A View From The Back Of The Room: Geoff Tate (Live Review By Simon Black)

Geoff Tate, Daxx And Roxane, King Kraken & Zak And The New Men, The Neon, Newport 17.06.2023

I’m constantly bemoaning that Cardiff doesn’t have enough mid-size venues close to the city centre, yet about 15 minutes away the city of Newport has just stolen their thunder with a belter of a new one. I had never heard of The Neon before, and none of the fellow scribes and snappers assembled here this evening had ever been here before either, but needless to say we all came away thoroughly happy to have found the place. 

It’s an old, converted cinema, which means a well-designed slope from the back allowing almost perfect views of the nice high stage wherever you choose to stand. From the audience’s perspective it’s the perfect venue lay out, but by all accounts, the get in is a bit of a bitch, not being designed for the constant in and out of touring, as say old theatres are. The other advantage? Shit hot acoustics. If I have one criticism of the venue, is that they’re clearly not used to Metalheads, and the reasonably priced, but cans only bar is cleaned out before the headliner even gets to stage.

It’s another thumbs up from me that the promoter has chosen to add two local acts to the bill to bolster the touring package, meaning we do get our money’s worth in terms of run time tonight. By the time I get there due to the joys of ongoing railway disruption, Zac And The New Men (6) are coming to the end of their quite short set. Given the heavier bent of the audience, their Pop infused brand of Alt-Rock means they need to work at it a bit harder. 

They haven’t much room to move, and it’s not until they get to the last couple of numbers that they start injecting a bit more energy and movement, and the audience responds, moving from polite applause to some genuine cheers. It wasn’t their crowd, but this young bunch worked it till things happened, and their music certainly has a little more technical proficiency when you tune into it more that makes me want to give them another shot down the road.

King Kraken (8) also have a few cards stacked against them tonight. They’re a guitarist down due to travel disruption of a slightly more significant level than I experienced (given that he’s stuck in South America), but the band bravely decided to play the gig anyway. There are a couple of more grizzled Hard Rock infused players in the South Wales scene right now and like their local peers Eulogy, King Kraken have worked hard to build up a following. 

Their album MCLXXX is an absolute belter, and comprised as they are of experienced players trying something new, they know how to meld the old Hard Rock vibe with enough of a Modern Metal twist to make this energetic, relevant and punchy as a slap in the chops from a heavyweight. Given that their brutally heavy riffage is somewhat diminished tonight, they still give it one hundred per cent and singer Mark Donohue bounds across the stage like a man with a mission and makes sure everyone in the audience knows they are there. The cheers are genuine though and most people not familiar with them didn’t notice anything amiss anyway. Nicely done chaps.

Daxx And Roxane (9) were the wild card in the set for me tonight. I hadn’t come across their music before, and that 70’s and 80’s Hard Rock ’n’ Roll into early Metal style of music is never going out of style, though it’s always refreshing when such a young act gets the ethos and energy of the period so right whilst still sounding new and modern. By the time their set is done, they have the audience eating out of the hands, with the wild energetic mania of their performance. It’s humid and hot as hell tonight both inside and out, and to leap around the stage, their gear and over each other to that level of intensity without dropping a beat or a note takes stamina and skill and the audience loved every bit of it. That’s how support acts show they’re ready to headline…

Geoff Tate (11, yes this one goes up to 11 – just deal with it, OK?) had some exceedingly strong openers to beat tonight. My word, he really delivered tonight. Exploding onto stage with the kind of theatrical energy that’s been missing since The Promised Land days, Tate owns the stage and the audience from the opening bars of Revolution Calling. Full of power, and snarling energy – every syllable of every line is enunciated and physically emphasised like a razor cut to ram home the deeply political message of an album that if anything is more relevant today than it was in the 80’s.

I had concerns about this going in, because the last time I saw him performing in these parts about ten years ago it was a sad and disappointing experience. At that time, he was just going through the whole messy divorce process with Queensrÿche and touring as Operation: Mindcrime around the 25th anniversary of the album’s release. It was not a great performance then. At the time he was carrying a lot of weight both physically and emotionally, his performance was sadly lacking both the energy or charisma of the old days, and he delivered a vocal performance that hinted that his best days were behind us.

Tonight, was completely the opposite end of that spectrum. Tonight, the Geoff Tate of old was back, and then some…

Ironically, this was pretty much the same set I saw up in Pontypridd a few years back – a full run through of Operation: Mindcrime and some classics from the glory ‘Rÿche years to follow (albeit a much beefier selection), but the point is the delivery was so much better you would not have known it was the same man. So, given that he’s got more years on the clock than before, what’s changed? I suspect two fundamentals at play here.

Let’s call the first the Avantasia Effect. Tobias Sammet’s Power Metal Supergroup has become a greater beast than the sum of its parts, and Sammet first managed to rope in Tate for 2016’s Ghostlights album. As always, Sammet’s greatest gifts are to both write a song that absolutely encapsulates his guests’ greatest hits in one or two songs, and to entice a performance out of them that matches. On this, Tate delivered his best studio work for some years, and Sammet got him back again for Moonglow and more importantly, to tour it. Now, if you haven’t seen this live, it’s quite a spectacle, as Sammet assembles a who’s who of the genre, with about seven or eight singers working together over a full three-hour live show. That would have seen Tate sharing a stage wth the likes Of Michael Kiske, Eric Martin, Bob Catley, Ronnie Atkins and a whole host of others. When you’ve got to deliver alongside that sort of line up for months at a time, it really rather forces you to up your game.

Secondly, he’s not been too well and has fortunately fully recovered from some quite serious heart surgery. With health a renewed focus, Tate has also been organising lots of walking tours across the world where fans can join him for a trek across the National Parks of the world, which is why not only does he look ten years younger and fitter than when I saw him last, but a combination of the two means his voice is better than it has been since the early 90’s.

Vocally was where my delight at his rejuvenation turned to sheer, unmitigated smiling joy, because he’s not sounded that good live for a very, very long time. Most singers take things down a key or two to support their ageing vocal chords, but tonight he was screaming every note in the right key and pitch and with the power and intensity of a man thirty years younger. This was what we came to see, and my word did he deliver, with power, panache and absolute charismatic finesse.

We got Mindcrime in its entirety plus a generous dollop of extras mostly from Empire, but hearing Take Hold Of The Flame and Queen Of The Reich live was a lovely touch, especially as the piercing screams that accompanied the close of the set tell of a singer who’s career just bounced back with a vengeance. With a backing band fully utilising the stage and giving a showy performance worthy of the legendary singer, this was an absolute treat of a night. Out of the park…

Reviews: The Anchoret, AVKRVST, Iron Buddha, Motorpsycho (Reviews By C Hunter, Matt Bladen, Quinn @AV4Apod & David Karpel)

The Anchoret - It All Began With Loneliness (Willowtip Records) [C Hunter]

The Anchoret is a Progressive Metal project that combines Prog Rock sensibilities with Modern Metal energy, featuring members from The Tangent, Aviations, Gargoyl, Heaven’s Cry and Karcius. The Anchoret release their debut album It All Began With Loneliness with Willowtip Records June 23rd.

An Office For…. Is a delicate starter. Santana playing the blues for a melancholic King Crimson played out by a noir sax. A Dead Man starts off feeling a lot like Opeth’s Watershed era to me… plus flute. Just past the halfway point, A Dead Man uses a simple feel good chord progression leaving plenty of room for the keys and lead guitars to shine through. The contrast back to the chorus’ darker and more dissonant chords is very effective. The song culminates with a gospel vocal performance by Nimiwari and another soulful lead from guitarist Leo Estalles. Tapering off into the absurd stocked prog ending of discordant keys and intentionally clunky reverberated percussion.

Until The Sun is drummer James Christopher Knoerl’s queue to go nuts. A much faster almost death metal like piece that settles down for a big chord chorus and heartfelt vocal harmonies from Sylvain Auclair. I especially like that Andy Tillison’s synth solo reminded me of the old Sega game Streets Of Rage, and I refuse to explain myself. Diminished chords hold and drop like a raised sledge hammer waiting for gravity. The song ends like somebody put a dirty sax solo over the breakdown of Black Sabbath’s Children Of The Grave; And that… Is a very good thing indeed.

Someone Listening is musically everything I want to hear; Those mournful and desolate chords, desperation and malevolence and even a few gypsy jazz inspired guitar licks. Jazz section, drum fills with more taste than a Catfish ( Fun fact: The Catfish has more tastebuds than any other animal on earth). However, for this song, the vocals reminded me of David Draiman from Disturbed trying to do his best Micheal Bolton impersonation. Both great singers, but it just took me out of the place that the instruments had brought me to.

Forsaken understands that it was about time that somebody started a song with a sax solo and then switched to traditional thrash. Many songs don’t realise this. The song has more personalities than that geezer from Split and it’s hard to judge in this instance whether that is a good thing or not.

Buried is another beautiful song. A melodic death motif versus a cryptic picking progression. All Turns To Clay is all kinds of yes! Heavy prog groove, well constructed, complex enough yet easy listening for an eight minute plus progressive metal song. Have you ever heard a guitar duel with a flute before? If not, maybe it’s about time you did and listened to their track Unafraid. While Stay is a pleasant winding down from the above. Soothing like an ice cream after a hot curry. Many would stay, but for me personally, I’m not a big fan of desert.

