Rivers Of Nihil, Black Crown Initiate, Møl, Orbit Culture, The Fleece, Bristol
Over to the pole filled venue of Bristol for a night of heavy/tech/prog/death metal from four of the scenes biggest hitters. I'll confess I'd never seen any of the bands on this bill before so it was with great interest I headed over to Bristol for the show.
First up for the night were Swedish band Orbit Culture (7) who opened the show with probably the least heavy of all the bands, I'd say they had a melodeath sound of the Swedish death scene reminding me of In Flames with the broader strokes of Metallica and the groove of Gojira. The vocals moved between clean and harsh, though a little low in the mix, as the band ripped through their opening set gaining more fans as they progressed. A pacey start as their death/thrash sound got heads nodding across the crowd even pulling in the hardcore death proggers who were filtering in. By the end of their set the room was full and there was an applause of appreciation when they had finished. Ones to watch and a band I hope to see again.
As good as Orbit Culture were the roof was just about to be blown off by Danish act Møl (9) who are mesmerising. Dreamy ambient textures are mixed with blistering black metal for their full on assault to the senses. They never let you get too comfortable with what they are playing before switching things up. At the front of the band their vocalist is terrifying, dressed in a Bossk long-sleeve with his short hair and unassuming between song manner he looks like a car salesman fronting a band, that is until he sings where he unleashes the demon inside. Hissing, barking, roaring and screaming like a tortured soul as the music flowed through him, cavorting his body to every swirling shoegaze inflected blastbeat. It was exhilarating to watch enthralling with every moment the lights complimenting the bands sound as they peeled the paint off the walls. Most of the audience stood dumbfounded as the one band on the show that didn't fit in musically, lay down a gauntlet for both bands to come to pick up. Simply staggering!
So with this challenge out there Black Crown Initiate (7) would have a high bar to reach and unfortunately try as they might they couldn't live up to the previous set. Their progressive death metal sound was a little muddy meaning that the technical nuances couldn't be heard that well, vocally the harsh grunting of James was standard heavy fayre but unfortunately the clean vocals of Andy fell a little flat too often for me detracting from the show. Still there's no way you can call them bad, just poorly positioned after the exhausting Møl, yes they were more in kin with the style of the headliners but unfortunately I don't think this was them at their best.
Still I'm sure they'll come back soon, however as the hardcore pit jockeys found their way to the front it was time for the second band from Reading PA, Rivers Of Nihil (9) to kick off their headline set and from moment one it was imperious and brutal. Fat grooves, chunky prog riffs and lung destroying vocals got the pits moving early as the band kicked off with only two songs not taken from their most recent masterpiece Where Owls Know My Name. It was after Rain Eater, from The Conscious Seed Of Light, that they then played Where Owls Know My Name in its entirety as the band were joined periodically by Zach The Sax Man for those sax breaks that made the album so much more than a prog death record, the brutality of the metal songs such as Hollow are at odds with the jazz refrains of Terrestria: III.
I must at this juncture mention the light show which was as intense as the music itself providing perfect visual accompaniment to the bands frenetic stage pace. They called for pits and walls of death frequently as they blasted through what is probably their best album to date and the crowd obliged with gusto, the Americans having the precision of a scalpel albeit one mounted to a chainsaw. Breathtaking thumping metal from the Americans with heaps of progression, ambience and brutality, a band who must be on a lot of summer festivals lists for next year you need to see them.
Monday, 7 October 2019
Sunday, 6 October 2019
A View From The Back Of The Room: HRH Doom Vs Stoner (Live Review By Paul Hutchings)
HRH Doom vs Stoner Sheffield O2 Academy 28-29th September 2019
It’s been a while since we’d graced an HRH event, but this was one which we were determined not to miss. A smorgasbord of crushing doom and stoner rock, featuring some of the best UK and worldwide talent in the genre. Against the grim backdrop of the steel city, a place which makes Newport look like a tropical paradise, and with the rain as relentless as the riffs that would crash down on us for the best part of two days, the HRH team once again proved to be masters of organisation and coordination. From the smooth entry process, the collection of the press passes, to the surprisingly good food, the special HRH Viking Ale and the friendly stewards from Showsec, this was an event that ticked every box and will certainly ensure our attendance at future events.
Seven figures clad in white could only mean that it was time for Church Of The Cosmic Skull (4). I’d seen the Nottingham seven-piece a couple of years ago where they had been brave enough to have Vodun open for them. Despite the fondness that the Ed has for this pop rock psych combination, their music is too thin and light for me and two songs was enough to have us running back to stage 2 where we joined a hardy few souls who had sensibly decided that Bath’s Doomicidal (7) were a much better bet. We’d seen Doomicidal support Witch Tripper at the Gryphon in Bristol a few months ago and their brand of occult driven doom metal hit the right notes then as it did again at HRH with a set that kicked off with Hengewitch and the fabulous Rats In The Wall and closed with Hawkwind’s Seven By Seven and Murdermaids. Roger, Barney and Migo may not be the most cohesive band out there but there is something brilliantly endearing about their honest style and once more they provided superb entertainment.
Last year I’d seen LA’s Fireball Ministry (6) go toe to toe with Orange Goblin and Corrosion of Conformity but this time around the American band who had travelled the furthest appeared a little stagnant by comparison. Although the urging of James A Rota II began to move the crowd, there appeared a sense of apathy until later in their set. Emily Burton did a fine job with her guitar and backing vocals whilst John Reeder was back on the bass, holding down the engine room with John Oreschnick. Maybe a slightly exception to the rest of the event’s down tuned fuzzed up cacophony, Fireball Ministry failed to ignite me in the same way they had last time. This did provide opportunity to catch East Midlands thunderous power trio Master Charger (6) who had drawn a larger crowd to the second stage. However, their routine stoner approach, whilst enjoyable enough didn’t really hold the attention sufficiently and after a few songs it was time for the final beer and a place on the balcony for the headliners.
Swedes Monolord (8) are on the verge of releasing their fourth album No Comfort, the follow up to 2017’s excellent Rust. No Comfort is as every bit as good as Rust, and Monolord drew the bulk of their superb set from these two albums. The Gothenburg trio who comprise guitarist/vocalist Thomas V Jäger, bassist Mika Hakki and drummer Esben Willems were worthy final headliners, their powerful, lengthy and crushing doom captivating the audience. It’s quite easy and enjoyable to zone in and out to a band who play such pulverising doom metal, and Monolord’s high energy on stage still allowed for moments of drift. Crushing riffs, thundering drums and the fuzzed bass line all combined. Opener Where Death Meets The Sea was followed by The Last Leaf, one of three from No Comfort (The Bastard Son and Larvae being the others) whilst the band closed with the classic Empress Rising to thunderous and deserved applause.
It’s been a while since we’d graced an HRH event, but this was one which we were determined not to miss. A smorgasbord of crushing doom and stoner rock, featuring some of the best UK and worldwide talent in the genre. Against the grim backdrop of the steel city, a place which makes Newport look like a tropical paradise, and with the rain as relentless as the riffs that would crash down on us for the best part of two days, the HRH team once again proved to be masters of organisation and coordination. From the smooth entry process, the collection of the press passes, to the surprisingly good food, the special HRH Viking Ale and the friendly stewards from Showsec, this was an event that ticked every box and will certainly ensure our attendance at future events.
Day 1
Opening Day 1 bang on time, London doom trio The Red Widows (7) provided the perfect start with an hour of quite crushing heavy fuzz. The three-piece simply blasted their way through their set, lengthy forays of down tuned riffage, thick and aggressive slabs of doom and the powerful vocals of Alex Corvnio, whose thunderous bass lines contributed massively. Losing ourselves in the power of the riff on the barrier, their hour-long set was soon over. With a new album Fuzzifxion released back in June, The Red Widows earnt new fans with their excellent set.
After nearly 45 minutes, Italian Doom trio Deadsmoke (6) arrived on stage and within minutes had to prolong their atmospheric intro as drummer Mauricio struggled to get his snare into position. When the band finally settled, their earth scraping doom was impressive with a deep, cavernous delivery. Bassist Gianmaria suffered multiple strap issues throughout the first couple of songs, his low-slung bass style and frantic swinging of the instrument possibly not helping. Rich, thick and slow monolithic crushing doom emanated and got the head nodding, although the piercing screeching vocals of guitarist Matteo weren’t my favourites over the weekend. Deadsmoke did enough to hold the attention and I certainly would like to see them again.
Opening stage 2 were Flex Bison (8) whose pacey stoner rock was a welcome break from the more down tuned fuzz we’d encountered in the main hall. A proper power trio, Paul Dave and Mike took their opportunity with both hands and wrestled the life out of it. The Birmingham outfit combined sludgy stoner with elements of hard rock and metal and the growing crowd rightly roared their appreciation. Entertaining to watch as well as listen to, this is a band who have masses of potential.
A wall of noise and vibrating furniture greeted us as we headed back into the main arena, the unearthly rumble of Bristol trio Gonga (8), called in as a last-minute replacement. I’d last seen these brutally heavy dudes at Temples Festival several years ago and the venue was at risk of structural defect after their set. Five years on and the band still pulverise without mercy, their sound switching between massive doom-soaked riffs, soaring psychedelia and blasting stoner rock but with such punishing heaviness, the bass causing the ground to shake. George and Thomas Elgie and bassist Latch Manghat may not have released an album since 2008’s Transmigration but they remain one of the most impressive bands on this circuit. Their hour of instrumental stoner rock transported me to another dimension, and that was no bad thing at all.
It’s no surprise to see Mansfield’s Witch Tripper (9) steadily climbing the bill at these events, such is the quality of the band. The band are rightly regularly requested at these events and this was a return from their 2017 appearance. Having seen the band multiple times this year including a triumphant set at Bloodstock Festival in August, watching Witch Tripper these days is like greeting an old friend. However, Richie, Chris and Gary are consummate performers and this set equalled their show at BOA with ease. Despite having traversed the country on the previous two nights, the band were full of stoner rock energy, and a blistering hour proved to be as good as always. With two albums to choose from and over 60 gigs under their belt this year alone, Witch Tripper are dangerously sharp and tight. The topical I, Of The Storm, Attitude Adjustment and Hellbound were amongst a set crammed full of highlights and it was no surprise to hear the band gain the largest roar of the day at the end of their set.
Unfortunately for us, East Midlands Mage (7) had the clash no-one wanted, their set overlapping Witch Tripper and Black Moth which meant I was only able to catch three songs. What we saw and heard confirmed my thoughts in the review of their fourth album, which was released earlier this year. Thick, heavy groove ridden stoner rock which Key To The Universe took no prisoners, their Sabbath style riffage gaining nods of appreciation around the room. One to see at the next available opportunity.
Opening Day 1 bang on time, London doom trio The Red Widows (7) provided the perfect start with an hour of quite crushing heavy fuzz. The three-piece simply blasted their way through their set, lengthy forays of down tuned riffage, thick and aggressive slabs of doom and the powerful vocals of Alex Corvnio, whose thunderous bass lines contributed massively. Losing ourselves in the power of the riff on the barrier, their hour-long set was soon over. With a new album Fuzzifxion released back in June, The Red Widows earnt new fans with their excellent set.
