstein, the bar was set. The backdrop was the ‘Nightmare Castle Of Alice Cooper’ and at the front leading in the charge is The Godfather Of Shock Rock himself. The band rampage through the big hitters No More Mr Nice Guy & Bed Of Nails with ease and the crowd are in the palm of their hands. He’s Back (The Man Behind The Mask) has Jason Voorhees lurking on the castle walls slaying his victims before disappearing into the mist before I’m Eighteen has fists rising in the air. Billion Dollar Babies has a giant inflatable baby breaking through the castle wall and bouncing around the stage before taking it’s leave. Poison has the singalong anthem and gets everybody up and moving while Cooper commands everyone from atop the battlements.
Walking around Cardiff and you can see the different generations of Alice Cooper fans. From the older rockers to the newer fans, and we’re all united in the spirit of the master of shock rock himself. But before we get graced with his presence, there are two bands who I never thought I'd see.
MC50 (8) are a band that I never thought I'd ever see. Although coming to the UK last year I wasn’t able to see them. Now they’re here. The Detroit punkers storm though their set with passion and content, only stopping to catch their breath between songs. Although only addressing the audience once, they let their music do the talking, because they can get away with it. Playing only a 9-song set filled with nothing but their classic hits they get the crowd ready and moving. Well, some of the crowd at least. While coming to final song Looking At You, guitarist Wayne Kramer states ‘This song is dedicated to someone we all dislike’ He only mentions the word orange and the entire crowd cheer in return. The MC50 have come, played, and Kicked Out The Jams Motherfuckers.
The Stranglers (6) aren’t my kind of music to be completely honest. But the majority of the crowd are big fans and having a blast. Me however, I'm not that impressed. They interacted with the crowd with some banter, calling themselves a ‘Bunch of twats’ heckling two women who took their seats halfway through the first song and having the time of their lives. And that’s what it’s all about. Their set filled with classic songs such as Golden Brown and Peaches get the biggest reactions from the crowd and people are dancing from the floor to the balcony's. The band however fall just a bit flat for myself. Although I'm glad I've seen them, once is enough for me.
Now it’s time for the main event. The moment we all came here for. Ol’ Black Eyes himself. It’s my first-time seeing Alice Cooper (10) and have heard big things about his live performance so I came here expecting a spectacle. And it was delivered. From the moment the curtain dropped and the band launched into Feed My Frankenstein, the bar was set. The backdrop was the ‘Nightmare Castle Of Alice Cooper’ and at the front leading in the charge is The Godfather Of Shock Rock himself. The band rampage through the big hitters No More Mr Nice Guy & Bed Of Nails with ease and the crowd are in the palm of their hands. He’s Back (The Man Behind The Mask) has Jason Voorhees lurking on the castle walls slaying his victims before disappearing into the mist before I’m Eighteen has fists rising in the air. Billion Dollar Babies has a giant inflatable baby breaking through the castle wall and bouncing around the stage before taking it’s leave. Poison has the singalong anthem and gets everybody up and moving while Cooper commands everyone from atop the battlements.
Roses On White Lace see’s Cooper decapitated with a giant Frankenstein and the baby tossing his lifeless head back and forth before bursting out of the coffin bearing a Welsh football top causing the crowd to erupt in a frenzy. Devil’s Food & The Black Widow are both shortened with only the rhythm being played which I was saddened by as The Black Widow is my favourite Cooper song. Steven then again has the crowd chanting and raising their fists while the band climb atop the castle and look down at their subjects. Then the finale comes, Schools Out shuts down the show with a reign of confetti and members of both The Stranglers and MC50 playing alongside the band. The entire show just blew me away and proved that Cooper still had the energy and willingness to keep performing. I’m still in awe about what I've seen, and nothing will ever top it.