It All Began With Loneliness is an impressive debut! The musicianship is all topnotch. The songs are smart, full of mixed emotions and technique, and catchy enough in places to engage those who are less inclined to listen to more lengthy and indulgent music. However, it is with those catchier pieces that run the risk of cliches. It’s great to give a listener something to feel rather than drowning them out with notes. But within these gentler parts, I can’t help but feel I’ve heard them many times before.

Like the drone shot over a long road surrounded by dense woodland in a horror movie. Is it necessary to set the scene like this? Or could it have been replaced with something more original? It’s hard to gauge. Which is bloody unfortunate, as the album also includes some of the best riffs I’ve heard in ages. 8/10

AVKRVST - The Approbation (Inside Out Music) [Matt Bladen]

Warning! This album is not immediate, it takes a few listens to really open up. Immediately you can hear influences from Porcupine Tree on the opener The Pale Moon, which starts out melodic and heavily augmented with synths, keys and organs and Opeth on the raging Isolation. Both of these bands inspire most of the record but AVKRVST go deeper than that, beauty and anger hand in hand as Martin Utby (drums/synths) and Simon Bergseth (guitar/bass/vocals) create music that is inspired by the bands they grew up listening too.

These of course include Porcupine Tree and Opeth but also stem to Neal Morse and King Crimson (heard on the pastoral Arcane Clouds), their fellow Norwegians Leprous and also Anathema’s use of emotion too from what I can hear. Joining Simon and Martin are Øystein Aadland on bass/keys, Edvard Seim on guitars and Auver Gaaren on keys, fleshing out the music created by the initial duo. The band took their concept of someone being isolated in a cabin in the dark woods to heart by recording the album in a cabin in Alvdal during the autumn and winter.

Hyper focussing on the meaning of the lyrics and influencing the song writing. This immersion allowed them to fully explore the themes of introspection, isolation, remorse and the passage of time that the album deals with, recorded at night under the stars, The Approbation is a dark and sinister album but full of sadness and despair, similar in tone to Steven Wilson’s The Raven That Refused To Sing, that too an album that was heavily steeped in loss. The band are brilliant musicians, melding the instruments into stunning compositions that will appease any fans of the bands mentioned but for me the sequencing makes it just that little bit more appealing than many bands playing this style of music.

The fluidity of this record is a joy to hear, as Arcane Clouds flows seamlessly into the haunting ambience at the beginning of Anodyne before we’re drawn into organ driven prog rock wonder, a 9 minute penultimate movement that is the defining moment of this album, until the 12 minute title track closes things with multiple layers of mellotron, acoustic guitars building into a euphoric final song which closes our descent into a wounded psyche. It’s the heaviest track here, sneered, distorted vocals against walls of guitar riffs, industrial influences bleeding into the drumming and the chugging middle section before the final moments just wash over you with the repetition and beauty of Anathema, the last section a repeat of acoustic intro Østerdalen. 

So with a few listens The Approbation will reveal plenty of depth, long after you’ve stopped shouting “that sounds like Opeth, that sounds like Porcupine Tree”, it will become stand on its own strength as AVKRVST introduce themselves to the world. 9/10

Iron Buddha - Raze/Repose (Self Released) [Quinn Mattfeld/@AV4Apod]

19th Century German philosopher Friedrich Nietzsche argued in his seminal treatise on Hellenism "The Birth of Tragedy– wait- wait- where are you going?! I promise this whole review isn't about Nietzsche… Okay, some of this review isn't about Nietzsche… Alright, fine, I'll just sum it up really fast so we can all get back to Vanderpump Rules. 

One of Nietzsche’s big points was that Greek tragedy was super dark and gruesome because they just loved life so bloody much. Sounds counterintuitive, right? Or, as a metalhead, (presumably as you are reading my review of a Sludge band) does it sound familiar? You love dark, evil shit, right? So how come you’re not similarly dark and evil? You’re actually kind of a chill, happy, well-adjusted human. What’s wrong with you?

In answer to that question, I think there is no better example than Sludge metal. Sludge was born in the Pacific Northwest by bands like (The) Melvins and Blood Circus but mutated into the subgenre we recognize today in the heavy metal laboratory of 90’s New Orleans. Sludge pioneers Crowbar were like if a bunch of your uncles got together to write music about how work sucks and it turned out they were inexplicably great at it. The emergence of NOLA sister bands like Acid Bath, Soilent Green, and EyeHateGod, posited Sludge as a metal movement seemingly devoted to abject nihilism. 

It was a filthy, brutal, self-destructive and regular destructive mirror held up to nature before someone smashed it into your face then used the broken shards to carve "void slut" on their torso and passed out in the corner of an abandoned housing project. Sludge is a subgenre that by all outward appearances, wishes it didn't have to exist; less a creative impulse and more the cancerous inevitability of a world that is truly and deeply fucked.

Enter Iron Buddha and their debut EP Raze/Repose with song titles like Sansin / Echo Summit, Mara / Tongues and Yama / Sunder. Has Sludge metal, like the Glam rockers Poison before them, actually found something to believe in? In this case, a collection of divine figures from Eastern mysticism like the namesake of their opening track Sansin, a Mountain God, whose cult of tiger-worshiping Buddhists still exist in modern day Korea?

The record opens in typical sludgian fashion with distorted guitar feedback, a calling card for the subgenre as it represents the exaltation of a mistake, a sound that both should not and must be. And from here, Iron Buddha careens violently through thirty minutes and thirty seconds of pure, unadulterated Sludge, lurching somehow deftly from pummeling up-tempo chaos as frontman Emilio Acosta echoes the Cro-magnon battle cries of Liverpudlian Doom outfit Conan, to chugging, deeply downtuned, and crushingly heavy riffs reminiscent of Post-metal progenitors Isis or the inimitable stoner Doom of Yob.

There is a staggering amount of variety here from a subgenre that tends, in its weaker moments, toward homogeneity. Iron Buddha has not only avoided that fate but crafted one of the best releases of 2023, with a debut EP of superlative heaviness, surprising emotional depth, and undeniable musical acumen. But what are they doing to Sludge metal? Have the nihilists gone soft and lost their violent devotion to abnegation in a cloud of Eastern occultism? Or has Iron Buddha dug down into the core of Sludge metal and found something like the opposite of cynicism and degradation… something like the terrifying certainty of belief? 

Or as Nietzsche said (whatever, you’re almost done), “An intellectual preference for what is hard, gruesome, evil, problematic in existence, arising from well-being, overflowing with health, an abundance of life…” 10/10

Motorpsycho - Yay! (Stickman Records/Det Nordenfjeldske Grammofonselskab) [David Karpel]

When a veteran band like Motorpsycho has a history of blessedly strange progressive turns, combining sounds as varied as indie rock, psych pop, jazz fusion, progressive metal, and so much more, their every album comes with expectations for electrified jams, poetic lyrics, and a sense of questing. Only a year since their last album, Motorpsycho have returned with Yay!, an album that just might defy every expectation out there. 

Mostly acoustic and mostly structured around pop dynamics, the thirteen songs on Yay! aren’t exactly a departure for the band. They’ve certainly included these elements in previous albums, as full pieces as well as in parts of their longer jams. Here, though, the focus is consistent, creating a sound that mashes the folksy acoustic practitioners of the 60s and 70s (Simon & Garfunkel, America, Cat Stevens) and modern indie psych folk like Sufjan Stevens and others. 

Cold & Bored includes guitars, glockenspiel, and sweet harmonies through the chorus, recalling the soft hued pop of the golden era of soft hued pop. Lyrically, there’s a melancholic and romantic look in the rearview as well that’s juxtaposed to the lamented reality of a mostly mundane adult life. Sentinels follows with a strong Simon & Garfunkel vibe. It’s stripped down and feels minimalistic, but there’s so much going on in the music. 

A zither, a wurlitzer, an omnichord, and congas are all included in the tapestry that lyrically describes ghosts who, “infused with city stories,” remain in our presence. After two songs, I’m… delighted. I recognize that some of the almost falsetto moments can sound a bit off to some ears, while the pop dynamics song after song might annoy longtime fans. But this vibe is hitting me in all the right places. The production is clear, the songs soulful and real. By the time Patterns hits, I’m hoping for the best. I want all of this to work. 

Patterns, like a mashup of Sufjan Stevens and the Cocteau Twins, is a song about an artist losing their mojo, feeling like their time has passed, that the hour has arrived to pass the torch to the next generation, and it works. So does Dank State, more Simon than Garfunkel, describing a political awakening. W.C.A. (What Comes After) maintains the vibe with some bedroom pop sensibilities thrown in. 

Alluding to the history of 100 years ago, circumstances perhaps getting these “20s roaring again,” and wondering about what follows, bolts these folksy songs into political and social awareness. Real Again (Norway Shrugs And Stays Home), which weirdly reminds me of some songs off of The Weakerthans second album, is about the modern era, the broken hopes of connecting via Zoom during lockdowns and quarantine. And then Loch Meaninglessness & The Mull Of Dull switches lanes and the rest of the album swerves, climbs, and lands in a completely different place than the previous 6 tracks might have indicated. 