After nearly 45 minutes, Italian Doom trio Deadsmoke (6) arrived on stage and within minutes had to prolong their atmospheric intro as drummer Mauricio struggled to get his snare into position. When the band finally settled, their earth scraping doom was impressive with a deep, cavernous delivery. Bassist Gianmaria suffered multiple strap issues throughout the first couple of songs, his low-slung bass style and frantic swinging of the instrument possibly not helping. Rich, thick and slow monolithic crushing doom emanated and got the head nodding, although the piercing screeching vocals of guitarist Matteo weren’t my favourites over the weekend. Deadsmoke did enough to hold the attention and I certainly would like to see them again.
Opening stage 2 were Flex Bison (8) whose pacey stoner rock was a welcome break from the more down tuned fuzz we’d encountered in the main hall. A proper power trio, Paul Dave and Mike took their opportunity with both hands and wrestled the life out of it. The Birmingham outfit combined sludgy stoner with elements of hard rock and metal and the growing crowd rightly roared their appreciation. Entertaining to watch as well as listen to, this is a band who have masses of potential.
A wall of noise and vibrating furniture greeted us as we headed back into the main arena, the unearthly rumble of Bristol trio Gonga (8), called in as a last-minute replacement. I’d last seen these brutally heavy dudes at Temples Festival several years ago and the venue was at risk of structural defect after their set. Five years on and the band still pulverise without mercy, their sound switching between massive doom-soaked riffs, soaring psychedelia and blasting stoner rock but with such punishing heaviness, the bass causing the ground to shake. George and Thomas Elgie and bassist Latch Manghat may not have released an album since 2008’s Transmigration but they remain one of the most impressive bands on this circuit. Their hour of instrumental stoner rock transported me to another dimension, and that was no bad thing at all.
It’s no surprise to see Mansfield’s Witch Tripper (9) steadily climbing the bill at these events, such is the quality of the band. The band are rightly regularly requested at these events and this was a return from their 2017 appearance. Having seen the band multiple times this year including a triumphant set at Bloodstock Festival in August, watching Witch Tripper these days is like greeting an old friend. However, Richie, Chris and Gary are consummate performers and this set equalled their show at BOA with ease. Despite having traversed the country on the previous two nights, the band were full of stoner rock energy, and a blistering hour proved to be as good as always. With two albums to choose from and over 60 gigs under their belt this year alone, Witch Tripper are dangerously sharp and tight. The topical I, Of The Storm, Attitude Adjustment and Hellbound were amongst a set crammed full of highlights and it was no surprise to hear the band gain the largest roar of the day at the end of their set.
Unfortunately for us, East Midlands Mage (7) had the clash no-one wanted, their set overlapping Witch Tripper and Black Moth which meant I was only able to catch three songs. What we saw and heard confirmed my thoughts in the review of their fourth album, which was released earlier this year. Thick, heavy groove ridden stoner rock which Key To The Universe took no prisoners, their Sabbath style riffage gaining nods of appreciation around the room. One to see at the next available opportunity.
It was with sadness that Leeds’ Black Moth (8) announced the end of their career very recently. With three solid albums under their belt, including last year’s excellent Anatomical Venus, they have been superb every time we have seen them. Their third last gig, this was emotional at times, especially at the end of a cracking set which saw them play a range of songs from their entire catalogue. Vocalist Harriet Hyde’s soaring voice always catches the ear, but the band remain a tight, heavy unit with the duel guitar work of Federica Gialanze and Jim Swainston cutting through the heavy stoner haze. The band has favoured a much heavier approach of late, driven hard by the thumping lines of bassist Dave Vachon, who appeared most caught up in the emotion if it all. Istra, Moonbow, Tumbleweed, Sisters of the Stone and the closing anarchy of Pig Man were among the many highlights of a band who will be sorely missed.
A couple of minutes of Space Witch was insufficient to give a rating but we settled in for the full set from Roma outfit Black Rainbows (7), whose sixth album Pandemonium I reviewed last year. I enjoyed that album immensely and their live show was just as much fun, with an hour of fuzzed up psychedelic stoner rock spliced with soaring effects, searing riffs and some space rock echoes for good measure. Relying on the power of the riff was the order of the day and Gabriele Fiori, Giuseppe Guglilmino and drummer Filliip Ragazzoni did just that to great effect.
And so, to the headliners, Orange Fucking Goblin Baby! The London powerhouse need little introduction and Orange Goblin (7) roared through a bombastic set with their usual aggressive cheer. Ben Ward appeared more than a little beered up, his usual on-stage enthusiasm no different but his forays into the crowd, inability to hold the microphone without dropping it and his repetitive ramblings about Orange Goblin’s dedication to UK metal became a little wearing after the fourth or fifth time; a little like the annoying drunk in the pub. Putting that aside, the band were as tight as always with a huge slab of classic tracks (Saruman’s Wish and Time Travelling Blues amongst them) mixed with a liberal sprinkling of newer material from The Wolf Bites Back and a surprise cover of Motörhead’s No Class which threw the already raging pit into a frenzy. Quincy The Pig Boy and Red Tide Rising closed the set and whilst OFGB rarely turn in a poor show, there was a slight hesitancy in the audience as the band finished. However, there was enough in this solid show to demonstrate why the band were worthy of their third visit to this event and deserving of headline status.
Day 2
The incessant rain continued to blast the concrete with more intensity than most of the bands on Day 1 and we decided to Uber to the venue rather than face another soaking in a weekend of soakings. Whilst Day 1 had more bands I was interested in seeing, Day 2 threw up many of the surprises and the best band of the whole weekend.
One band I was very interested to see was Birmingham based Alunah (8) whose career has lasted since their formation in 2006. The band was rocked by the departure of founder member and vocalist Sophie Day in 2017 but in Sian Greenaway Alunah have a replacement whose vocal delivery and stage presence was one of the highlights of the weekend. Clad in a glamorous red catsuit, Greenaway stood tall alongside new guitarist Dean Ashton (also bassist of Diamond Head who replaced original guitarist David Day at the start of the year), bassist Daniel Burchmore and drummer Jake Ashton. Whilst the band may have experienced two seismic changes in the past two years, there was no chink in the armour as they played a sublime 45-minute set which mixed songs from their first four albums with new tracks Hunt and Violet from the forthcoming album Violet Hour. The band’s heavy doom and psych sound blends perfectly with Greenaway’s sultry smoky vocals whilst Ashton showed his prowess on the six string with an assured performance. Alunah have been around for some time, have an air of confidence to them that sits the right side of arrogance and which makes them a fantastic live band. One to see again soon!
With our ears still ringing from Gonga’s set on Day 1, Stoke-on-Trent power trio Red Spektor (7) decided to remove what little hearing we had left with a painfully loud hour of pulverising stoner rock. John Scane, Rob Farrell and Darren Bowen switched between fast paced raw and energetic Sabbath and Hendrix styled songs and slower, more measured but equally heavy contemporary style of Graveyard and Kadavar. Using minimal lighting, Red Spektor’s blues influences blended into their psychedelic approach neatly and whilst I did lose attention for a song or two in the middle of the set by the end I was once more hooked.
One of the massive surprises of the day came in the shape of Oak (8). The London based four-piece roared onto the stage, man mountain vocalist Andy Valiant clad in his Venom Black Metal vest for about three minutes before ripping it off to display a heaving slab of man-flesh which didn’t stop moving throughout their set. Everything about Oak was massive. A huge sound filled the venue, the band’s down tuned stoner style earning a solid reception, the pace fast and the overall performance impressive. Valiant prowls the stage, cajoling and roaring whilst his vocal delivery is sufficiently throaty and angry to make it both endearing and threatening! Such was the power of this show that there was no way the audience was looking elsewhere and by the end of their set, the crowd were roaring their approval.
Back in August Galway’s Ten Ton Slug (10) had played to a packed Sophie Lancaster Tent on the opening night. Their slime ridden groove received a raucous reception and even though I had watched their set from the rear of the tent they hadn’t really penetrated my Thursday evening alcohol wall. That wall was permanently demolished with the set of the weekend as the Irish four-piece simply levelled the arena with their sheer intensity. Massive slab dragging riffs, roaring vocals and songs with groove, melody and above all the perfect blend of filthy sludge grabbed the attention of all in the room and didn’t let go. New single Hunting Ground sat comfortably alongside older tracks such as Bloodburns and Matriarch Of Slime. With a typically cheeky and relaxed style between songs, the Slug pulverised, punished and won over all in the room. This was a massively good set which demonstrated why the band are destined for big things.
Having washed the slime off, we were disappointed to find Superseed had finished their set earlier than advertised and so it was back into the main arena to catch Dead Witches (5) whose outfits of tasselled trouser suits and burgundy flares was more interesting than their rather routine doom which was hampered by a bad mix which sounded poor from the upper levels. This proved to be a fortuitous move as we were lucky enough to catch Midlands Desert rockers Cower, Hounds! (7) who proved to be one of the finds of the weekend. Their infectious groove ridden stoner rock proved to be the ideal early evening set and the crowd loved them despite the band’s own initial disbelief. Paul Reynolds, Rob Stimpson and Andy Ford were a great surprise and very much a band to see again.
A couple of minutes of Space Witch was insufficient to give a rating but we settled in for the full set from Roma outfit Black Rainbows (7), whose sixth album Pandemonium I reviewed last year. I enjoyed that album immensely and their live show was just as much fun, with an hour of fuzzed up psychedelic stoner rock spliced with soaring effects, searing riffs and some space rock echoes for good measure. Relying on the power of the riff was the order of the day and Gabriele Fiori, Giuseppe Guglilmino and drummer Filliip Ragazzoni did just that to great effect.
And so, to the headliners, Orange Fucking Goblin Baby! The London powerhouse need little introduction and Orange Goblin (7) roared through a bombastic set with their usual aggressive cheer. Ben Ward appeared more than a little beered up, his usual on-stage enthusiasm no different but his forays into the crowd, inability to hold the microphone without dropping it and his repetitive ramblings about Orange Goblin’s dedication to UK metal became a little wearing after the fourth or fifth time; a little like the annoying drunk in the pub. Putting that aside, the band were as tight as always with a huge slab of classic tracks (Saruman’s Wish and Time Travelling Blues amongst them) mixed with a liberal sprinkling of newer material from The Wolf Bites Back and a surprise cover of Motörhead’s No Class which threw the already raging pit into a frenzy. Quincy The Pig Boy and Red Tide Rising closed the set and whilst OFGB rarely turn in a poor show, there was a slight hesitancy in the audience as the band finished. However, there was enough in this solid show to demonstrate why the band were worthy of their third visit to this event and deserving of headline status.
Day 2
The incessant rain continued to blast the concrete with more intensity than most of the bands on Day 1 and we decided to Uber to the venue rather than face another soaking in a weekend of soakings. Whilst Day 1 had more bands I was interested in seeing, Day 2 threw up many of the surprises and the best band of the whole weekend.