Reviews: Phil Campbell, 1349, Cynic, Tainted Lady (Paul H, Rich & Steve)
Phil Campbell: Old Lions Still Roar (Nuclear Blast) [Paul H]
Whilst he’s been plying his trade with the Campbell cubs with aplomb for the past couple of years, underneath it all the Motörhead guitarist has been itching to deliver his own solo work from many years. “This is something I wanted to do many years before Motörhead finished”, he told his label Nuclear Blast. “I talked to Lemmy about it many times and he always encouraged me. It just never came about because we were touring so relentlessly. But I kept the odd idea and riff from way back and never abandoned the idea. Now I felt the time was right to do it.” And it is a fine release as well. Ten tracks which vary in style immensely. Opening with the autobiographical Country style Rocking Chair, played beautifully on a Gibson from the 1940s with Leon Stanford (The People The Poet) delivering the heartfelt lyrics which are sure to bring a tear to the eye to even the most grisly Motörheadbanger: “I’ve seen the rocks, whiskey and Jack, I’ve had some knocks, I want my best friend back, Just to play it one more time, playing in a rocking band”
Whilst he’s been plying his trade with the Campbell cubs with aplomb for the past couple of years, underneath it all the Motörhead guitarist has been itching to deliver his own solo work from many years. “This is something I wanted to do many years before Motörhead finished”, he told his label Nuclear Blast. “I talked to Lemmy about it many times and he always encouraged me. It just never came about because we were touring so relentlessly. But I kept the odd idea and riff from way back and never abandoned the idea. Now I felt the time was right to do it.” And it is a fine release as well. Ten tracks which vary in style immensely. Opening with the autobiographical Country style Rocking Chair, played beautifully on a Gibson from the 1940s with Leon Stanford (The People The Poet) delivering the heartfelt lyrics which are sure to bring a tear to the eye to even the most grisly Motörheadbanger: “I’ve seen the rocks, whiskey and Jack, I’ve had some knocks, I want my best friend back, Just to play it one more time, playing in a rocking band”
With a stellar cast providing the vocal support, this is a celebration of one of rock and metal’s finest guitarists. Straight Up has the Metal God Rob Halford on the microphone and sits as close to the work that Campbell has done with the Bastard Sons. The stoner stomp of Faith In Fire is perfectly set up for the roar of Orange Goblin’s Ben Ward, Campbell’s gritty riffing as always underpinned by that bluesy feel that we’ve grown to love over the past 30 years or so. A full out rocker, this is one that really gets the pulse racing with the energetic vibe and power. There isn’t a bad song on this album. The sleaze of Swing It features none other than ol’ black eyes Alice Cooper, and I’d go as far as to say it’s one of the best songs Cooper has been involved with for a long time.
“A good song is a good song”, said Campbell, “and obviously, there are some good classic rock songs on my solo debut. Yet, there are a few experimental songs that could be seen as a departure from those people who primarily know me from my work with Motörhead which I am extremely proud of and always will be. But in most cases a musician is more than just one specific style. And on this album, I spread my wings a little bit here and there.” Nowhere is that truer than on the smouldering Left For Dead, seamlessly set up for the velvet tones of Hand Of Dimes’ Nev McDonald, who does a fine job with his emotion-soaked vocals. It’s the quality of the songs that make this album and Left For Dead is a classic example of a song that defines Campbell’s desire to demonstrate he is more than the guitarist in the loudest band in the world. A sweet, heartfelt solo underpins the song, with McDonald, another Welsh treasure, giving a masterful performance.
Plenty of changes of pace too, with the thumping Walk The Talk, a punk-tinged stomp which has Mondo Generator’s Nick Oliveri’s barnstorming performance whilst there was only one singer for the raging These Old Boots, the mighty Dee Snider whose huge performance is as over the top as anything he’s ever played on. Whitfield Crane pops up for the raucous Dancing Dogs (Love Survives) whilst the melancholic Dead Roses, dominated by a mournful piano allows Newport’s own Benji Webbe to deliver one of the performances of his career. The beautiful acoustic instrumental Tears From A Glass Eye with added harp closed this wonderful album and proves that when it comes to quality, the old lion can still roar with the best of them. This is an essential listen. 9/10
1349: The Infernal Pathway (Season Of Mist) [Paul H]
Formed in 1997, The Infernal Pathway is the seventh album from the Norwegian black metal outfit whose current line-up consists founding members vocalist and former drummer Ravn and Seidemann on bass, alongside guitarist Archaon and Satyricon drum-legend Frost. The band has functioned as a four-piece since the departure of Tjalve after 2005’s Hellfire. Crammed full of intense black metal delivered very much in the old school style, 1349 have retained the ultra-fast aggression and soundscapes that they have been renowned for during the past two decades, defiantly carrying the old school sound and torch with a resolute determination. It’s been some wait since Massive Cauldron Of Chaos but this is a band who release music under their own terms. Deeper Still is symbolic of the speed and intensity of the whole band, but that’s no bad thing. Indeed, The Infernal Pathway is as ferocious and sonically charged a black metal album as you’ll find this year.