Loch Meaninglessness & The Mull Of Dull plays sweet and includes soft congas, guitars, and a mandolin. It’s a love song from the one being loved, the one found by the right person when they’d thought all hope was lost and loneliness was their fate. It’s a beautifully hopeful song. Meanwhile, the longest song on the album, Hotel Daedalus, hits like an epic allegory that Yes might have jammed. It’s about a band locking into finding where they are at the moment. Musically and lyrically, the song finds a balance between the light and the dark of that self-awareness and comes away with hope. 

Scarecrow acts like an instrumental intermission before the last act of The Rapture, a sweet tune about enjoying every moment, concluding, “I'm gonna lay my head back in the grass and count my blessings one by one, and hope it won't be my last.” I’m surprised by how much I’ve enjoyed this album because I’ve never really enjoyed the roots from which it pulls. And yet I’ve listened to it repeatedly for weeks.  Yay! 8/10

A VIew From The Back Of The Room: Blondie (Live Review By Alex Swift)

Blondie, Cardiff Castle, 16.06.23

Shows like these are idyllic. The setting sun casts its shadows in the grounds of Cardiff castle as the crowd is illuminated by the glow of stage lights. I’ve acquired tickets to see Blondie by pure happen stance – I’m incredibly grateful though. As one dedicated fan points out to me in the queue, this might be my first and last chance to see the punk and new wave legends. “Don’t say that” beckons another voice, although concedes that at 77 years old, no one could blame Debbie Harry for retiring. “She seems very determined not to stop” I interject, receiving nods of approval all round. I may be a newcomer but with or without prior knowledge of their live quality, there’s a tangible sense that the band would not be continuing to play so often if they thought there was any risk that they might have lost their spark.

We see the determination possessed by Harry and company in its all its glory tonight, as the band begin with the frenzied, One Way Or Another, their excellent version of Hanging On The Telephone, and the gigantic as ever Call Me. Meanwhile, their frontwoman struts around stage in a bright yellow suit, looking impossibly cool in doing so (something which, to be fair, probably comes entirely naturally to her). She also stops frequently to speak to the crowd, noting of the surroundings “I’m just waiting for the arrows to come flying out of the castle”. For those in any doubt, she’s not lost a hint of talent with age. Indeed, with Debbie’s remarkable stage presence and still incredible voice, it’s hard for her not to dominate proceedings and yet the other band members are given plenty of time to shine, with many of the songs being allowed to run for well past their original length to demonstrate the skill of each of these musicians.

Guitarist Andee Blacksugar - tonight standing in for co-founder Chris Stein, due to health concerns – is a sight to behold, as he’s given an opportunity to absolutely shred on multiple songs, without ever appearing over-indulgent. The rhythm section meanwhile – a defining element of this band’s sound – is led by original drummer Clem Burke and former Sex Pistols bassist Glen Matlock, who keep pieces like Heart Of Glass and Rapture exciting and propulsive, adding a familiar danceable element that many in the crowd are happy to adhere to. Two of the most rousing moments, as far as audience participation is concerned, come with Atomic which sees the crowd shouting the title in unison come the time, and The Tide Is High, which sees everyone moving in time to the infections, ska-esque composition.

I’d also be remiss not to mention the amount of Pride flags I see in the crowd. Hardly a surprise considering pieces like Maria – another personal highlight for me, as Harry’s voice ascends to the high note with elegance – have been heralded as LGBTQ+ anthems for a long time. In fact, this is something which the band are more than happy to encourage as the visuals that accompany parts of their set show an unashamed support for the community, with Debbie having not long ago come out publicly as bisexual herself. The timing was, in all likelihood, a coincidence, but as well as being a great show on its own merits, this is a wonderful start to a brilliant Pride weekend.

Ending their set in an encore of Fun, followed by their first performance of Denis since 2010 and closing on Dreaming, you get the sense that these musicians love playing together. Next year they will be in their 50th year as a band. Blondie have reached that point with the dignity of a group of musicians who will be playing shows for a few more years, before retiring, leaving behind a catalogue of classic songs, and fond memories in the minds of those who have been there since the beginning and those – like me – who are glad they seized the chance to see them, even at the last minute. 10/10

Reviews: Pride Of Lions, Vypera, Stardust, Gardner/James (Reviews By Matt Bladen)

Pride Of Lions - Dream Higher (Frontiers Music Srl)

 

The seventh album from Jim Peterik (Survivor) and Tony Hitchcock (various Frontiers projects), Dream Higher, is not radically different from the previous six and I could have stopped the review there but I’ll carry on to explaining bit more if you’ve not heard the previous six albums. Peterik famously co-wrote Eye Of The Tiger and Burning Heart and plenty of other Survivor favourites along with tracks by 38. Special (Hold On Loosely) and Lynyrd Skynyrd. 

He has knack for writing for big voices so with Hitchcock he has a perfect foil. Hitchcock’s voice is a soulful tenor and brimming with power meaning he’s perfect for the AOR anthems featured on this record. Blind To Reason, his lead taking the reigns while the backing vocals harmonise with the choppy guitar and synth walls. Unfortunately the album suffers from ballad bloat Dream Higher, My Destiny, Another Life, Everything To Live For are all ballads, which is nearly half the album! Everything To Live For could be featured in a broadway musical and for me is the best one here. 

The other half of the album I wouldn’t call rockers but they are a bit pacier than the ballads, Renegade Heart has that Survivor gallop to it, while Through It All has the funky lead bass rhythm of both Survivor and Toto. Dream Higher gives you what you’d expect, but for me they have always been a little light, I tend to like my melodic rock with a bit more rock. Still there’s nothing offensive. 6/10

Vypera – Race Of Time (Frontiers Music Srl)

 
Another trad/speed metal band from Sweden? You bet your mirrored aviators! Race Of Time is Vypera’s second album and like fellow Swedes such as Enforcer or Ambush, they are heavily influenced by British and North American scene of the 1980’s. In what is called the NWOTHM, Vypera are relative newcomers but you can hear why they were picked up by Frontiers Music as their songs come from that period where the glam metal bands were starting to come in a bit more, Riding On The Wind, the second track makes me think of Dokken or Bon Jovi pre-Slippery When Wet, a big hooky chorus, some nifty firework guitar playing and the sort of style that would have got you constant MTV replay. 

Even the album cover features a plane(?), a long haired dude in aviators smoking while he leans out of the window, it's immature but also perfectly sums up what Vypera are all about. Race Of Time is a record that is probably a bit more towards the glam/sleaze than NWOBHM but that's not a detriment to the music, it gleams like chrome as the songs like Speedin' and Daytona conjure images of roaring up the strip in an open top car while Slave To Love is a cliché but at least it's a good one. Grab your leather jacket and whip out the Eddie Munson hair because Race Of Time throws back to simpler times 7/10

Stardust – Kingdom Of Illusion (Frontiers Music Srl) 

Hungarian melodic rockers Stardust showcased their talent with an EP which got them signed to Frontiers. They released their debut album Highway To Heartbreak in 2020 and now they have dropped their follow up Kingdom Of Illusion. Having already showed their melodic/AOR credentials Kingdom Of Illusion is a chance for them to display a harder sound. First song War, doing that with the big drumbeats, brooding atmosphere and crunchy guitars, moving more towards metal than rock it’s a little starling if you’re looking for radio friendly AOR, luckily they haven’t gone all serious on us as The Fire is full of keys and hooky choruses, while Losing Me glistens like a Def Leppard track, the vocals helping with this comparison, as Sacrifice picks up the pace and injects some backing choir harmonies on the solo for added slickness. 

Framing their approach in the 80’s, there’s a few call backs to other bands on this records but it never becomes a pastiche just a loving homage to that whole era of rock music. The speedy Love Sells, becomes the epic power metal-like Heroes easily and of course there’s an obligatory ballad in the shape of Make Me Feel Your Love, which goes a bit JBJ. Kingdom Of Illusion is Startdust staking their claim to their position on the Frontiers roster, they’re still early in their career but they’ve already got bags of potential. 7/10

Gardner/James – No Strings (Frontiers Music Srl/Pavement Entertainment) 

Calling them an ‘iconic duo’ in the press release is probably a bit of stretch. Unless you’re acutely familiar with American rock music, you’d be forgiven for not knowing who Janet Gardner or Justin James are. Let me enlighten you as Gardner is the vocalist for long established all-female rockers Vixen, while James has worked with Tyketto, Collective Soul and even…Staind. 

Basically it’s two musicians coming together for a new project in true Frontiers style. Having already released one album before this, 2020’s Synergy, No Strings is the follow up that continues where the debut left off, Southern styled opening on I’m Living Free, before they get harder with Turn The Page the melodies of the 80’s coming on 85. Gardner’s husky voice still seems strong and James is a good melodic rock songwriter, using the blues a lot as his base which I always think makes things better. 