One band I was very interested to see was Birmingham based Alunah (8) whose career has lasted since their formation in 2006. The band was rocked by the departure of founder member and vocalist Sophie Day in 2017 but in Sian Greenaway Alunah have a replacement whose vocal delivery and stage presence was one of the highlights of the weekend. Clad in a glamorous red catsuit, Greenaway stood tall alongside new guitarist Dean Ashton (also bassist of Diamond Head who replaced original guitarist David Day at the start of the year), bassist Daniel Burchmore and drummer Jake Ashton. Whilst the band may have experienced two seismic changes in the past two years, there was no chink in the armour as they played a sublime 45-minute set which mixed songs from their first four albums with new tracks Hunt and Violet from the forthcoming album Violet Hour. The band’s heavy doom and psych sound blends perfectly with Greenaway’s sultry smoky vocals whilst Ashton showed his prowess on the six string with an assured performance. Alunah have been around for some time, have an air of confidence to them that sits the right side of arrogance and which makes them a fantastic live band. One to see again soon!
With our ears still ringing from Gonga’s set on Day 1, Stoke-on-Trent power trio Red Spektor (7) decided to remove what little hearing we had left with a painfully loud hour of pulverising stoner rock. John Scane, Rob Farrell and Darren Bowen switched between fast paced raw and energetic Sabbath and Hendrix styled songs and slower, more measured but equally heavy contemporary style of Graveyard and Kadavar. Using minimal lighting, Red Spektor’s blues influences blended into their psychedelic approach neatly and whilst I did lose attention for a song or two in the middle of the set by the end I was once more hooked.
One of the massive surprises of the day came in the shape of Oak (8). The London based four-piece roared onto the stage, man mountain vocalist Andy Valiant clad in his Venom Black Metal vest for about three minutes before ripping it off to display a heaving slab of man-flesh which didn’t stop moving throughout their set. Everything about Oak was massive. A huge sound filled the venue, the band’s down tuned stoner style earning a solid reception, the pace fast and the overall performance impressive. Valiant prowls the stage, cajoling and roaring whilst his vocal delivery is sufficiently throaty and angry to make it both endearing and threatening! Such was the power of this show that there was no way the audience was looking elsewhere and by the end of their set, the crowd were roaring their approval.
Back in August Galway’s Ten Ton Slug (10) had played to a packed Sophie Lancaster Tent on the opening night. Their slime ridden groove received a raucous reception and even though I had watched their set from the rear of the tent they hadn’t really penetrated my Thursday evening alcohol wall. That wall was permanently demolished with the set of the weekend as the Irish four-piece simply levelled the arena with their sheer intensity. Massive slab dragging riffs, roaring vocals and songs with groove, melody and above all the perfect blend of filthy sludge grabbed the attention of all in the room and didn’t let go. New single Hunting Ground sat comfortably alongside older tracks such as Bloodburns and Matriarch Of Slime. With a typically cheeky and relaxed style between songs, the Slug pulverised, punished and won over all in the room. This was a massively good set which demonstrated why the band are destined for big things.
Having washed the slime off, we were disappointed to find Superseed had finished their set earlier than advertised and so it was back into the main arena to catch Dead Witches (5) whose outfits of tasselled trouser suits and burgundy flares was more interesting than their rather routine doom which was hampered by a bad mix which sounded poor from the upper levels. This proved to be a fortuitous move as we were lucky enough to catch Midlands Desert rockers Cower, Hounds! (7) who proved to be one of the finds of the weekend. Their infectious groove ridden stoner rock proved to be the ideal early evening set and the crowd loved them despite the band’s own initial disbelief. Paul Reynolds, Rob Stimpson and Andy Ford were a great surprise and very much a band to see again.
Seven figures clad in white could only mean that it was time for Church Of The Cosmic Skull (4). I’d seen the Nottingham seven-piece a couple of years ago where they had been brave enough to have Vodun open for them. Despite the fondness that the Ed has for this pop rock psych combination, their music is too thin and light for me and two songs was enough to have us running back to stage 2 where we joined a hardy few souls who had sensibly decided that Bath’s Doomicidal (7) were a much better bet. We’d seen Doomicidal support Witch Tripper at the Gryphon in Bristol a few months ago and their brand of occult driven doom metal hit the right notes then as it did again at HRH with a set that kicked off with Hengewitch and the fabulous Rats In The Wall and closed with Hawkwind’s Seven By Seven and Murdermaids. Roger, Barney and Migo may not be the most cohesive band out there but there is something brilliantly endearing about their honest style and once more they provided superb entertainment.
Last year I’d seen LA’s Fireball Ministry (6) go toe to toe with Orange Goblin and Corrosion of Conformity but this time around the American band who had travelled the furthest appeared a little stagnant by comparison. Although the urging of James A Rota II began to move the crowd, there appeared a sense of apathy until later in their set. Emily Burton did a fine job with her guitar and backing vocals whilst John Reeder was back on the bass, holding down the engine room with John Oreschnick. Maybe a slightly exception to the rest of the event’s down tuned fuzzed up cacophony, Fireball Ministry failed to ignite me in the same way they had last time. This did provide opportunity to catch East Midlands thunderous power trio Master Charger (6) who had drawn a larger crowd to the second stage. However, their routine stoner approach, whilst enjoyable enough didn’t really hold the attention sufficiently and after a few songs it was time for the final beer and a place on the balcony for the headliners.
Swedes Monolord (8) are on the verge of releasing their fourth album No Comfort, the follow up to 2017’s excellent Rust. No Comfort is as every bit as good as Rust, and Monolord drew the bulk of their superb set from these two albums. The Gothenburg trio who comprise guitarist/vocalist Thomas V Jäger, bassist Mika Hakki and drummer Esben Willems were worthy final headliners, their powerful, lengthy and crushing doom captivating the audience. It’s quite easy and enjoyable to zone in and out to a band who play such pulverising doom metal, and Monolord’s high energy on stage still allowed for moments of drift. Crushing riffs, thundering drums and the fuzzed bass line all combined. Opener Where Death Meets The Sea was followed by The Last Leaf, one of three from No Comfort (The Bastard Son and Larvae being the others) whilst the band closed with the classic Empress Rising to thunderous and deserved applause.
Another fabulous weekend courtesy of those great folk at HRH. The event was as well organised as always, the vibe chilled and friendly and the organisation and running smooth and impressive. I shall be looking with interest at the steps to separate these days next year but will certainly be looking to return to the Steel City for more.
Saturday, 5 October 2019
A View From The Back Of The Room: King Kraken (A Live Review By Matt Bladen)
King Kraken, Suns Of Thunder & Fallen Temples, Liquid Lounge, Maesteg
Once again organised by King Kraken it was another trip to sleepy Valleys town of Maesteg for a night of heavy rock at the Liquid Lounge. Having a 45 minute journey for a 9pm start on a Friday may seem nuts but when there are three great bands on one bill for the sum total of £0.00 was a no-brainer.
So with food in our bellies and the 'culture' of Maesteg on a Friday soaked up we head into the venue just as Fallen Temples (8) were setting up. They opened up proceeding with a hard hitting set of groove driven rock music. We've written about this trio numerous times as each time they play they impress. As per normal Phoenix was groovy as hell and Lost In Euphoria is faster especially when it breaks into Supernaut by Sabbath. They were warmly received by the small room, which KK singer Mark said was "like playing a gig in your garage". Next up was Cut The Wire the first cut from their EP and still a massive anthem, in fact it was so anthemic that frontman/guitarist Adam blew out his voice during it leaving drummer Joe Stirland to sing the choruses. So with Adam struggling on stage, he did seem very unhappy about his voice but they carried on with As Long As We Can Stand which still had Adam struggling. He wasn't happy on stage but the crowd heard just gold as bass monster Joe Lewis led the fat riffs for 'New' single Broken with both Joe's on backing vocals ready for Blood From Stone which stills sits pretty as their now go to set ender with it's sing along chorus. A tough gig for the Cardiff power trio but with a support of Skindred coming up this month they are a band still on the up (just rest that voice Adam)
Next it was a band who I haven't seen in a while, Swansea groove/stoner/riffers Suns Of Thunder (7) who brought Clutch-like grooves to the Liquid Lounge. The four piece boast two vocalist/guitarists one of which is Matt who saw supporting Clutch as the vocalist of Sigiriya. Suns Of Thunder would have been a better fit for that gig as their heavy rock n roll, clever song titles and lyrics were very much in the Clutch ball park. It was hard to believe that this band have been going for 20 years but when they play the slickness of this experiences shines through able to crank out the volume while dealing with some of the more excitable locals air guitaring in the middle of the band. Unfortunately for them they had a smaller crowd than the openers but they have had quite a sporadic exisitence . Still those watcheing were enjoying their heavy riffs, hopefully it means they will be playing more gigs soon.
Finally it was the headliners in the bar that claim to be the 'home' of King Kraken (7) and I think on the night one too many Kraken ales affected their performance a little. As they opened with War Machine there was something a little off, the vocals were muffled leaving only the drums audible. As the set progressed it was clear that the problem caused by Rich drumming too hard essentially, and by that I mean beating the holy shit out of his kit, which was being amplified by the mics on the drums, elsewhere guitarist Pete was experiencing some technical gremlins of his own, however they carried on regardless commiting the 'cardinal sin' of playing a cover, as they put a Kraken spin on Mississippi Queen adding some guts, but the sound was still all over the place. The hometown crowd were all nodding their heads in unison, however it wasn't as well subscribed as their previous gig it was still pretty busy with the locals getting their fill of the heavy rockers. Unders The Sun came and it was business as usual with the sound issues fixed they rocked out like the band I know and love. Unfortunately with the time approaching midnight, we opted to head back as the body was failing due to a busy week of work. However no matter the tech issues, it was a great showcase of South Wales rock music in a town deprived of it.
Once again organised by King Kraken it was another trip to sleepy Valleys town of Maesteg for a night of heavy rock at the Liquid Lounge. Having a 45 minute journey for a 9pm start on a Friday may seem nuts but when there are three great bands on one bill for the sum total of £0.00 was a no-brainer.
So with food in our bellies and the 'culture' of Maesteg on a Friday soaked up we head into the venue just as Fallen Temples (8) were setting up. They opened up proceeding with a hard hitting set of groove driven rock music. We've written about this trio numerous times as each time they play they impress. As per normal Phoenix was groovy as hell and Lost In Euphoria is faster especially when it breaks into Supernaut by Sabbath. They were warmly received by the small room, which KK singer Mark said was "like playing a gig in your garage". Next up was Cut The Wire the first cut from their EP and still a massive anthem, in fact it was so anthemic that frontman/guitarist Adam blew out his voice during it leaving drummer Joe Stirland to sing the choruses. So with Adam struggling on stage, he did seem very unhappy about his voice but they carried on with As Long As We Can Stand which still had Adam struggling. He wasn't happy on stage but the crowd heard just gold as bass monster Joe Lewis led the fat riffs for 'New' single Broken with both Joe's on backing vocals ready for Blood From Stone which stills sits pretty as their now go to set ender with it's sing along chorus. A tough gig for the Cardiff power trio but with a support of Skindred coming up this month they are a band still on the up (just rest that voice Adam)
Next it was a band who I haven't seen in a while, Swansea groove/stoner/riffers Suns Of Thunder (7) who brought Clutch-like grooves to the Liquid Lounge. The four piece boast two vocalist/guitarists one of which is Matt who saw supporting Clutch as the vocalist of Sigiriya. Suns Of Thunder would have been a better fit for that gig as their heavy rock n roll, clever song titles and lyrics were very much in the Clutch ball park. It was hard to believe that this band have been going for 20 years but when they play the slickness of this experiences shines through able to crank out the volume while dealing with some of the more excitable locals air guitaring in the middle of the band. Unfortunately for them they had a smaller crowd than the openers but they have had quite a sporadic exisitence . Still those watcheing were enjoying their heavy riffs, hopefully it means they will be playing more gigs soon.