Ravn was quoted in Zero Tolerance’s last issue as saying that black metal didn’t need to sound bad, it needed to sound good and this is evident throughout this album with the raw sound still in evidence despite the improved production in comparison to the days of debut album Liberation. When the Munch Museum and Innovation Norway chose 1349 as one of four bands to create a song based on the paintings of Edvard Munch last year, the result was the single Dødskamp, and this album contains a version of that track amongst the 44 minutes and 11 tracks. Recorded in Amper Tone studios and Studio Nyhagen with engineer Jarrett Pritchard, The Infernal Pathway is brutal, fearsome and epic in equal measure, with the massive finale of Stand Tall In Fire a fitting conclusion. With a European tour with Abbath and Vltimas in 2020, 1349 remain an essential black metal outfit in a world where so many black metal bands struggle to forge their own identity. 8/10
Cynic: Traced In Air: Remixed (Season Of Mist) [Rich Oliver]
“A good song is a good song”, said Campbell, “and obviously, there are some good classic rock songs on my solo debut. Yet, there are a few experimental songs that could be seen as a departure from those people who primarily know me from my work with Motörhead which I am extremely proud of and always will be. But in most cases a musician is more than just one specific style. And on this album, I spread my wings a little bit here and there.” Nowhere is that truer than on the smouldering Left For Dead, seamlessly set up for the velvet tones of Hand Of Dimes’ Nev McDonald, who does a fine job with his emotion-soaked vocals. It’s the quality of the songs that make this album and Left For Dead is a classic example of a song that defines Campbell’s desire to demonstrate he is more than the guitarist in the loudest band in the world. A sweet, heartfelt solo underpins the song, with McDonald, another Welsh treasure, giving a masterful performance.
Plenty of changes of pace too, with the thumping Walk The Talk, a punk-tinged stomp which has Mondo Generator’s Nick Oliveri’s barnstorming performance whilst there was only one singer for the raging These Old Boots, the mighty Dee Snider whose huge performance is as over the top as anything he’s ever played on. Whitfield Crane pops up for the raucous Dancing Dogs (Love Survives) whilst the melancholic Dead Roses, dominated by a mournful piano allows Newport’s own Benji Webbe to deliver one of the performances of his career. The beautiful acoustic instrumental Tears From A Glass Eye with added harp closed this wonderful album and proves that when it comes to quality, the old lion can still roar with the best of them. This is an essential listen. 9/10
1349: The Infernal Pathway (Season Of Mist) [Paul H]
Formed in 1997, The Infernal Pathway is the seventh album from the Norwegian black metal outfit whose current line-up consists founding members vocalist and former drummer Ravn and Seidemann on bass, alongside guitarist Archaon and Satyricon drum-legend Frost. The band has functioned as a four-piece since the departure of Tjalve after 2005’s Hellfire. Crammed full of intense black metal delivered very much in the old school style, 1349 have retained the ultra-fast aggression and soundscapes that they have been renowned for during the past two decades, defiantly carrying the old school sound and torch with a resolute determination. It’s been some wait since Massive Cauldron Of Chaos but this is a band who release music under their own terms. Deeper Still is symbolic of the speed and intensity of the whole band, but that’s no bad thing. Indeed, The Infernal Pathway is as ferocious and sonically charged a black metal album as you’ll find this year.
Ravn was quoted in Zero Tolerance’s last issue as saying that black metal didn’t need to sound bad, it needed to sound good and this is evident throughout this album with the raw sound still in evidence despite the improved production in comparison to the days of debut album Liberation. When the Munch Museum and Innovation Norway chose 1349 as one of four bands to create a song based on the paintings of Edvard Munch last year, the result was the single Dødskamp, and this album contains a version of that track amongst the 44 minutes and 11 tracks. Recorded in Amper Tone studios and Studio Nyhagen with engineer Jarrett Pritchard, The Infernal Pathway is brutal, fearsome and epic in equal measure, with the massive finale of Stand Tall In Fire a fitting conclusion. With a European tour with Abbath and Vltimas in 2020, 1349 remain an essential black metal outfit in a world where so many black metal bands struggle to forge their own identity. 8/10
Cynic: Traced In Air: Remixed (Season Of Mist) [Rich Oliver]
Traced In Air is a very revered album in metal circles and its relevance is quite rightly deserved. It was the second album by Cynic released back in 2008 and was their first release following their reformation after a hiatus of 15 years and saw the band virtually sever all ties with their death metal past and incorporate jazz times signatures with progressive metal riffs producing a truly progressive and technical masterpiece. 11 years later and Traced In Air has been revisited not just receiving a remaster but a full remixing courtesy of Adam Getwood of Periphery with brand new bass tracking by bassist Sean Malone. The difference is a fuller bodied sound with more low end and just a generally cleaner mix to it.