The use of acoustics on Don’t Turn Me Away brings touches of Heart, while Set Me Free is glam rock and the finale of Drink is a party track for sure. This ‘iconic duo’ definitely know how to write a song, stylistically using a lot of different rock elements, but they are all pretty standard, the product of a bygone age. To survive in this game you have to meld the classic with the modern and No Strings feels a little too much towards the classic side. Still an ok listen if you like Vixen or Tyketto. 6/10

Reviews: Stray Gods, Wonders, Joel Hoekstra’s 13, Fireborn (Reviews By Matt Bladen)

Stray Gods - Olympus (Rock Of Angels Records)

As The Iron's themselves play their The Future Past tour which draws from both their most recent album Senjutsu and some un-played (until now) classics from Somewhere In Time including Alexander The Great, Bob Katsionis' classic Iron Maiden homage gears up to release the second album of tracks that are now more Maiden than current Maiden. Katsionis is not shy in his love of the British metal institution, especially the 1984-1992 period where the Air Raid Siren up front saw them reach their commercial peak, on their run of classic albums (including Somewhere In Time). 

Katsionis turned what was supposed to be a studio only project, into a fully-fledged band back after releasing their debut album Storm The Walls, so a follow up was sort of inevitable. Olympus goes further than the debut did with more of the progressive Maiden touches from Seventh Son Of A Seventh Son or Somewhere In Time, the title track of this album akin to those epics such as Alexander The Great or Caught Somewhere In Time. On Olympus the songwriting has more depth, a broader range, Katsionis realising that the band had more longevity than the one album especially when they took to the stage at Up The Hammers Festival, so this record feels like a statement that they can do much more in the confines of this project than many would have thought after the debut. 

The music though still exists within the Maiden sphere, from the opening acoustic throes on Out Of Nowhere, we ride again on the galloping steed, Katsionis brings guitars and keys, the second part of the patented twin axe attack being John McRis in glorious union. That classic gallop comes from drummer Thanos Pappas and bassist Gus Macricostas. Ghosts From The Future featuring the synths that started to appear on SIT/SSOASS, the record gets slower and shows the influence of Maiden on the power metal sound. Up front vocalist Artur Almeida gives more than just his uncanny Dickinson delivery, he’s a dead ringer but he can adapt to the worn tones of the Brave New World days and beyond, The Other Side Of The Mirror taking the style of post-millennial Maiden, as does The Sign before Abel & Cain returns to the classic gallop, with a bit of keyboards from 1987. 

The acoustics return for Fortune Favours The Bold, Almeida’s vocals at their histrionic as it settles into a stomp, heading towards the penultimate track Angels Of The Light, which has those huge “woah” refrains from Fear Of The Dark. The album rightly closes with the 8 minute title track and as I said earlier in the review that it’s a monster, the ideal way to finish off this second record. I said in the debut that if you miss the 80’s Maiden then Stray Gods is more than just nostalgia, it’s songs written in the style of one of the best heavy metal bands on the planet, treated with love and respect to make sure it could rightly fit in with discography of Iron Maiden. Olympus continues with this care and attention to detail, full of easter eggs and metal anthems, hopefully more shows are coming too. Until then play Olympus nice and loud. Up The Stray Gods! 9/10

Wonders – Beyond The Mirage (Limb Music)

I had feared that Fragments Of Wonder may have been a been a one off, but Pietro Paolo Lunesu returns with his band mates from Even Flow and Bob Katsionis for another Wonders record. Now if you’ve heard Even Flow you’ll know that Wonders is a bit more straightforward than the Italian prog/power band leaning more on the melodic power metal side, with Stratovarius, Sonata Arctica and Serenity all similar in terms of style. The line up stays the same with the rhythm section of Even Flow; Luca Negro (also Temperance) on bass, Giorgio Lunesu on drums, Bob Katsionis on keys and co-production with Pietro, as the singer of every Italian (and some not Italian) power/prog metal band ever Marco Pastorino takes up the mic again. 

Beyond The Mirage doesn’t try to do anything to radical from the debut record. Rampaging drumbeats come on Here I Go Again and the triumphant Coming Home, both of which which slips into a huge chorus hook. Breaking The Chains has the Tolkki/Johansson guitar/key duels of old, as In & Out Of Time captures a little of the Queen magic, especially in the harmonised lead break. With a back room that seemingly plays fast for fun, the pace is breakneck, the keyboard and guitar runs both virtuoso as the vocals vary when needed. 

For power metal nerds like myself, I can’t help but smile when I listen to this record as while the names I’ve mentioned have gone off to be more progressive versions of their sound, much like Katsionis’ Stray Gods project, Pietro uses Wonders to capture that 90’s European melodic power metal sound perfectly. Hold Me, Save Me has a flair for the dramatic using a piano in the quieter moments, while Once Upon A Time could have come off Reckoning Night. Even obligatory ballad All My Dreams is very good, followed by the proggy Into The Light. As the throwaway lyrics of the last track fade, again Wonders capture the attention of any lifelong power metal fan with music that helped build the genre, performed by virtuoso musicians. 9/10

Joel Hoekstra’s 13 – Crash Of Life (Frontiers Music Srl)

Joel Hoekstra is the guitar slinger for Whitesnake, Trans Siberian Orchestra, Revolution Saints and has appeared on many more albums and shows. He’s got that rock n roll style to his playing, louche and relaxed, cranking out hard rock rifs with ease but then playing an incendiary solo so you know he’s serious. 

His solo project 13 has met with critical acclaim, each album featuring different vocalists but they all have a raspy delivery in common, previously he’s had Russell Allen, Jeff Scott Soto but now he has Girish Pradhan from Girish And The Chronicles behind the mic as JSS helps out with the backing harmonies as he did on the last album. 13 is basically a supergroup playing Sunset Strip ready hard rock, the band still comprised of bassist Tony Franklin (Blue Murder, The Firm), drummer Vinny Appice (Last In Line, ex-Dio, Black Sabbath), and keyboardist Derek Sherinian (Sons Of Apollo, Black Country Communion), this all star foursome allowing Girish to ascend to a level of frontman he hasn’t reached with his own band. 

There he’s a great performer playing the music he has written here is trying to inhabit the mould of not only his predecessors in this band but also vocalists such as David Coverdale, Paul Rodgers and even on tracks such as Damaged Goods, Dio. He does all of them proud, on Damaged Goods he’s especially wild and frenzied, having co-written the songs here with Hoekstra, there’s some balladry on Torn Into Lies, but a lot of the record is classic guitar driven hard rocking with tracks such as the punchy Not Tonight, the filthy Don’t Have Words and the swaggering Find A Way, while I Would Cry For Love and Through The Night go down the AOR route. 

It’s classic American hard rock from a load of veterans and a young gun, Crash Of Life is a fun rock record that will have you throwing your fist in the air and is best played in the sunshine. 8/10

Fireborn – Reflections (Pavement Entertainment/Cargo Records UK)

Produced Schmier of Destruction, Reflections is the first full length album from German rock band Fireborn. Named after their powerhouse singer/songwriter Jenny Fireborn, the band have a leaning towards the American heavy rock of another band named after their frontwoman (and drummer), Halestorm. 

Jenny has that gritty vocal style of Lzzy, and their songwriting uses the same sort of style. Even on ballads such as Angel In Need, she gives an emotional performance with the same classic rock passion as Ms Hale. First single You Seem So Far points at the more melodic side of the band, a track about losing a good friend it’s pure radio gold. 

At the heavier end they can really rock out when needed on tracks such as Pack Of Wolves or Young Heart Dies, Proud And Ashmed even getting some growled vocals but across the 14(!) songs on this album there are a few ballads that kill the mood such as Guide You Home, but what lets the record down is the quantity of songs. 14 is way too many, trim it by say four, (release them as an EP or bonus tracks) but there needs to be some quality control done on the next album. 

Especially if you’re a European band playing this type of American styled hard rock, there are bands who have been doing it for much longer so you need to stand out, the first step being to be punchy, leave people wanting more. Still if you’re sick of waiting for a new Halestorm record then Fireborn should tide you over until then. 7/10

Reviews: Creeping Death, Imperishable, Fleshbound, Endeavour (Reviews By Matt Bladen & GC)

Creeping Death – Boundless Domain (MNRK Heavy) [Matt Bladen] 

Yeah…ok…believe the hype. Boundless Domain could be the death metal album of the year. The Texan band have nailed how to keep the OSDM sound fresh in 2023, harking back to groove driven aggression of Brits such as Bolt Thrower, Benediction and fellow Americans like Obituary or Morbid Angel but also keeping the technical potency that is the norm in modern death metal music. Armed with a trio of EP’s and debut full length Boundless Domain has a pretty good provenance to stand on but manages to above and beyond any previous release from the band. 

The title track sets the scene with a bit of atmosphere and a heavy chug before first single Intestinal Wrap adds changing time signatures, loud/quiet dynamics, some fret slides, a blistering solo section and George ‘Corpsegrinder’ Fischer on guest grunts. From here the speed and technicality increases on single Vitrified Earth, Lincoln Mullins’ drums giving me blisters just listening to it as he controls the pace of the track with double kicks and battering stomps, the middle section with some explosive Slayer-like dive bomb solos. 