Finally it was the headliners in the bar that claim to be the 'home' of King Kraken (7) and I think on the night one too many Kraken ales affected their performance a little. As they opened with War Machine there was something a little off, the vocals were muffled leaving only the drums audible. As the set progressed it was clear that the problem caused by Rich drumming too hard essentially, and by that I mean beating the holy shit out of his kit, which was being amplified by the mics on the drums, elsewhere guitarist Pete was experiencing some technical gremlins of his own, however they carried on regardless commiting the 'cardinal sin' of playing a cover, as they put a Kraken spin on Mississippi Queen adding some guts, but the sound was still all over the place. The hometown crowd were all nodding their heads in unison, however it wasn't as well subscribed as their previous gig it was still pretty busy with the locals getting their fill of the heavy rockers. Unders The Sun came and it was business as usual with the sound issues fixed they rocked out like the band I know and love. Unfortunately with the time approaching midnight, we opted to head back as the body was failing due to a busy week of work. However no matter the tech issues, it was a great showcase of South Wales rock music in a town deprived of it.
Friday, 4 October 2019
Reviews: Municipal Waste, Brutality Will Prevail, Grief Ritual, Spoil Engine (Paul H & Liam)
Municipal Waste: The Last Rager (Nuclear Blast) [Paul Hutchings]
Four tracks, ten minutes and a smack on the chops. That’s about the size of this mini blast of speed punk and thrash from the Virginian legends whose first output since June 2017 and Slime And Punishment maintains the insane assault that comes with every mention of their name. Car Nivore (Street Meat) is probably the standout track, hugely fast and punchy whilst the title track and Rum For Your Life both contain a classic thrash chug which will get those pits churning on their forthcoming UK tour in December. Little more to say here. It’s as anarchic and crazy as always. It’s Municipal Waste. What more do you want? 7/10
Brutality Will Prevail: Misery Sequence (BDHW REC) [Liam True]
I have a little history with Brutality Will Prevail. As I caught them supporting Cancer Bats back in 2013 and had a passionate headbutt from vocalist Louis Gautheir (Thanks for that Louis) and that insane 30 minutes was my introduction to the band. And I've been following them since. Fast forward 6 years and the Cardiff native’s have just dropped Misery Sequence. And it is their most aggressive, filthiest and bare-knuckle album to date. Title track and opener Misery Sequence is a deceiving song as it’s a slow paced Hardcore slab of epic proportions. With the disgusting gurgles from Gauthier to the tectonic plate shattering drums of Marc Richards the opener is an appetizer of what’s to come. As soon as Slither kicks in it’s time to move.
It’s time to start your own mosh pit no matter where you are. And the album doesn't let up from there. It becomes more aggressive. More heavy. And most of all, it becomes catchy with the riffs and vocals blending beautifully. Being more groove orientated instead of straight up Hardcore gives the band a huge advantage to reach out to a wider audience. And with a small tour coming this November/December, including an intimate home-town show in Cardiff’s beautiful Clwb Ifor Bach, this album has proved one thing once and for all. Brutallity, has fucking prevailed. 10/10
Grief Ritual: Moments Of Suffering (Self Released) [Paul Hutchings]
One of the many highlights at Bloodstock 2019, Cheltenham South West winners and bruisers Grief Ritual have moved fast to capitalise on their appearance with their second EP, the spine busting Moments Of Suffering. Having been in existence for less than a year, this is a phenomenal output and within seconds of the explosive opening track Avulsion you appreciate that there may just be something a bit special going on here. Avulsion pulverises, hitting 100mph immediately before slowing to a maniacal and menacing crushing stomp which trades heaviness for speed. It segues neatly into Soma, which denies any opportunity for breath, the ferocity and brutal grooves intent on flattening everything in its path. Dark mutterings cast a sinister shadow over Anhedonia, evil background roars chill the bones further before one of the biggest riffs I’ve heard for many years, kicks in. This is the bulldozer of the heavy metal plant world and god it batters.
I still don’t believe this band is a four piece such is the punishment they dish out. Dysphoria maintains the onslaught, and if anything increases the intensity and sheer poundage. Their combination of styles works brilliantly, massive thrashing riffs, woundingly heavy with elements of doom as well as black and death metal and blackened core. Eosphobic which closes this excellent EP is vibrant and painful at the same time, deafening noise, like a slab dragged by a ten-ton truck but intricacies that are often dismissed from those outside our world. Grief Ritual have produced a fine follow up to Life Is A Phase. The EP is well produced, recorded and mixed with Joe Clayton (Pijn, Leeched and Curse These Metal Hands) and mastered by Brad Boatright. If you fancy music that not only caves the cranium but also makes you think, then allow yourself a moment of suffering. It’s blisteringly good. 8/10
Spoil Engine: Renaissance Noire (Arising Empire) [Liam True]
I’m not sure where to put this album in terms of genre, as it borders on Metalcore, Groove Metal straight up Heavy Metal. But either way you look at the album, there’s no doubt it’s a colossal effort from the Belgian based metallers. And on their fifth full length album, you can tell the band isn’t messing around this time. Straight from the opener R!OT it’s full of hooks, riffs and anthems destined to fill empty arenas all over the world. And the album just keeps getting better with each progressing song, each getting bigger and bigger. Whether it’s by the destructive riffs of Steven ‘Gaze’ Sanders. The dominating drumbeats of Dave De Loco. Or the wonderfully nightmare inducing vocals of Iris Goessens. Throughout the album there’s one thing that you’ll notice. It’s that it all sounds like standard Groove/Thrash Metal, but it’s done so well that it sounds like a new sound. Bravo. And while the album is just bursting with a new sense of direction for the band, it’s great to see that they’ve kept true to their roots and are still producing amazing music that they’re enjoying. And I for one, am going to put this album on replay. 9/10
Four tracks, ten minutes and a smack on the chops. That’s about the size of this mini blast of speed punk and thrash from the Virginian legends whose first output since June 2017 and Slime And Punishment maintains the insane assault that comes with every mention of their name. Car Nivore (Street Meat) is probably the standout track, hugely fast and punchy whilst the title track and Rum For Your Life both contain a classic thrash chug which will get those pits churning on their forthcoming UK tour in December. Little more to say here. It’s as anarchic and crazy as always. It’s Municipal Waste. What more do you want? 7/10
Brutality Will Prevail: Misery Sequence (BDHW REC) [Liam True]
I have a little history with Brutality Will Prevail. As I caught them supporting Cancer Bats back in 2013 and had a passionate headbutt from vocalist Louis Gautheir (Thanks for that Louis) and that insane 30 minutes was my introduction to the band. And I've been following them since. Fast forward 6 years and the Cardiff native’s have just dropped Misery Sequence. And it is their most aggressive, filthiest and bare-knuckle album to date. Title track and opener Misery Sequence is a deceiving song as it’s a slow paced Hardcore slab of epic proportions. With the disgusting gurgles from Gauthier to the tectonic plate shattering drums of Marc Richards the opener is an appetizer of what’s to come. As soon as Slither kicks in it’s time to move.
It’s time to start your own mosh pit no matter where you are. And the album doesn't let up from there. It becomes more aggressive. More heavy. And most of all, it becomes catchy with the riffs and vocals blending beautifully. Being more groove orientated instead of straight up Hardcore gives the band a huge advantage to reach out to a wider audience. And with a small tour coming this November/December, including an intimate home-town show in Cardiff’s beautiful Clwb Ifor Bach, this album has proved one thing once and for all. Brutallity, has fucking prevailed. 10/10
Grief Ritual: Moments Of Suffering (Self Released) [Paul Hutchings]
One of the many highlights at Bloodstock 2019, Cheltenham South West winners and bruisers Grief Ritual have moved fast to capitalise on their appearance with their second EP, the spine busting Moments Of Suffering. Having been in existence for less than a year, this is a phenomenal output and within seconds of the explosive opening track Avulsion you appreciate that there may just be something a bit special going on here. Avulsion pulverises, hitting 100mph immediately before slowing to a maniacal and menacing crushing stomp which trades heaviness for speed. It segues neatly into Soma, which denies any opportunity for breath, the ferocity and brutal grooves intent on flattening everything in its path. Dark mutterings cast a sinister shadow over Anhedonia, evil background roars chill the bones further before one of the biggest riffs I’ve heard for many years, kicks in. This is the bulldozer of the heavy metal plant world and god it batters.
I still don’t believe this band is a four piece such is the punishment they dish out. Dysphoria maintains the onslaught, and if anything increases the intensity and sheer poundage. Their combination of styles works brilliantly, massive thrashing riffs, woundingly heavy with elements of doom as well as black and death metal and blackened core. Eosphobic which closes this excellent EP is vibrant and painful at the same time, deafening noise, like a slab dragged by a ten-ton truck but intricacies that are often dismissed from those outside our world. Grief Ritual have produced a fine follow up to Life Is A Phase. The EP is well produced, recorded and mixed with Joe Clayton (Pijn, Leeched and Curse These Metal Hands) and mastered by Brad Boatright. If you fancy music that not only caves the cranium but also makes you think, then allow yourself a moment of suffering. It’s blisteringly good. 8/10
Spoil Engine: Renaissance Noire (Arising Empire) [Liam True]
I’m not sure where to put this album in terms of genre, as it borders on Metalcore, Groove Metal straight up Heavy Metal. But either way you look at the album, there’s no doubt it’s a colossal effort from the Belgian based metallers. And on their fifth full length album, you can tell the band isn’t messing around this time. Straight from the opener R!OT it’s full of hooks, riffs and anthems destined to fill empty arenas all over the world. And the album just keeps getting better with each progressing song, each getting bigger and bigger. Whether it’s by the destructive riffs of Steven ‘Gaze’ Sanders. The dominating drumbeats of Dave De Loco. Or the wonderfully nightmare inducing vocals of Iris Goessens. Throughout the album there’s one thing that you’ll notice. It’s that it all sounds like standard Groove/Thrash Metal, but it’s done so well that it sounds like a new sound. Bravo. And while the album is just bursting with a new sense of direction for the band, it’s great to see that they’ve kept true to their roots and are still producing amazing music that they’re enjoying. And I for one, am going to put this album on replay. 9/10
Reviews: Motorhead, The Wildhearts, Blame Zeus, Double Crush Syndrome (Paul H, Alex & Matt)
Motörhead: Overkill/Bomber Motörhead ‘79’ (BMG) [Paul Hutchings]
As a lifelong Motörhead fan this release is one which I was a little unsure of when I first read about it. In keeping with the seemingly endless preoccupation of re-releasing slabs of music history, the Motörhead 79 campaign marks the 40th anniversary of two seminal albums in the career of one of the best rock n’ roll bands the UK has ever seen. I understand that this package has the full cooperation of the three band members estates and it does allow one the opportunity to revisit the music that pushed Motörhead from pub band to legends. Just in case you have lived under a rock for 40 years, Overkill and Bomber form two thirds of the trio of albums which are widely regarded as the classics in their catalogue (The other being Ace Of Spades).