Tracks such as Evolutionary Sleeper, The Unknown Guest and King Of Those Who Know now sound absolutely crystal clear. There are a few minor adjustments from the original with the harsh vocals completely buried in the mix and perhaps even totally removed. Fans of Cynic will lap up this remix. There are those of course who will deem this an inferior product to the original but the original mix is still there to enjoy. I personally think the original of Traced In Air has aged well and a remix wasn’t wholly necessary but it is nice to hear these songs with an extra depth of clarity. The remix doesn’t detract from the original at all and whatever version you listen to it is still a wondrous piece of progressive metal. 8/10
Tainted Lady: Sounds Like Freedom//Feels Like War (Self Released) [Steve Haines]
This is the second album from the Danish five-piece following on from 2017’s How The Mighty Have Fallen. From the opening bars of Building A Machine, it sounds very solid. The whole album is a refreshing take on classic rock. In the band’s own bio, their sound is described as ‘rebel-rock’ but like any label without a backstory, what does that mean? If this album is anything to go by, I would describe it as sleaze rock with a bass and drum-fuelled driving impetus. As with most rock albums, there are faster songs and slower songs and while the lyrics can sometimes be a little stilted, there is enough shift from the norm musically to set it apart from the average. Even the ballad Little Bird with its clichés of somewhat cheesy lyrics and even the dreaded harmonica solo is eminently listenable. The other out and out ballad is Hey Mr Music Man which carries a haunting quality and its layered vocal melodies give it a texture that ballads rarely have – though the guitar similarities to Red Hot Chilli Peppers’ Road Trippin’ was a little off putting!
Tainted Lady: Sounds Like Freedom//Feels Like War (Self Released) [Steve Haines]
This is the second album from the Danish five-piece following on from 2017’s How The Mighty Have Fallen. From the opening bars of Building A Machine, it sounds very solid. The whole album is a refreshing take on classic rock. In the band’s own bio, their sound is described as ‘rebel-rock’ but like any label without a backstory, what does that mean? If this album is anything to go by, I would describe it as sleaze rock with a bass and drum-fuelled driving impetus. As with most rock albums, there are faster songs and slower songs and while the lyrics can sometimes be a little stilted, there is enough shift from the norm musically to set it apart from the average. Even the ballad Little Bird with its clichés of somewhat cheesy lyrics and even the dreaded harmonica solo is eminently listenable. The other out and out ballad is Hey Mr Music Man which carries a haunting quality and its layered vocal melodies give it a texture that ballads rarely have – though the guitar similarities to Red Hot Chilli Peppers’ Road Trippin’ was a little off putting!
There are some tracks that feel like fillers: Fever Dream, Flowerchild and Revolution (Love Pollution) are not on the same level as the other tracks, but even these tracks set a very high bar, they’re just not as good in my opinion. For me, the stand out track of the whole album is Down To The River which opens as a folk-rock track that builds to a pounding rock track and manages to maintain both sensibilities through the song. Overall, I really enjoyed this album and it was different enough to make me take notice. It is an album that is well worth investing in and if the band can capture this sound and energy in a live setting, their gigs would be well worth going to. Good job, lads or as they say in Denmark: gode jobkammerater. 8/10
Wednesday, 16 October 2019
A View From The Back Of The Room: Big Boy Bloater & The Limits (Live Review By Matt Bladen)
Big Boy Bloater & The Limits, Fuel Rock Club, Cardiff
All I can say is that it's a good job I love the blues. With an 8pm doors and a 9pm start a lesser man would have gone home but staying the course despite almost a pint of 13% beer being consumed. I sat (at the back of the room of course) and waited for bluesman Big Boy Bloater and his band to take to the stage. The crowd was sparse with vast expanse in front of the stage as most of the audience sat near the sound stage. However after quite a lot of waiting (so much waiting) At 9pm Big Boy Bloater and his two accomplices, The Limits kicked off Friday with Saturday Night Desperation Shuffle through any desperation was hidden as he jammed with some nifty blues licks and his gruff vocals delivery.
All I can say is that it's a good job I love the blues. With an 8pm doors and a 9pm start a lesser man would have gone home but staying the course despite almost a pint of 13% beer being consumed. I sat (at the back of the room of course) and waited for bluesman Big Boy Bloater and his band to take to the stage. The crowd was sparse with vast expanse in front of the stage as most of the audience sat near the sound stage. However after quite a lot of waiting (so much waiting) At 9pm Big Boy Bloater and his two accomplices, The Limits kicked off Friday with Saturday Night Desperation Shuffle through any desperation was hidden as he jammed with some nifty blues licks and his gruff vocals delivery.
They moved through Insanely Happy to the shuffle of Messing With The Booze and Friday Nights All Right For Drinking, particularly apt with the amount of alcohol being imbued outside in the front bar. Now despite the show featuring some talented blues playing having an 8pm doors but 9pm start time did irk me a little especially due to how few people were in Fuel's back room, having a local support would have helped with the numbers I'm sure but as it happened BBB played his set with vigour interspersed with some friendly banter, with some responses coming from the audience. Still it was entertaining enough and the perfect excuse for some Friday night drinking. 7/10
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