The virtuosity on display is so impressive, with guitarists Trey Pemberton and A.J. Ross III throwing out as many riffs as they can in each song, (the Morbid Angel method) be they thrashier like on The Parthian Shot, which has some fancy percussive flourishes from Mullins, or the slower bone crushers like Creators Turned Into Prey which moves from leisurely to frenzy in a moment, Eric “Rico” Mejia’s bass adding fat mud kicking basslines under the varied solo sections. 

His link with Mullins drumming means that tracks such as Cursed even bring a crossover feel, paying tribute to Riley Gale (Power Trip) and Wade Allison (Iron Age) two icons of the Texan scene, vocalist Reese Alavi’s performance scintillating throughout the album, his guttural roars as technically gifted as the ever changing riffs behind him. 

Produced by Killswitch Engage guitarist Adam Dutkiewicz, Boundless Domain is the future of death metal, no doubt about it, with mechanical aggression, progressive song structures and the ability to incorporates some psychedelic soundscapes on Remnants Of The Old Gods, Creeping Death will be primed to obliterate a venue near you soon, be ready! 9/10

Imperishable – Come, Sweet Death (Hammerheart Records) [Matt Bladen]

When you compare yourself to Swedish death metal legends Dismember you’ve got to be able to back it up, so I’m thankful that this isn’t misplaced optimism and that Imperishable, which features ex members of ex-members from Vampire, Portrait, Nominon and Dr. Living Dead have successfully walked the Left Hand Path with Come, Sweet Death. It’s 39 minutes of Stockholm scene Swedeath, buzzsaw HM-2 riffs and blast beats galore it’s very much a tribute to Dismember and Entombed but with enough of their own influence to separate them from the literal thousands of bands playing this type of metal, with this type of guitar tone. 

Born from thrash (Infernal Lust) but a damn sight nastier Swedish death metal is in a genre all of its own, so Imperishable fit into that style brilliantly unleashing riff after savage riff but utilising the melodic, harmonic cleans and leads of the Gothenberg Melodeath sound. What’s striking is that Come, Sweet Death is a debut album, the band’s first full length and they come out swinging like they have 5 albums behind them. From the grind of The Perennial Desire, the blackened battery of The Phantasm, through to the longer (I mean 4 minutes is long) assaults such as Teeth Of The Hydra where they pack in riffs on top of riffs or the nearly 5 minute Fangs which starts off with some heavy doom (with a HM-2 fuzz) before ripping your face off again. A brief intro sets the atmosphere as the title track closes out the record. 

You get a feast of Swedish death metal but importantly, it leaves you hungry for more. Like a very satisfying snack you’ll want again and again, Come, Sweet Death is a feast of Swedish death metal that lives up to its lofty ambitions. 8/10

Fleshbound - Wounded (Self Released) [GC]

Describing themselves as Deathcore from the dirty south I was always going to review this! If there are 2 styles of music you could describe me with its death metal and hardcore, so when the 2 are mixed it usually makes me very happy boy! Let’s hope Fleshbound’s new EP Wounded can be one of those mixes that hits the spot!

Firing straight out of the blocks with Bathed In The Rays Of Gold you instantly get the death metal influence and it’s a scathing blackened style just for good measure, with some savage beatdown drumming included and then a nice choppy and stop start rhythm into the verse and just before I think, where the hardcore influence it’s there with a beautiful and section that makes me want to start ninja dancing and windmilling around the room this is a beauty of an opener. 

Entity 6 continues on with the blackened death metal influence and the drumming is again almost inhuman in places and they even manage to throw in some atmosphere with a minimal a guitar sound in places that mixes up everything but overall its another thrilling song that just keeps on giving and giving and is always interesting, as sometimes you can get a bit lost in the mixing of styles but not here everything is pulled of brilliantly.

Terminal Lucidity doesn’t let up any of the death metal savagery that has been the hallmark of the songs so far, the guitars slice and cut, the drums are slamming and thunderous and the vocals are the best on the EP and you just have to admire a band that just aims to full on attack you and not let you have one minute of comfort and actually pull it off because sometimes you kind of just think yeah, ok lads your heavy but what’s the point? 

Here you feel the conviction behind everything that is thrown in your direction and already I’m at the end of the EP and closer The Night Engulfs Our Hearts In Flames is easily the most measured song on the EP and it builds a tension right form the beginning with a more slowed pace and a brooding guitar sound and the whole song has a menacing aura all the way and manages to control the chaos within beautifully.

And just like that its over! What was on offer here was great, there wasn’t much to get my teeth into and my overwhelming feeling is it is actually really more blackened/slam death metal then straight up metalcore as I didn’t get very much of a hardcore feel that often, which is shame but not to take anything away for what I have just heard which was an absolute savage death metal assault and it was a hell of a ride! Well worth checking out! 7/10

Endeavour - For The Time Being (Self Released) [GC]

From a quick read of their press release it seems Endeavour are expected to do big things this year, it describes their debut album For The Time Being as monstrous and their lead single as killer and they are apparently poised to claim a stake as one of the bands to watch this year? Big words, but can they back all this hype up with their music?

Definite is a bit of an unconvincing opening statement it floats in on a vocal line with minimal guitars that then is mixed into some of the most generic and bland metalcore I have ever heard and then to make things worse midway it drops back into the vocal/electronics only bit to try and keep us guessing or something? But it doesn’t it just annoys me and the end of the song is just as boringly predictable, Blur fares slightly better and has a passable riff to open up but then does the quiet vocals and electronics only stuff again and is just so boring and when the main riff comes back in it does nothing to save the song and the whole thing just sounds so bland and cookie cutter that you are just glad when it all ends. 

You then hope that Black Box might finally do something interesting but it doesn’t, it sticks to the exact same formula, quiet vocals and meandering electronics before attempting to spring into life with a verse or two of angry shouty stuff then, cut, copy, paste and repeat until end of song? It’s all just so mind numbingly predictable and uninspiring, sigh.

We now get to the ‘’angry’’ song on this album; Aimless and it almost starts off ok for the first minute but then of course they insist on attempting a big singalong chorus and it’s just a complete miss, it felt like they might actually be able to drop the formula for a bit but no, it’s right there as it always is, I skipped past the last 30 seconds of the song as I was so sick of it, Colourblind makes me just want to stop the review instantly because there is nothing here that is any different in anyway shape or form, I get it you have a style, sure ok but at least make it interesting please! I seriously can’t see how this is going to do ‘’big things’’ as expected? Its going to do no things.

I can’t even imagine that it would sound better live as I would have been back at the bar by now having been bored to tears. Sober undoubtedly has a deep meaningful back story and if the rest of the album hadn’t been so utterly boring already then this might have been a good way to mix everything up but it just all feels like it’s been one long slow boring track, it is probably the best song on here but that’s not really difficult at this point. Breathe feels and ultimately sounds like a half decent nu-metal track and again is probably one of the better songs on here and that is really saying something!

127 now actually makes me think, hang on this isn’t actually a metalcore album at all, its clearly one of those nu-metal revival type bands because if this is trying to be metalcore its failed miserably, it doesn’t make up for the utter shit I have had to listen to but it makes sense a bit more all the quiet/loud dynamics and electronic are so nu-metal its painful, I had to check my calendar and make sure it was 2023 not 2003 so now thankfully For The Time Being is the last song on the album and they haven’t saved the best till last either more bland uninspiring stuff. Album over, good.

It is a resounding no from me! This was boring and had no redeeming features, sure there were a couple of half decent songs and an alright riff here and there but that is not enough over a full album to get a good review. If I was in Endeavour, I would go and re-think what our aim was because surely it cannot be to release music so boring you would rather listen to old nu-metal albums to compare them and ultimately prefer them? I didn’t like this album very much at all. 3/10

Reviews: Yawning Man, Witchskull, Aton Five, Memorrhage (Reviews By Rich Piva, Matt Bladen, Mark Young & Zak Skane)

Yawning Man - Long Walk Of The Navajo (Heavy Psych Sounds) [Rich Piva]

For the most part I prefer vocals in my music, but if I do go for the instrumental, I usually go to either the amazing doomy goodness of Clouds Taste Satanic or the band that Is the topic of this review, the ever-prolific Yawning Man. These guys have been around forever (they formed in 1986 but did not release anything until 2005) and have been one of the most influential bands in the desert rock scene, spawning or playing with several bands of the same ilk. Their sixth full length, Long Walk Of The Navajo, is more of what they do best; super atmospheric instrumental dreamscapes with killer guitar work that transforms you to the desert, or wherever else they are channeling, as much or more than any other band playing this style out there today. The three tracks here are more of the same in the most positive way.

No instrumental band better names their tracks to fit the song than Yawning Man as the title track transforms you to said trail where you can experience the trials and tribulations of people of the tribe in musical form. It is an amazing skill that only a handful of instrumental bands can perfect, but these guys have it pretty much every time. Dreamy, spacy guitars that soar around you like fireflies. Respiratory Pause is super chill thirteen-minute trip that will let you focus on your breathing while basking under the desert moon. Blood Sand is the third and final soundscape, that opens with what sounds like a slowed down heartbeat before you are cloaked in dream guitars for all nine minutes of the track.