Released on 24 March 1979, Overkill is arguably the ultimate Motörhead album. There are few more devastating opening tracks that the thunderous double bass kick of ‘Philthy Animal’ which opens Overkill. It remains irresistible, especially when joined by the rapid fire of Lemmy’s Rickenbacker and the crashing riffs of ‘Fast’ Eddie. The album also contains the backbone of the Motörhead live set for the next four decades: Overkill, No Class, Stay Clean and Metropolis became permanent live staples, whilst Damage Case and Capricorn also featured regularly. There is little more to say about this album. Raw, vibrant and brimming with thumping tunes, it is simply brilliant.
You also get the band’s full set from Friars, Aylesbury on the Good N’ Loud tour which supported the album release. Recorded on 31st March 1979, this recording harnesses the incredible raw energy that the band had at that time in their career. Ferociously fast, you can see why Motörhead were described as the prototype thrash band who influenced so many. The set list contains several tracks from Overkill along with Hawkwind staples The Watcher and Motörhead, and other tracks from their 1977 debut release Motörhead. At times totally anarchic the band were on stage; the band is clearly under the influence yet still able to hold it all together. The interplay between the band highlighted the camaraderie that existed with the classic line-up whilst Lemmy’s interactions with the crowd are endearing and showed his lasting respect for those who came to watch him play.
For those of us alive at the time, 1979 saw lengthy periods of industrial unrest and the arrival of the Iron Lady Margaret Thatcher as PM. Motörhead’s follow up to Overkill contained a more bluesy Bomber was another solid release with the cracking Dead Men Tell No Tales opening the album, ‘Fast’ Eddie’s soulful playing linking with the rhythm guitar style of Lemmy’s bass. Bomber isn’t as aggressive as Overkill but there are several tracks on the album that stand the test of time, including the thundering Stone-Dead Forever and of course the intensity of the title track which closes the album. The album which inspired that lighting rig, Bomber cemented Motörhead’s reputation
The liver recording to accompany Bomber in this package was recorded in Le Mans on 3rd November 1979. Sharpshooter is over an hour of Motörhead with the set list similar to the Good N’ Loud show in Aylesbury. Slightly weaker in production and mixt he addition of tracks from Bomber add interest although the band are distinctly looser with hints of the sloppiness that sometimes affected the band live. A rare opportunity to hear tracks like All The Aces, Lawman and Poison recorded live makes this an interesting if perhaps non-essential listen.
Completing the box set is a collection of alternate versions and outtakes of a few of the Bomber tracks in The Rest of ‘79. Whilst I’m not a fan of rough mixes and outtakes, the gem here is the instrumental version of Fun On The Farm and the blues-soaked crawl of Treat Me Nice (originally recorded in 1980 and is an early version of the song You Better Ru’, released on March ör Die in 1992) which demonstrates that Motörhead were always a rock ‘n’ roll band. ‘Fast’ Eddie’s guitar work is particularly fine here. Overall this is an essential package for those who remain staunch devotees of the Motörhead legacy. History has shown that Motörhead are one of the iconic bands of a generation; they remain sorely missed and in the 1979 package we have a reminder of what a thunderously impressive band they were. 9/10
The Wildhearts: Diagnosis (Graphite Records) [Alex Swift]
After nearly 10 years of radio silence from the Wildhearts, save the occasional show here and there, they have returned all guns blazing, in 2019. In May they released their excellent comeback record, Renaissance Men, which brought their signature combination of raucousness and searing melodies to the forefront while continuing to develop their sound. Ginger also got a solo album out this year. Both he and the band have been touring seemingly non-stop, and in between all of that Wildhearts, proper have managed to get back in the studio to record five new songs, for a mini-album headed up by the best song from the full-length, Diagnosis! Believe me when I say the title track truly is as sweet today as five months ago. The anthem helps me feel better about myself, the feverish, enthralling guitars and screams of ‘You are not your diagnosis!’ aiding in creating a truly cathartic experience. Not only is this one of the most poignant songs about mental health I’ve either heard, but it’s also a fine protest song as well. Everything about the song proves a rallying cry, to the disenfranchised: how dare you label us, we’re not your puppet, your toy ‘you’re not an animal! You are a human being’.
Let’s not overlook the other five ragers here though: God Damn begins on some more of that wild punk charm, before culminating in a level of ferocity which even exceeds their expected level of zaniness. The duelling guitar riffs on this track, mixed with the galloping bass really lends the impression that the band knew these extra songs would meet their expected level of dynamism. This is immediately followed by A Song About Drinking, in which the more retro, traditional sound makes the song reminiscent of something from Earth Versus The Wildhearts or The Wildhearts Must Be Destroyed. In the catalogue of topics they’ve employed, this one obviously falls closer to the silly end of the spectrum, yet lacks none of that wittiness that they always manage to bring to the table. The First Time has an incredibly joyous tone, the exuberant lead melodies, and lively tempos, almost imitating glam rock, yet with these musicians placing their own unique spin on the sound.
As a lifelong Motörhead fan this release is one which I was a little unsure of when I first read about it. In keeping with the seemingly endless preoccupation of re-releasing slabs of music history, the Motörhead 79 campaign marks the 40th anniversary of two seminal albums in the career of one of the best rock n’ roll bands the UK has ever seen. I understand that this package has the full cooperation of the three band members estates and it does allow one the opportunity to revisit the music that pushed Motörhead from pub band to legends. Just in case you have lived under a rock for 40 years, Overkill and Bomber form two thirds of the trio of albums which are widely regarded as the classics in their catalogue (The other being Ace Of Spades).
Released on 24 March 1979, Overkill is arguably the ultimate Motörhead album. There are few more devastating opening tracks that the thunderous double bass kick of ‘Philthy Animal’ which opens Overkill. It remains irresistible, especially when joined by the rapid fire of Lemmy’s Rickenbacker and the crashing riffs of ‘Fast’ Eddie. The album also contains the backbone of the Motörhead live set for the next four decades: Overkill, No Class, Stay Clean and Metropolis became permanent live staples, whilst Damage Case and Capricorn also featured regularly. There is little more to say about this album. Raw, vibrant and brimming with thumping tunes, it is simply brilliant.
You also get the band’s full set from Friars, Aylesbury on the Good N’ Loud tour which supported the album release. Recorded on 31st March 1979, this recording harnesses the incredible raw energy that the band had at that time in their career. Ferociously fast, you can see why Motörhead were described as the prototype thrash band who influenced so many. The set list contains several tracks from Overkill along with Hawkwind staples The Watcher and Motörhead, and other tracks from their 1977 debut release Motörhead. At times totally anarchic the band were on stage; the band is clearly under the influence yet still able to hold it all together. The interplay between the band highlighted the camaraderie that existed with the classic line-up whilst Lemmy’s interactions with the crowd are endearing and showed his lasting respect for those who came to watch him play.
For those of us alive at the time, 1979 saw lengthy periods of industrial unrest and the arrival of the Iron Lady Margaret Thatcher as PM. Motörhead’s follow up to Overkill contained a more bluesy Bomber was another solid release with the cracking Dead Men Tell No Tales opening the album, ‘Fast’ Eddie’s soulful playing linking with the rhythm guitar style of Lemmy’s bass. Bomber isn’t as aggressive as Overkill but there are several tracks on the album that stand the test of time, including the thundering Stone-Dead Forever and of course the intensity of the title track which closes the album. The album which inspired that lighting rig, Bomber cemented Motörhead’s reputation
The liver recording to accompany Bomber in this package was recorded in Le Mans on 3rd November 1979. Sharpshooter is over an hour of Motörhead with the set list similar to the Good N’ Loud show in Aylesbury. Slightly weaker in production and mixt he addition of tracks from Bomber add interest although the band are distinctly looser with hints of the sloppiness that sometimes affected the band live. A rare opportunity to hear tracks like All The Aces, Lawman and Poison recorded live makes this an interesting if perhaps non-essential listen.
Completing the box set is a collection of alternate versions and outtakes of a few of the Bomber tracks in The Rest of ‘79. Whilst I’m not a fan of rough mixes and outtakes, the gem here is the instrumental version of Fun On The Farm and the blues-soaked crawl of Treat Me Nice (originally recorded in 1980 and is an early version of the song You Better Ru’, released on March ör Die in 1992) which demonstrates that Motörhead were always a rock ‘n’ roll band. ‘Fast’ Eddie’s guitar work is particularly fine here. Overall this is an essential package for those who remain staunch devotees of the Motörhead legacy. History has shown that Motörhead are one of the iconic bands of a generation; they remain sorely missed and in the 1979 package we have a reminder of what a thunderously impressive band they were. 9/10
The Wildhearts: Diagnosis (Graphite Records) [Alex Swift]
After nearly 10 years of radio silence from the Wildhearts, save the occasional show here and there, they have returned all guns blazing, in 2019. In May they released their excellent comeback record, Renaissance Men, which brought their signature combination of raucousness and searing melodies to the forefront while continuing to develop their sound. Ginger also got a solo album out this year. Both he and the band have been touring seemingly non-stop, and in between all of that Wildhearts, proper have managed to get back in the studio to record five new songs, for a mini-album headed up by the best song from the full-length, Diagnosis! Believe me when I say the title track truly is as sweet today as five months ago. The anthem helps me feel better about myself, the feverish, enthralling guitars and screams of ‘You are not your diagnosis!’ aiding in creating a truly cathartic experience. Not only is this one of the most poignant songs about mental health I’ve either heard, but it’s also a fine protest song as well. Everything about the song proves a rallying cry, to the disenfranchised: how dare you label us, we’re not your puppet, your toy ‘you’re not an animal! You are a human being’.
Let’s not overlook the other five ragers here though: God Damn begins on some more of that wild punk charm, before culminating in a level of ferocity which even exceeds their expected level of zaniness. The duelling guitar riffs on this track, mixed with the galloping bass really lends the impression that the band knew these extra songs would meet their expected level of dynamism. This is immediately followed by A Song About Drinking, in which the more retro, traditional sound makes the song reminiscent of something from Earth Versus The Wildhearts or The Wildhearts Must Be Destroyed. In the catalogue of topics they’ve employed, this one obviously falls closer to the silly end of the spectrum, yet lacks none of that wittiness that they always manage to bring to the table. The First Time has an incredibly joyous tone, the exuberant lead melodies, and lively tempos, almost imitating glam rock, yet with these musicians placing their own unique spin on the sound.
To be quite honest, I don’t care for That’s My Girl – make no mistake, it’s got a great solo, yet the production and compositional choices make it indistinguishable from an Andrew W.K song – who although great in his own right, has a sound of his own, which feels a little out of place here. Neither do I like LOCAC which is their attempt at a hardcore song – again, not necessarily bad, just not a style which looks awfully comfortable on Ginger and co, whose main strength is writing melodic songs which are simple enough to learn, yet complex enough to be blown over by. Is Diagnosis as good as Renaissance Men? Well, no but then, it's not actually a full release. The mini-album may be flawed in places, yet it still demonstrates the trademark energy and vitality we have come to expect from the four-piece. Don’t expect another classic, yet definitely, make time in your listening schedule for at least one full listen 7/10
Blame Zeus: Seethe (Rockshots Records)
Hailing from sun soaked Portugal, Mr & Mrs Hutchings favourite holiday destination, Blame Zeus are a really interesting band to listen to. I'd say they were alternative rock with a lot of progressive touches. Big chunky riffs bring fat grooves, the rhythm section locks it all into place driving the time signature changes that remind me of Tool in places led by the thumping bass (The Warden). The magic of Blame Zeus is in the soulful vocals of Sandra who carries tracks like Deja Vu which has a modern style built on some crushing heavy riffs. The band have said that this could be considered a conceptual album "because the main theme of the songs is unexpressed anger, silent pain transformed into poetry" it means this album has touches of Alice In Chains, Halestorm and also Hydrogyn, when they were good.