If you dig super chill instrumental desert goodness or anything Yawning Man has ever done, Long Walk Of The Navajo will be perfect for you. This is headphones music for sure, so grab the new Yawning Man, your mind-altering substance of choice (or not, I’m not telling you how to live your life) and enjoy one of the premier instrumental desert rock bands that have ever walked the planet. 8/10

Witchskull – The Serpent Tide (Rise Above Records) [Matt Bladen]

Aussie doom-dozers Witchskull look set to destroy your turntables again with their fourth studio album. The Serpent Tide is their third record on Rise Above Records and they are very much in the ethos of this seminal underground label. Syrupy riffs, of fuzz and distortion, sneered/bellowed vocals and songs about the occult. Formed in 2014, Witchskull have been intoxicating people with their rough edged stoner doom, the trio of guitarist/vocalist Marcus De Pasquale, bassist Tony McMahon and drummer Joel Green, filling rooms with smoke and noise for nearly a decade.

This experience shows on this fourth album, the long gestation period of this record leading to some of their most advanced compositions yet, from the impressive thud of Sun Carver, through the Wolfmother-goes-bad heavy rockers such as The Serving Ritual and the stank face causing atmospheric doom tracks like the title track and the brutal crush of Rune Of Thorn. The Serpent Tide and Witchskull on the whole eschew Sabbath worship for the sleazier, louder sound of Sleep/High On Fire worship, they give it a few nuances but mainly it’s this Australian band paying their respects to wild, shirtless riffs of Matt Pike, as loudly as they can. Crank up your speakers and let your whole street hear it! 8/10

Aton Five - Aton Five (Self Released) [Mark Young]

For some the instrumental is something to run from in abject terror. It conjures up images of Rick Wakeman dressed as a Wizard with multiple keyboards and guitar solos that long the roadie changes the strings as its played. Ok, the last one might have been made up. As in a lot. But I’ve nothing against them as I am a fan of Deep Purple, at least the Gillan era and the instrumental / improv approach was one of their strengths on tour. I don’t listen to a lot of it nowadays so I’m keen to hear what Russian instrumental-prog-rock is like. Aton Five’s own statement via Bandcamp:

“Avoiding both the wanton reiteration of the past and the overindulgence in production, we aspire to say something new in the genre”

I’m not entirely sure they have managed the above in all honesty. It is exactly like you would expect, its long, potentially over the top and has got an organ front and centre (steady at the back) and you know what, it’s pretty cool as each track rocks in its own unique way. Trying to avoid the past whilst playing this type of music whilst using a Hammond organ is a big ask because as the first track kicks in, Alienation, is that a Hammond organ I hear? This echoes of Deep Purple at their improvisational best, the face off between instruments as each gets their own chance to shine. It reminds me of the soundtracks you would get in Anime, rising solo breaks against some choice chord movements. It’s a great start and this continues through into Naked Void and Clepsydra.

Danse Macabre, this could be Deep Purple in all honesty, it has the same vibe to it, that mix of classical and the heavy rock. The main thing is that Aton Five have not forgotten that the music should not be boring, it has to be dynamic, and they make sure that this rockets and then we enter the final track, Lethe. Now this is 22 minutes long, and I have to tell you that this made me anxious as it starts with a western theme, which evokes images of a gunfight at the soon-not-to-be-OK Corral. 

This is a slow, measured build as each instrument drops in and out providing support to a repeating guitar line. It builds with solo breaks and continual movement until it reverts back to that subtle intro, building again from this point using the same motifs but not actually being a carbon copy of what came before. Its cracking stuff and despite the length it doesn’t let your interest slide away which as we know is one of the major pitfalls associated with instrumental music.

So, in terms of a score I think its not really that important. Personally, I loved it as a palate cleanser and because each of the songs are unique to themselves. Its well put together and reminds me of Deep Purple without being a pastiche. Yes, it is long, but it manages to overcome that by being continually engaging and keeping that perpetual motion going. And for that, I’m giving it a 7/10

Memorrhage – Memorrhage (Big Money Cybergrind) [Zak Skane]

From the opening track we are getting classic 90’s metal vibes with the drum and bass inspired drum grooves, slap bass riffs pushed into the lime light whilst the guitars take on a more modern jolty approach that would be on the likes of meshuggah to help make a bed for the singers sporadic vocals. Exit channels the frantic energy of old school Slipknot and Coal Chamber with it’s rustic approach to guitar tones whilst holding a young heart. 

Reek still beats a young heart with the modern venom of Lotus Eater and Cane Hill whilst Old Wave throws you back into 2000’s time warp with it’s retro rap vocal delivery and electronic drum beats.  Tracks like Lunge and Utility give us a taste of the commercial with Lunge giving us some classic industrial metal melodies that would idolise the works of Static X and The Defiled, whilst Utility shows it’s radio friendly roots with it’s listener friendly hooks reminiscent of bands like Spineshank, Hobostank and Ill Nino. The closer Ex Sprite bring the album to an electronic closer with its electronic trap beats and trap metal styled verses. 

This album beats a strong young heart whilst throwing you back into the 2000’s, but beware this album can stem from original to gimmicky due to the judgment of the listener. 6/10.

Reviews: Church Of Misery, Vulture Industries, Breaths, Alt. (Reviews By Rich Piva, Matt Bladen, David Karpel & Mark Young)

Church Of Misery - Born Under A Mad Sign (Rise Above Records) [Rich Piva]

Japanese doom/heavy stoner legends Church Of Misery are back with their first new material since 2016, which is way too long because CoM rules. If you are not familiar, you should be, because the band has been around since 1995 and plays heavy, tuned down stoner doom with psychedelic leanings and oh by the way, all their songs are about a different serial killer. 

What’s not to like about that? The answer is nothing and the new album, Born Under A Mad Sign confirms that I am correct, because you get seven more flawless tracks that are meant to scare you and delight you all at the same time which is what a good horror movie about a mass murderer is supposed to do, these guys just do it in musical form.

Beltway Sniper and Most even are a killer one two punch of brutal murder done is stoner rock form. The production and guitar tone are perfect on this album and these two songs are perfect examples. The pace gets a bit more frantic with Freeway Madness Boogie with its breakneck pace (for CoM) and killer guitar work. Murder Castle Blues brings some serious tuned down doom with a killer riff and is eight minutes of the musical equivalent of the song’s protagonist, H.H. Holms committing all his acts of depravity (Google it) both dragging the body for the first half of the song and running from the authorities the latter half. 

Church Of Misery is not afraid to add some Deep Purple boogie to their murderous ways with Spoiler, that incorporates some keys and a more psych leaning style, creating my favorite track on Born Under A Mad Sign. Given me an organ solo any day and I am in and the guitar work on this song of the year contender is nothing to shake a stick at either. 

You want more riffs? You get them with Come And Get Me Sucker, which is an ode to Waco wacko David Koresh. Maybe if he listened to Church Of Misery everything would have turned out differently because his focus would have been on something like the killer psych solo on this track instead of mass suicide. Butcher Baker ends the spree nicely with a bit of an occult rock feel to open until you are crushed by the weight of the doomy riffs that bludgeon you about the head an neck until you are no more.

Damn this record kills especially for a band that has been around since 1995 and gets delightfully distracted with their other awesome side projects. But when Church Of Misery focuses on what they do best, the result is an album of the year contender that will just slay you. Sorry, I had to add one murder pun, but go listen to this before it’s too late and you are the next victim. 9/10

Vulture Industries – Ghosts From The Past (Karisma Records) [Matt Bladen]

If you were to make me guess where Vulture Industries (whom I know nothing about) were from on the back of first tack New Lords Of Light, I’d say Norway and I’d be dead on. This avant garde metal band are from Norway and they sound…Norwegian, the gothic/heavy rock of Audrey Horne or Sahg mixed with a husky, baritone croon of Madrugada and the experimental sound of Ihsahn or Leprous all trademarks of that dark Scandinavian musical history from the country with not much daylight (or too much daylight). 

I knew nothing about the bands before this record but Ghosts From The Past has got me extremely interested in discovering more about the band. It said that their album straddles Morricone Westerns on the smoky This Hell Is Mine or Deeper where the trumpet is featured brilliantly, along with Nordic Noir on Not By Blood, But By Words, with all the shadowy spaces in between, where demons dwell and the world is still a puzzle. Yes to all of that and so much more.

Having started writing it in 2018 Ghosts From The Past was their longest creative process to date, that sense of loss and being directionless plunged into the album while they were writing it, to make it their most difficult but most rewarding album yet. I mentioned Madrugada earlier and a track such as Deeper is so close it hurts, although Vulture Industries are perhaps heavier though as artistic and experimental with soundscapes. This comparison to me, is a very positive one as I love Madrugada so Vulture Industries will likely feature high on my end of year list. 