The addition of male vocals on Down To Our Bones is welcome taking things to the Lacuna Coil style, on this song is full of attitude. With the big rock songs swelling most of the album, there are also some more reflective moments, with the proggy White an anthemic ballad with some acoustic layering that transforms itself into a chugging rocker with some odd time signatures. The Obsession Lullaby continues the anthemic style with a killer guitar solo in the middle while things get grittier with Into The Womb but it's No that is the clear single here with it's defiant industrially tinged sound. Seethe is a really deep, intelligent album from these Portuguese rockers, I urge you to seek it out. 8/10
Double Crush Syndrome: Death To Pop (Arising Empire) [Alex Swift]
Any album by the name of Death To Pop is either going to be really enthusiastic or embarrassing. There’s certainly a lot of conviction in the title, and I’m pretty much immediately told that I’m not headed into an experience too focussed on genre fusion. Sadly that works far more to Double Crush Syndromes detriment than their advantage. There's a prevailing sarcasm throughout, which lends the act a cheekily brazen attitude, particularly from vocalist and lead guitarist Andy Brings, and the musicians around him certainly command a level of theatrical strut. For instance, the album opener, Whore, slows down in the bridge before gradually swelling to the main chorus, while the title track utilizes a call and response technique, bringing to life that determined, influential feel, alluded to by the lyricism. For all its faults the album champions rock and metal while giving a subtle wink to the audience to let them know that these musicians are here to have a lot of fun, rather than make a statement, or be taken too seriously – I certainly appreciate that.
However, I have said this before, but while I love me’ some traditional hard rock, you don’t get any points in my book for clinging to stereotypical sounds. This album would have impressed me 12 years ago when I was just getting into rock and hadn't heard everything the umbrella term has to offer, yet down the line, I’ve come to appreciate experimentation and learned to draw lines between music with genuine passion, and stuff that’s just generic or copycat. I’m sad to say that these anthems are absolutely slathered in that kind of cynicism. From the uninteresting rhythms and riffs which pervade Souls to Sell to the absolutely cringe-inducing romantic lyricism of I’m in love with you – the saccharine, sugar-coated clichés just seem weak, no matter how many layers of irony this singer tries to drench them in. There’s literally a song on here called Cocaine Lips which sounds like Summer Lovin’ from Grease, as performed by Motley Crue – given my love of musicals, you think I’d be all over that, but in this case, na…that’s just stretching the joke to ridiculous levels.
Although you could do far worse than Double Crush Syndrome in the barren wasteland of generic hard rock, a vague semblance of personality is unlikely to do you any favours in my scoring system, As I said before, I can respect some of the tactics played with here, yet they won't be convincing me to return any time soon. 4/10
Blame Zeus: Seethe (Rockshots Records)
Hailing from sun soaked Portugal, Mr & Mrs Hutchings favourite holiday destination, Blame Zeus are a really interesting band to listen to. I'd say they were alternative rock with a lot of progressive touches. Big chunky riffs bring fat grooves, the rhythm section locks it all into place driving the time signature changes that remind me of Tool in places led by the thumping bass (The Warden). The magic of Blame Zeus is in the soulful vocals of Sandra who carries tracks like Deja Vu which has a modern style built on some crushing heavy riffs. The band have said that this could be considered a conceptual album "because the main theme of the songs is unexpressed anger, silent pain transformed into poetry" it means this album has touches of Alice In Chains, Halestorm and also Hydrogyn, when they were good.
The addition of male vocals on Down To Our Bones is welcome taking things to the Lacuna Coil style, on this song is full of attitude. With the big rock songs swelling most of the album, there are also some more reflective moments, with the proggy White an anthemic ballad with some acoustic layering that transforms itself into a chugging rocker with some odd time signatures. The Obsession Lullaby continues the anthemic style with a killer guitar solo in the middle while things get grittier with Into The Womb but it's No that is the clear single here with it's defiant industrially tinged sound. Seethe is a really deep, intelligent album from these Portuguese rockers, I urge you to seek it out. 8/10
Double Crush Syndrome: Death To Pop (Arising Empire) [Alex Swift]
Any album by the name of Death To Pop is either going to be really enthusiastic or embarrassing. There’s certainly a lot of conviction in the title, and I’m pretty much immediately told that I’m not headed into an experience too focussed on genre fusion. Sadly that works far more to Double Crush Syndromes detriment than their advantage. There's a prevailing sarcasm throughout, which lends the act a cheekily brazen attitude, particularly from vocalist and lead guitarist Andy Brings, and the musicians around him certainly command a level of theatrical strut. For instance, the album opener, Whore, slows down in the bridge before gradually swelling to the main chorus, while the title track utilizes a call and response technique, bringing to life that determined, influential feel, alluded to by the lyricism. For all its faults the album champions rock and metal while giving a subtle wink to the audience to let them know that these musicians are here to have a lot of fun, rather than make a statement, or be taken too seriously – I certainly appreciate that.
However, I have said this before, but while I love me’ some traditional hard rock, you don’t get any points in my book for clinging to stereotypical sounds. This album would have impressed me 12 years ago when I was just getting into rock and hadn't heard everything the umbrella term has to offer, yet down the line, I’ve come to appreciate experimentation and learned to draw lines between music with genuine passion, and stuff that’s just generic or copycat. I’m sad to say that these anthems are absolutely slathered in that kind of cynicism. From the uninteresting rhythms and riffs which pervade Souls to Sell to the absolutely cringe-inducing romantic lyricism of I’m in love with you – the saccharine, sugar-coated clichés just seem weak, no matter how many layers of irony this singer tries to drench them in. There’s literally a song on here called Cocaine Lips which sounds like Summer Lovin’ from Grease, as performed by Motley Crue – given my love of musicals, you think I’d be all over that, but in this case, na…that’s just stretching the joke to ridiculous levels.
Although you could do far worse than Double Crush Syndrome in the barren wasteland of generic hard rock, a vague semblance of personality is unlikely to do you any favours in my scoring system, As I said before, I can respect some of the tactics played with here, yet they won't be convincing me to return any time soon. 4/10
Thursday, 3 October 2019
Reviews: Whiskey Myers, Pist, Dope Default, Desensitised (Reviews By Matt Bladen)
Whiskey Myers: S/T (Wiggy Thump)
Southern rockers Whiskey Myers, have returned to the scene with some good ol' rock n roll, but they are conscious of a changing world and want to be the mouthpiece for it. They came to people's attention along with the new wave of Southern rock bands such as Blackberry Smoke and The Cadillac Three. Having always been a more traditional outfit with a real country feel to their music relying on the tried and tested themes of blue collar life/love and instruments such as banjos, slide guitar and lap steels. Their previous album Mud was released in 2016 to widespread acclaim reaching #1 on the American Country Charts, since then they have been featured in four episodes of the Kevin Costner series Yellowstone, which saw their albums hit the charts again.
On this record though their fifth they have tried to reach that down home sound once again, positioning themselves as the biggest and baddest of the new Southern rock genre, they are from Texas after all. They have tried to be as authentic as they can, being a bit more experimental with the ideas as they took over the production for this record allowing them full freedom. They open the album with Die Rockin' a wild, hard rocking number where they set out their stall, followed by the more soulful Mona Lisa full of massive organs and gospel backing vocals but Rolling Stone is stripped back as frontman Cody Cannon channels his inner Dylan with the scrubbing acoustic and harmonica. I do have to say no matter how good this album is, it's a much more mature, grown up Southern rock record, at 14 songs it's a bit long however if this is the beginning of a new era for the band then it's one that will see their listenership expand, far beyond their genre boundaries. 7/10
Pist: Hailz (APF Records)
Riff monsters Pist return with their face ripping new album of stonersludgeblackthrash, this is their third release and sees them expanding on the stoner/doom riffs of their earlier albums with a much more in your face aggression full. There’s plenty of black metal tremolo picking and blast beats on Ex-Nihilio and also on Wreck, which dissolves into grooves, reminding you that not all the remnants of their past have gone away. You can also hear these leftovers of the stoner style on Mind Rotter, which has a serious groove after a desert rock intro, it reminds me of early Orange Goblin, who are former touring partners of the Pist. Though Skin Your God is more modern OG. This is the nastier side of the scene Pist have been lumped into, from the grinding guitar sounds to the raw squawk of the vocals and how easily they move between the swaggering stoner riffs and extreme metal battery, it’s actually very impressive, never sounding disjointed, moving from desert rockers such as Strangle The Sun, which features Elephant Tree, to the more vicious blackened sounds mentioned earlier. Imagine Pantera playing with Darkthrone and that’ll be the kind of mindset you’ll need to be in for this album, other than that sink a few beers, turn it up and just listen to the filth as it booms its way out of your speakers. 8/10
Dope Default: Imprisoned (Self Released)
Dope Default are from Thessaloniki Greece but you'd be forgiven for thinking they were from NOLA, mainly because of the vocals which are a dead ringer for Kyle Thomas of Exhorder. Imprisoned is their first album with John Campbell (surely can't be Greek) and it's his vocals that make this different to the numerous Greek stoner rock bands around, they've fitted themselves out with some Southern metal style, thick grooves pervade on Cold-Blooded Queen which sounds like Black Label Society which choppy guitars and big solos. Due to the vocals the album has a sound of Alabama Thunderpussy which is not a bad thing at all as the riffs are big enough to land a plane on as George and Bith both supply the fuzz but also have some cleaner psych sounds on the jazzy Sinless Invader which is hooked by the bass of Makis and the wide open drumming of Thodoris, it's prime desert rock. Dope Default have found an ideal vocalist for their heavy hitting stoner metal, best played loud. 7/10
Desensitised: Sister Psychosis (Self Released)
I level with you. I've never been the biggest fan of pop-punk, I've always enjoyed the heavier end of rock music however when were asked to review this album from Nottingham trio Desensitised. They are a a band with a Riot Grrl attitude, some rock swagger and punch of grunge too. Sister Psychosis is their debut album and has seen them get airplay on BBC Radio Introducing, Radio X and Planet Rock amongst others. You can see why they would get radio plays as they have some ballads like All Eyes On Her and the slutry Burn The Witch and the stripped back He Loves Me Not, which has some stirring strings behind it. But they are mainly powerful rocking from the glammier sounds of Messed Around, the pure pop punk of Emily and the White Stripes garage sound of You'll See which opens out into some jangly sing along. There's a hint of long forgotten punk rockers Slunt on Wasted which also reminds me of Hole. Desensitised are made up of the thumping bass and raw/melodic vocals of Charlotte Radford, the riffing of Libby Butterworth-Smith and the percussive power of Claire Brookes, like I've said Not usually my music but there's no denying the talent of Desensitised. A very decent album indeed. 7/10
Southern rockers Whiskey Myers, have returned to the scene with some good ol' rock n roll, but they are conscious of a changing world and want to be the mouthpiece for it. They came to people's attention along with the new wave of Southern rock bands such as Blackberry Smoke and The Cadillac Three. Having always been a more traditional outfit with a real country feel to their music relying on the tried and tested themes of blue collar life/love and instruments such as banjos, slide guitar and lap steels. Their previous album Mud was released in 2016 to widespread acclaim reaching #1 on the American Country Charts, since then they have been featured in four episodes of the Kevin Costner series Yellowstone, which saw their albums hit the charts again.