What caught my attention while I was listening was how it adds a lot of variation on every song, but sounds like a complete record, not just a collection of random songs. That’s a hard skill to pull off but Vulture Industries have been doing it since the late 90’s. The use of organs/keys fundamental to their evocative, smoky, sound on tracks such as the throbbing lust of Right Here In The Dark, while the final number Tyrants Weep Alone, showcases everything that makes this album brilliant. 

Yes that’s the word, brilliant, unlike much else I’ve heard his year. I’m a convert! 9/10

Breaths - Fourit (Trepanation Recordings) [David Karpel]

Breaths returns with a crushingly heavy fourth full-length after 2022’s ambient instrumental album Isolera. Foruit, which means “a perfect flourishing of a person or movement,” is a concept album that includes 13 tracks of blackened doomgaze based on an idea that turns our understanding of progress upside down: everything we’ve done to achieve anything in this world as a collective of selfish humanity has only beckoned our ultimate self-destruction ever closer, so all we have left is the choice–go along with it, or take action to change our course. 

Here are tunes to set the mood for the end-of-times. Multi-instrumentalist Jason Roberts (vocals, guitar, synth, bass, programming, engineering, mixing, and mastering) mashes up multiple heavy genres, from blackgaze to hardcore to post-metal to progressive metal and more, creating a powerful, if dark and emotionally deep listening experience. While fans of such disparate groups as Hum, Pallbearer, The Ocean, and the Deftones will find familiar sounds in some passages, Breaths’ sound is uniquely their own. 

Despite a sludgey tempo, the songs are driven by emotional tension in the instrumentation and the mix of clean and singed, growling vocals. Degeneration, a brief  instrumental soundscape, sets up the conceptual nature of the album. Winds Of Change and The Summit kick the mid-tempo crush into motion, both songs–powerfully emotive, driving, and attention grabbing–demonstrating Roberts’ penchant for giving an even mix to the instruments and the vocals. 

Nothing here sounds out of place. Passages awash in Roberts’ melodic singing, guitars, bass, and percussion, drive the songs forward. Just when you think your ears are full, Roberts heightens the atmospherics with synths, and then that deathly growl, like an instrument itself, lets us not forget the menacing tension of these songs. We See You sludges into a progressive doom/nu-metal combination with spaces for introspection. The almost emo sensibility is highlighted by lyrics like “when you think you’re invisible, see you” and “we all need to belong.” Not everyone can combine a sense of creepiness and comfort successfully. Roberts does so here. 

The Road leans into those introspective sections to create a really beautiful song that doesn’t grind into hardcore machine gun riffing until the last minute of the song, should we need to be reminded that all of this will end badly. In the song Flourish we’re “relentlessly chasing shadows,” greed driving us through progress only leading us to “destroy ourselves.” Passages of clean singing and gravely growls over a melodic guitar line are given a solid foundation of crunchy riffs. 

Meanwhile, Squander (and later Royalty Of Emptiness), sounds like a Quicksand/Sunny Day Real Estate mashup, and I’m here for it. What follows is just another twist in what to expect from Roberts. Gone Mad is a sad and beautiful song that questions if selfless consideration and empathy are dead. Synths, light drums, and the general tone lend a sense of drama to the progressive psychedelic feel of the song. When the guitars and heavier drums pick up, they keep it slow and low, letting Roberts’ vocals soar. 

At Least It’s Something comes closest to the kind of atmospherics of the melodic darkgaze of Astronoid. The serious subject matter given that sugary treatment increases the sense of righteousness laced through the lyrics. When those gravedug vocals return, the mix is so well done, they perfectly fit into the passages Roberts weaves them into. Finally, Ruination, at a bit over 7 minutes, is an epic lament acknowledging “everything will end by our hands,” summing up the essence of the album’s message, musically and lyrically. 

Roberts sings “we think we’re invincible” and though “we could have fixed it,” he concludes that “we’re killing Earth” and the hope for a future. The message is clear and it’s delivered with an unrelenting heaviness that carries through the melodies, through the arrangements of these songs, whether quietly or through stomping riffs. Breaths goes deep and the catharsis for anyone whose political awareness aligns is real. This is more than just a banger of an album. Give it time to grow on you because it will. 8/10

alt. - ABEYANCE (Resist Records/Sharptone Records) [Mark Young]

Hailing from Adelaide, we have alt presenting their debut album courtesy of Resist/Sharptone Records. Abeyance seems to sit within that world of electronica for expanding the sound, heavy guitars and the quiet / loud build structure, which in itself is great for fans of that genre.

And in here lies the problem. There is nothing wrong with how it sounds, or how it is played. Its fine but it doesn’t do anything for me, in that it feels ‘light’ even in its heavier moments like it has an overly polished sheen to it. The songs feel as though they have come from a Nu-Metal playbook, mixing rap / screams / soft spoken vocals against a guitar sound that is not heavy enough to provide a counterpoint or dynamic to make them really fly.

The album itself doesn’t stop for breath with the ten songs dropping in 34 minutes its a punchy affair but even saying that there is an overriding familiarity to each one that grows as you make your way through the album. To be honest, once you get to A.D.D that has that electronica start which drops into a ‘Linkin Park’ feel, the remainder mostly follow that tack. That is not to say these are poor songs, absolutely not. Each one is well written and structured in a way to squeeze as much emotional heft as is possible from them and give you that anthemic feel. The Only Good Thing has an absolute blinder of a chorus, great build and structure and Abyance, has live blinder written all over it, and you know it will cause carnage.

It’s possibly an age thing but these will appeal so much more to younger listeners rather than those who are more inclined to listen to, for example Slayer. Or are over 40. From what I’ve read online, in the live arena they really go for It in terms of putting a great show on. Everything I’ve heard here suggests that they will sound amazing live, the crowd feeding into them and vice versa. However, I don’t get anything from this that makes me want to listen to it again. 5/10

Reviews: Steve Lukather, Roseneath, New Dawn Fades, Sammath (Reviews By Matt Bladen, Mark Young, Rich Piva & GC)

Steve Lukather - Bridges (The Players Club) [Matt Bladen]

“Toto will never record another studio album” are the words of Toto co-founder Steve Lukather upon the release of this new solo album…his ninth. Much of his solo work has tried to vary the Lukather songwriting from what he did in the Yacht Rock pioneers, but on Bridges, he is actively trying to make it sound as Toto as possible. 

Following on from the excellent debut solo album from co-founder David Paich, Bridges features both Paich and Joseph Williams (current and long term Toto vocalist/multi-instrumentalist) co-wrote this album with Lukather, “Luke” (his nickname) also inviting many of the Toto collaborators to play on it and longtime co-writers Randy Goodrum/Stan Lynch to make it sound as close to Toto as possible but still a Lukather solo record. This combination is alluded too by the title, the album building a bridge between solo and Toto.

Opening with Far From Over, a song written by Steve’s son Trevor, who plays guitars, bass, and synths, definitely following in his old man’s footsteps, with slick, melodic rock. As Lukather is guitarist much of this album is based around the six strings rather than the synth foundation of Paich or Williams, but the guitar riffs have always been a key part of Toto music (Hold The Line?) so this album reflects the ‘rock’ side of the band. As well as writing, Williams gives backing vocals, synths percussion and keys sharing that duty with current Toto keyboardist Steve Maggiora who co-wrote the bluesy Take My Love and David Paich who performs on five songs. Simon Phillips and Shannon Forrest (both Toto alum) play drums as Lee Sklar and Jorgen Carlsson play bass (as does Lukather) these old friends all making their mark on Bridges, showing that friendships carry on long after professional relationships end. 

Musically you can pick out the songs that are trying to sound like Toto, All Forever’s Must End is similar to I Won’t Hold You Back, if you listen closely there’s lots of references for the discerning fan, though for me I’ll Never Know stood out as it reminds me of Gilmour-fronted Pink Floyd. With David Paich’s solo record from last year being the start, you can assume Bridges is the next part of the “Toto but not quite” album series from the current creative hub of the band, Lukather has the most experience solo, so quite rightly it’s a bloody good melodic rock record with understated but gifted playing. 8/10

Roseneath - Nowhere Safe (Thirty Something Records/Trepanation Recordings) [Mark Young]

As we know that fashion moves in circular moments and to an extent music follows as emerging talent release music that has been shaped by their environment and in some cases from older siblings which informs what their art should look like. For some of us, guitar driven music has never gone out of fashion despite what popular media might tell us. At present there has been resurgence in interest in alt / shoegaze and grunge which is no bad thing as long as it is good music. Now I am of a certain vintage to have been there the first time round so I need to be careful of being overly critical and avoid things such as ‘it was better in my day….’

Hailing from Richmond, Virginia Roseneath take these influences and imbue them with their own unique sensibility and album starter Noisy is a typically quick-fire affair and is instantly familiar but not in a straight copy of what we have heard before. They avoid going for that popular trope of loud / quiet / loud and it’s a decent start with Free Fall coming in with some good solid rhythm but possessed of good voice that will come across well live.

Burned To Black is slower and we are into the shoegaze at least in the early moments. It picks up with that familiar build to then drop back. It actually reminds me more of early to mid-80s new wave with the way bass goes in that early section and the music itself moves well, showing that they have that appreciation of the better sounds of the 90s instead of plundering wholesale. Passerby has that quality discordant sound to it overlaid with those great vocals again, that really fit the songs without being too strong or too rocky. 