On this record though their fifth they have tried to reach that down home sound once again, positioning themselves as the biggest and baddest of the new Southern rock genre, they are from Texas after all. They have tried to be as authentic as they can, being a bit more experimental with the ideas as they took over the production for this record allowing them full freedom. They open the album with Die Rockin' a wild, hard rocking number where they set out their stall, followed by the more soulful Mona Lisa full of massive organs and gospel backing vocals but Rolling Stone is stripped back as frontman Cody Cannon channels his inner Dylan with the scrubbing acoustic and harmonica. I do have to say no matter how good this album is, it's a much more mature, grown up Southern rock record, at 14 songs it's a bit long however if this is the beginning of a new era for the band then it's one that will see their listenership expand, far beyond their genre boundaries. 7/10
Pist: Hailz (APF Records)
Riff monsters Pist return with their face ripping new album of stonersludgeblackthrash, this is their third release and sees them expanding on the stoner/doom riffs of their earlier albums with a much more in your face aggression full. There’s plenty of black metal tremolo picking and blast beats on Ex-Nihilio and also on Wreck, which dissolves into grooves, reminding you that not all the remnants of their past have gone away. You can also hear these leftovers of the stoner style on Mind Rotter, which has a serious groove after a desert rock intro, it reminds me of early Orange Goblin, who are former touring partners of the Pist. Though Skin Your God is more modern OG. This is the nastier side of the scene Pist have been lumped into, from the grinding guitar sounds to the raw squawk of the vocals and how easily they move between the swaggering stoner riffs and extreme metal battery, it’s actually very impressive, never sounding disjointed, moving from desert rockers such as Strangle The Sun, which features Elephant Tree, to the more vicious blackened sounds mentioned earlier. Imagine Pantera playing with Darkthrone and that’ll be the kind of mindset you’ll need to be in for this album, other than that sink a few beers, turn it up and just listen to the filth as it booms its way out of your speakers. 8/10
Dope Default: Imprisoned (Self Released)
Dope Default are from Thessaloniki Greece but you'd be forgiven for thinking they were from NOLA, mainly because of the vocals which are a dead ringer for Kyle Thomas of Exhorder. Imprisoned is their first album with John Campbell (surely can't be Greek) and it's his vocals that make this different to the numerous Greek stoner rock bands around, they've fitted themselves out with some Southern metal style, thick grooves pervade on Cold-Blooded Queen which sounds like Black Label Society which choppy guitars and big solos. Due to the vocals the album has a sound of Alabama Thunderpussy which is not a bad thing at all as the riffs are big enough to land a plane on as George and Bith both supply the fuzz but also have some cleaner psych sounds on the jazzy Sinless Invader which is hooked by the bass of Makis and the wide open drumming of Thodoris, it's prime desert rock. Dope Default have found an ideal vocalist for their heavy hitting stoner metal, best played loud. 7/10
Desensitised: Sister Psychosis (Self Released)
I level with you. I've never been the biggest fan of pop-punk, I've always enjoyed the heavier end of rock music however when were asked to review this album from Nottingham trio Desensitised. They are a a band with a Riot Grrl attitude, some rock swagger and punch of grunge too. Sister Psychosis is their debut album and has seen them get airplay on BBC Radio Introducing, Radio X and Planet Rock amongst others. You can see why they would get radio plays as they have some ballads like All Eyes On Her and the slutry Burn The Witch and the stripped back He Loves Me Not, which has some stirring strings behind it. But they are mainly powerful rocking from the glammier sounds of Messed Around, the pure pop punk of Emily and the White Stripes garage sound of You'll See which opens out into some jangly sing along. There's a hint of long forgotten punk rockers Slunt on Wasted which also reminds me of Hole. Desensitised are made up of the thumping bass and raw/melodic vocals of Charlotte Radford, the riffing of Libby Butterworth-Smith and the percussive power of Claire Brookes, like I've said Not usually my music but there's no denying the talent of Desensitised. A very decent album indeed. 7/10
Reviews: Exhumed, As I Lay Dying, Screamer, The Cruel Knives (Rich & Liam)
Exhumed: Horror (Relapse Records) [Rich Oliver]
Horror is album number seven from US Carcass worshipping deathgrind madmen Exhumed and is very much a back to basics album for the band with a feel very much of their early albums such as Gore Metal and Slaughtercult. Later albums by the band have flirted with technicality and melody but Horror is back to short sharp flesh ripping deathgrind. With an album duration of just over 26 minutes Horror absolutely wastes no time in laying waste to your eardrums across 15 songs of pure old school gore splattered terror with songs such as Ravenous Cadavers, Slaughter Maniac and Naked, Screaming And Covered In Blood leaping out of the speakers at your chainsaw in hand ready to dismember. The band put in a furious performance with savage riffs, screaming solos, a plethora of blastbeats and the deranged vocals of Matt Harvey. Horror is very much an album which sees Exhumed going back to their roots and it sounds like they had tremendous fun writing and recording it. If you miss the sound of classic era Repulsion, Terrorizer and Carcass then get this down your ears and prepare for an onslaught of blood soaked death grinding fun. 8/10
As I Lay Dying: Shaped By Fire (Nuclear Blast) [Liam True]
Six years in the making. The reunion that nobody thought would happen. The forgiveness. Three singles later. The comeback the entire Metalcore scene has been waiting for has unleashed itself. Granted it’s six years after frontman Tim Lambesis was sentenced to prison for soliciting the murder of his ex-wife (And only serving two years of his 6 year sentence) But we’re here for the music, not the trial. Since dropping the absolute bombshell My Own Grave (Dealing with the aforementioned court case) the scene has been buzzing with excitement. And the wait was fucking worth it. From start to finish Shaped By Fire is a masterpiece of pure Metalcore. It’s meaty, ferocious and pure carnage throughout. It’s full of chorus’. Full of riffs and full of instrumentations that’ll have you becoming a one-man air band.
Horror is album number seven from US Carcass worshipping deathgrind madmen Exhumed and is very much a back to basics album for the band with a feel very much of their early albums such as Gore Metal and Slaughtercult. Later albums by the band have flirted with technicality and melody but Horror is back to short sharp flesh ripping deathgrind. With an album duration of just over 26 minutes Horror absolutely wastes no time in laying waste to your eardrums across 15 songs of pure old school gore splattered terror with songs such as Ravenous Cadavers, Slaughter Maniac and Naked, Screaming And Covered In Blood leaping out of the speakers at your chainsaw in hand ready to dismember. The band put in a furious performance with savage riffs, screaming solos, a plethora of blastbeats and the deranged vocals of Matt Harvey. Horror is very much an album which sees Exhumed going back to their roots and it sounds like they had tremendous fun writing and recording it. If you miss the sound of classic era Repulsion, Terrorizer and Carcass then get this down your ears and prepare for an onslaught of blood soaked death grinding fun. 8/10
As I Lay Dying: Shaped By Fire (Nuclear Blast) [Liam True]
Six years in the making. The reunion that nobody thought would happen. The forgiveness. Three singles later. The comeback the entire Metalcore scene has been waiting for has unleashed itself. Granted it’s six years after frontman Tim Lambesis was sentenced to prison for soliciting the murder of his ex-wife (And only serving two years of his 6 year sentence) But we’re here for the music, not the trial. Since dropping the absolute bombshell My Own Grave (Dealing with the aforementioned court case) the scene has been buzzing with excitement. And the wait was fucking worth it. From start to finish Shaped By Fire is a masterpiece of pure Metalcore. It’s meaty, ferocious and pure carnage throughout. It’s full of chorus’. Full of riffs and full of instrumentations that’ll have you becoming a one-man air band.
It’s a non-stop adrenaline pumping ride through the emotions of Lambesis dating back the past 6 years. There’s no shortage of singalongs. No shortage of air drumming. And not a chance in hell that you won’t be headbanging to ANY of the songs. Now the real opinion comes from yourself. If you were a fan of the band previous to all the controversy, are you still a fan? While the band (And Lambesis’ ex-wife might I add) have all forgiven him, can you? Me? Yeah, I can. The guy served his time, albeit not all, and personally seeked forgiveness from all. Whatever your opinion on what has happened, you can’t deny that this is the best Metalcore album in the past 5 years. Now that it’s out there, I only have one question. When the fuck are we getting a new Austrian Death Machine record? 10/10
Screamer: Highway Of Heroes (The Sign Records) [Rich Oliver]
Screamer are a band in the New Wave Of Traditional Heavy Metal movement and Highway Of Heroes is the fourth album by the Swedish band. Much like fellow countrymen Enforcer, Screamer play old school heavy metal with influences from speed metal with a sound that harks back to the early to mid 1980’s. Being a retro styled band Screamer don’t offer anything new to the plate but just pay homage to their old school metal heroes with a bunch of songs that are energetic, fun and catchy with some great performances and good songwriting. Highway Of Heroes doesn’t reinvent the wheel but is an enjoyable piece of retro heavy metal that should appeal to fans of the classics of the genre. Nothing special but absolutely nothing wrong with it either. 7/10
The Cruel Knives: Side Two (Electric Hussy) [Liam True]
I first heard of these guys back in 2017 when they were supporting W.A.S.P, and they brought a new feel too Hard Rock with their energy, catchy riffs and chorus’. Fast forward a year and a half later, they’ve just dropped their second offering aptly named Side Two. And it’s a meaty contribution to the scene which is must needed. From the opener Black Eye Friday it sets the scene of what’s to come. From the outset there’s singalong chorus’ and headbanging riffs. From the soaring highs of Tom Harris’ vocals and the fretwork of Sid Glover the record comes together like an amalgamation of Hard Rock heaven. Hollow People & Of This Is The End show the band are on the top of their game and are pulling no punches.
Screamer: Highway Of Heroes (The Sign Records) [Rich Oliver]
Screamer are a band in the New Wave Of Traditional Heavy Metal movement and Highway Of Heroes is the fourth album by the Swedish band. Much like fellow countrymen Enforcer, Screamer play old school heavy metal with influences from speed metal with a sound that harks back to the early to mid 1980’s. Being a retro styled band Screamer don’t offer anything new to the plate but just pay homage to their old school metal heroes with a bunch of songs that are energetic, fun and catchy with some great performances and good songwriting. Highway Of Heroes doesn’t reinvent the wheel but is an enjoyable piece of retro heavy metal that should appeal to fans of the classics of the genre. Nothing special but absolutely nothing wrong with it either. 7/10
The Cruel Knives: Side Two (Electric Hussy) [Liam True]
I first heard of these guys back in 2017 when they were supporting W.A.S.P, and they brought a new feel too Hard Rock with their energy, catchy riffs and chorus’. Fast forward a year and a half later, they’ve just dropped their second offering aptly named Side Two. And it’s a meaty contribution to the scene which is must needed. From the opener Black Eye Friday it sets the scene of what’s to come. From the outset there’s singalong chorus’ and headbanging riffs. From the soaring highs of Tom Harris’ vocals and the fretwork of Sid Glover the record comes together like an amalgamation of Hard Rock heaven. Hollow People & Of This Is The End show the band are on the top of their game and are pulling no punches.