That is one of things that strikes in the early moments is how well these are put together. Numb possesses that instantly recognisable approach that has been on college radio for years and would have probably made its way onto a number of compilations found on the cover of Q Magazine. Or Select. I realise that this sounds as though I’m making light of it, I’m not because it is a good track and when you think that at halfway point each song has its own identity then you can’t ask for more than that.

Over It has a massive chorus, combining the vocals and some chiming chords that work incredibly well. It has that class alt-rock feel to it, and although it employs the quiet to loud motif, I’ll forgive it because of that chorus. 

Not Lost takes in some Helmet for its heavier moments and is probably the most sound-alike of the tracks here and being honest it feels the weakest here. Roll Credits has some cracking singing on it, over a decent riff pattern. The vocals have that sort of far away effect to it so when the harmonies come in, they really come into great effect and is another top example of the good work they have got going on here 

This Alone channelling that Helmet vibe again but without going full bore or fully quiet. It doesn’t quite match up to the songs preceding it (IMO), but it sets up the last song and again I think it will become a live classic for them. Spill changes tack with a The Killers type keys / vocal arrangement but funnelled into a shoegaze tunnel. It’s a confident thing to close out on a song that employs something different at the last minute, but they have got those really dynamic choruses nailed. This has ethereal vocals that weave through it are storming and this shows that they have the tools to really progress. 7/10

New Dawn Fades - Forever (Heavy Psychedelphia) [Rich Piva]

New Dawn Fades is the new project from the lead singer GFA of the amazing Philly band Ritual Earth who are as awesome of doom band as they are people, given how active they are on Twitter and how cool they are to interact with. While Ritual Earth leans more towards stoner doom, the three tracks on the Forever EP are way more stoner grunge, and I am not sure there is an EP in recent memory I am more excited for a full length follow up because these three songs are next level great.

True Till Death kicks us off and we are firmly in Seattle territory here, with equal parts Soundgarden, My Sister’s Machine, and Gruntruck musically but have a more straight-ahead hard rock feel to the vocals. For some reason I can’t shake hearing influence from Testament’s The Ritual which I will wait to hear I am crazy for calling that out right from GFA himself. The middle of the track has a sort of stoner meets Loud Love breakdown which is the perfect bridge to this track across it’s five-plus minutes. 

This Night Has Closed My Eyes is up next, and we veer a bit more into the stoner rock territory with that trademark Philly sound that so many of us dig from that scene today. Riffs for days and a song The Age Of Truth and Zom (I know they are from Pittsburg…) would be proud of. I am hearing some COC love here too. New Moon has riffs for days and is familiar in a way, that there are probably 30 bands you can reference but sounds like exactly like none of them. I love the sludgy Melvins riff to end the track.

Talk about leaving you wanting more, Forever is a tease of the highest order. New Dawn Fades started out as a one-man (or a couple man) project that as of this writing has expanded into a full-on band that will tour and will produce one of the more anticipated full lengths we will get in 2023 or 2024. Get on the bandwagon now, because New Dawn Fades will be everyone’s favorite band very, very soon. 9/10

Sammath - Grebbeberg (Hammerheart Records) [GC]

Formed all the way back in 1993 as a one-man black metal band Sammath have since spawned into a full band and have also released 6 albums, album number seven Grebbeberg is not a concept album as such, but it is set in World War II during the battle of Grebbeberg and tells the story of creator Jan Kruitwagen’s great-uncle who fought and died during this battle.

There is no time to prepare yourself for opener Grebbeberg which is the equivalent of striding purposefully into no man’s land without a gun or helmet, it’s a furious and raw black metal onslaught full of buzzsaw guitars and blast beat drums, its just as unpolished and lo-fi as you want, Reichswald opens with a bit more of an atmospheric element in the guitars but this takes nothing away from the fury that is injected into the playing and creates an unrelenting feeling of dread and terror, you can feel the passion in the vocals and midway through they slow the pace down slightly and mix in a death metal section which leads nicely into the final barrage of atmospheric but still ultimately black metal savageness. 

Murderous Artillery just continues with the barrage and gives no sign of letting you have a minute to catch your breath and focus, the one thing that does kind of let the song down is the samples of bombs and guns about 1 minute in all it does is make it almost sound like a skipping CD and really stunts the relentless nature of the music that when does come back in is as furious as you have come to expect, Last Gasp Of The Dying opens with some sombre guitar work that blasts into life and mixes with some anguished but still raw and stripped back vocals and there is definitely a more atmospheric feel to the music here and the actual pace for the song while still fast is dialled back to create a more suffocating and dense sound and because this song has an almost 7 minute run time, it give you some time to actually start imagining what being surrounded by the horror of war must actually feel like for the people involved. 

Crushed, Shattered And Destroyed is another almost 7-minute track that due to its run time has a more thoughtful pace, almost as if they are trying to make you think more and really understand what the subject matter is really about, it’s more atmospheric but still brutally raw and uncomfortable black metal that as always aims directly for the throat and never misses with its direct shots and is utterly devastating when it hits you, before both Tot de Laatste Granaat & Decimated now completely forget the atmosphere, and epic running times and just return back to the pure violence and you can really feel the influence of the first wave of black metal in these tracks, having formed back during its peak you can feel it running all the way through these songs in all of their scathing and unhinged rawness.

Stahl Und Feuer starts as an altogether more sombre affair, and you feel that as it’s the final song may be acting as a funeral march, its moody and grim and the pace is the slowest it has been all album and when it does blast into life about midway through to inject on last slice of savagery it still then seeps into a closing section that has a slower pace than usual and the whole song is a bit up and down throughout to be honest and ends the album on a bit of a mixed note.

This wasn’t an easy listen and nor was it meant to be I imagine; it does challenge you in places and makes you think about what people must had had to endure in times of war and how lucky that most of us are that there is no war in our lives. It has peaks and troughs but never really relinquishes its grip on you until right at then end which is the only disappointment really that they couldn’t end on a high but if you like raw, savage, and nasty black metal you won’t go far wrong with this album! 8/10

A View From The Back Of The Room: Sergeant Thunderhoof (Live Review By Matt Bladen)

Sergeant Thunderhoof, Prattens Sports & Social Club, Midsomer Norton, Radstock, 10.06.23

Celebrating 10 years surround by friends, family and fans from around the globe (more on that later), Sergeant Thunderhoof (10) put on special anniversary show in their hometown to raise money for MND.

Promising an elongated set spanning their albums, for me it was too good to miss so with my comrade in arms in the navigator's seat, a hotel across from the venue booked and drinking weather promised it was over to the Wild, Wild West Country.

Arriving in plenty of time a mini pub crawl was in order, usually consisting of cider, though the last offered Bath Ale, so it was switch to that before too much but rot set in. We arrived at the venue as the doors opened, a big spacious sports hall with a decent bar a raised stage and high ceiling ensured a pefert sound.

A chat with singer Dan before the start told us that the initial song would be an instrumental (B Oscillation) meaning he could get into the groove before heading on stage. Darren (drums), Jim (bass) and Mark (guitar) began to crank out the throbbing instrumental as Dan worked his way through the crowd, the atmosphere build and build until he took the stage and they opened with You've Stolen The Words from their most recent record The Sceptred Veil.

It's a perfect opener, full of psych wanderimg, steady grooves and a dynamic vocal performance, I can see it opening sets for another ten years, after this delightful none minutes with were treated to an Absolute Blue and Devils Daughter all from the same record, the groove long established and muscular, the guitars varying between fuzzy riffs and sprawling leads, Mark loaded up on painkillers due to an injury. With the three new ones starting the show, the call for people to come forward was made as Planet Hoof took us back in time to the second record.

After landing on Planet Hoof, we were treated to a live airing of their version of Kate Bush's Cloudbusting, originally recorded during lockdown it retained the drama of the original but had that thick groove that the Hoof do so well. There isn't much than can follow Kate Bush so it was time for them to rediscover their Delicate Sound Of Thunderhoof record as two acoustic songs were then played mellowing the crowd but increasing the emotion. It's a chance to hear the other side of the band as Half A Man really got the eyes teary.

It was during this bit they thanked everyone for coming and introduced us to a guy who had travelled all the way from Florida to be there and seemed visibly moved by the whole experience. Photos taken Darren and Jim back on stage and we were plugged in again for the chest beating Another Plane, the cry of "She's Made Of Metal. Are You Entertained?" answered emphatically with a yes. Keeping on Terra Solus it was Tree And The Serpent that followed before they threw it right back to the Lunar Worship the main set concluding with final part of The Sceptered Veil as they closed with Avon & Avalon Part II.

Just over an hour and a half of music that came from 10 years of hard work, the crowd erupted but they wanted more, so more is what the got with the last song of the night going to the Sabbath Worshipping Reptilian Woman. With this one anniversary set Sergeant Thunderhoof showed why they probably one of the most overlooked bands on the UK scene, they have a glut of stage ready riffs that they have cultivated over a decade. More promoters should be booking them asap!