Throughout the whole album you’ll notice one thing. It sounds a lot like the previous effort Side One. But that’s not even a bad thing, they both have the best and unique sound, both vocally and instrumentally. And finishing with lead single Crawl, the band have cemented their place at the top of the food chain. There’s one thing to know about this band. These guys are going to take over the world. And i’ll be right at the front helping them with their goal. Side Two is just the beginning. 10/10
Wednesday, 2 October 2019
Reviews: Firebreather, Ancient VVisdom, Pyramido, Endseeker (Paul S, Paul H & Val)
Firebreather: Under A Blood Moon (RidingEasy Records) [Paul Scoble]
Firebreather have been making huge music since 2016. The 3 Swedes have previously released one, self titled album in 2017. There is an elephant in the room with this album, and that elephant is called High On Fire. Firebreather sound an awful lot like Matt Pike’s heavy doom and Motorhead inspired side project. It’s not all about High On Fire, there are some influences from other places; some of the vocals remind me a little of Crowbar, there is a little bit of Cathedral in some of the riffing, and the over all production, hugeness and filthiness of the album, is a little bit reminiscent of Electric Wizard. There is also a certain Black Sabbath influence, particularly in the solos, but that goes without saying in this sort of thing. However it is the High On Fire worship, that is most obvious. So, it’s very influenced by Matt Pike and friends, but it is a very good album, heavily influenced by HOF. The riffs are mountainous, the rhythms are absolutely spot on, the solo’s are beautifully bluesy and emotive. Dancing In Flames is mid-paced but driving and purposeful and boasts one of those great, mournful solos.
Firebreather have been making huge music since 2016. The 3 Swedes have previously released one, self titled album in 2017. There is an elephant in the room with this album, and that elephant is called High On Fire. Firebreather sound an awful lot like Matt Pike’s heavy doom and Motorhead inspired side project. It’s not all about High On Fire, there are some influences from other places; some of the vocals remind me a little of Crowbar, there is a little bit of Cathedral in some of the riffing, and the over all production, hugeness and filthiness of the album, is a little bit reminiscent of Electric Wizard. There is also a certain Black Sabbath influence, particularly in the solos, but that goes without saying in this sort of thing. However it is the High On Fire worship, that is most obvious. So, it’s very influenced by Matt Pike and friends, but it is a very good album, heavily influenced by HOF. The riffs are mountainous, the rhythms are absolutely spot on, the solo’s are beautifully bluesy and emotive. Dancing In Flames is mid-paced but driving and purposeful and boasts one of those great, mournful solos.
Our Souls They Burn is massively slow and heavy, with a fantastic swagger to it. The track starts slow, but builds to a mountainous 6:8 that beats the living crap out of the audience. Closed Gate is slow and swaggery sludge, it’s powerful and unrelenting, and boasts a chorus that is quite similar to Crowbar. Eponymous track Firebreather has a great up-tempo opening, with enough melody to feel quite NWOBHM in the middle of the song, and a fast, aggressive ending. We Bleed starts with feedback, before some excellent mid-paced riffing, the track has a controlled and measured feel to it, but drops that for a faster and nastier ending. The album is brought to an end by the track The Siren. This track has a looser sense to the rest of the album, there is more melody and some very nice bluesy touches. The track and album comes to a close with a faster, more driving and aggressive section. OK, this sound a lot like High On Fire, but once you get beyond that, you’ll find a great piece of Heavy as anything, sludgy doom. The riffs and grooves will get into your head, the choruses are immense, and the solo’s are fantastic, what more do you want? 8/10
Ancient VVisdom: Mundus (Argonauta Records) [Paul Hutchings]
Their second outing with Argonaut records, Ohio occult rockers Ancient VVisdom follow up 2017’s 33 with Mundus, a critical comment on the state of the world. The lyrics throughout the album focus on the hate, hypocrisy, bigotry and injustices of modern society. Kicking off with Human Extinction, the heavy riffs and Hammond organ are back with a stoner riff which immediately grabs the attention. Plague The Night returns to the band’s earlier acoustic style, whilst I Am Everywhere contains a slab of punk aggression. I wasn’t oversold on 33, the Satanic lyrics a bit tiresome but on Mundus the band have focused on other subjects and it works well. A harder edge and cynicism underpin the album, and whilst the stoner side of things remain, there is more variation here.
The dark gothic edge to the band is apparent on Will To Destroy, the acoustic elements that were the backbone of A Godlike Inferno. Nathan Opposition’s haunting vocals chilling in their delivery. For the Glory Of The Grave brings the riffs, another gothic tinged track appears on Desensitized whilst Severed Ways almost touches on country. Atmospheric and evocative, Edget Of The Abyss concludes this album, the simple acoustic and Opposition’s dark vocals slowly joined by some lead guitar and harmonies. I can’t argue with the lyrical content, it echoes many of my sentiments and the musical approach gives something different. At 31 minutes in length it isn’t a long release but there is plenty to ponder and digest. 7/10
Pyramido: Fem (The Sign Records) [Paul Scoble]
Hailing from Malmo in Sweden, Pyrimido have been making music since 2006. The five piece have released 5 albums in that time, the last being Vatten in 2016. The band play a very individual style, which is a mix of Sludge, Post Metal, Post Rock, Noise Rock and Alternative Rock. That sounds complicated, but all I’m really trying to get over is the fact that this band have a very unique sound, they mostly sound like themselves, which is an admirable thing to pull off these days. Vocally this is closest to sludge, musically it’s closest to Post Rock, so let’s go with Post Sludge. The album kicks off with Född Till Att Springa which features a huge riff, that would fit in with a sludge template, except that the guitar sound is much cleaner than you would expect. This gives the track a post rock feel that is a little reminiscent to Mono or In Circles. The vocals are harsh, much more sludgy than the music. Levande Döda has a looser, more open feel to the opening track, there is a softer edge to the vocals, the song as a whole has a feel more akin to Alternative Rock. Utvägen is much more aggressive than Levande Döda (showing that these Swedes clearly understand dynamics, and how albums can ebb and flow), it’s tauter, faster and feels much more driving and purposeful. Fänrik Källbacks Sägner again has a looser, more relaxed sense than the preceding track. It’s a simple song, but its strength lies in its simplicity.
Hailing from Malmo in Sweden, Pyrimido have been making music since 2006. The five piece have released 5 albums in that time, the last being Vatten in 2016. The band play a very individual style, which is a mix of Sludge, Post Metal, Post Rock, Noise Rock and Alternative Rock. That sounds complicated, but all I’m really trying to get over is the fact that this band have a very unique sound, they mostly sound like themselves, which is an admirable thing to pull off these days. Vocally this is closest to sludge, musically it’s closest to Post Rock, so let’s go with Post Sludge. The album kicks off with Född Till Att Springa which features a huge riff, that would fit in with a sludge template, except that the guitar sound is much cleaner than you would expect. This gives the track a post rock feel that is a little reminiscent to Mono or In Circles. The vocals are harsh, much more sludgy than the music. Levande Döda has a looser, more open feel to the opening track, there is a softer edge to the vocals, the song as a whole has a feel more akin to Alternative Rock. Utvägen is much more aggressive than Levande Döda (showing that these Swedes clearly understand dynamics, and how albums can ebb and flow), it’s tauter, faster and feels much more driving and purposeful. Fänrik Källbacks Sägner again has a looser, more relaxed sense than the preceding track. It’s a simple song, but its strength lies in its simplicity.
Insikten is discordant, particularly at the beginning, however the discordant parts give way to some very simple, but uplifting riffs that are extremely enjoyable. There is a feel right through this album of positivity, despite the fairly angry vocals the music does always seem to have a positive, or uplifting aspect to it. The album is brought to an end by the title track Fem. Fem is soft and gentle at the beginning of the track. The soft and gentle slowly gives way to the slow and heavy, but with a growing sense of aggression. The slow and heavy slowly builds to a huge ending, battering the listener, and massively increasing the intensity till the end of the album. Fem is a very enjoyable album. There's a mix of styles, but the band effortlessly bind them all together, into a very pleasing whole. Although there are harsh, angry, and extreme feelings in the makeup of this album, it always seems to end up feel uplifting and positive, a hopeful, welcoming feeling. That feeling isn’t that common in heavy music, but I am very glad it is present on this album. 8/10
Endseeker: The Harvest (Metal Blade Records) [Val D'Arcy]
Endseeker: The Harvest (Metal Blade Records) [Val D'Arcy]
Endseeker return with their second full length album The Harvest. This is something of a step up from their 2017 debut Flesh Hammer Prophesy and a move towards a heavier, more old-school sound but still displaying plenty of melody and enough hooks to hang your hat on. Endseeker have developed a modern sounding melodic death metal with influences from Swedish ancestors Dismember, Bloodbath, some newer Hypocrisy through to their contemporaries Demonical and God Dethroned. The latter of course being the odd one out in that they're not Swedish, but then neither are Endseeker. The German quintet hail from Hamburg, home of St Pauli, some great beers, Wacken Open Air, Kai Hansen and lots of other cool stuff including Eike Freese, who whilst may work with a bunch of bands I'm not a massive fan of, knows what he's doing when it comes to production. The sound on this record is massive and each component is sharp, defined and feels rightly a part of the whole. What's particularly great about the production on The Harvest is that it achieved all this without compromising at all on real heaviness. A lot of modern day melodeth bands (typically the type that crop up in my Facebook suggestions, with a cheesy music video shot in some industrial warehouse) are polished to the point of sterility; sure you can appreciate the clean lines which does allow for maximum melody consumption, but ultimately lacks any grit or real emotion once you scratch beneath the surface.
The first track, Parasite kicks your doors down without warning and barrages your eardrums for two minutes and forty seven seconds. Which, honestly feels long enough when packed as full as it is with brutality, pace and enough chuggy riffs to pull a steam train. The melodies are catchy without being predictable, the vocals are deep and raspy without being totally devoid of tune (an aspect of some death metal I'm not too keen on) and the drumming is fast, tight and strong enough, technically to support the whole thing. There are a couple of mid paced songs that give some respite to what is otherwise a pretty intense ride. I can fairly say there's no real downtime in this record, no filler, indeed the end product whilst being something of a feral torrent of metal, is considered and disciplined. Having already shared stages with some of the genre's heavyweights over the last few years, this latest release puts Endseeker firmly in the category of one's to watch. 7/10
Reviews: Wolcensmen, Monolord, Lowcaster, Lindy-Fay Hella (Paul H, Matt & Rich)
Wolcensmen: Fire In The White Stone (Indie Recordings) [Paul Hutchings]
Having bought the original limited edition CD of debut album Songs From The Fyrgen in 2017, I have to admit that the re-release last year passed me by and when Fire In The White Stone arrived I hastily retraced my steps and purchased the additional EP that accompanied the re-release, Songs From The Mere. It also prompted me to refresh my musical memory about the original album, which I gave top marks to back in 2017. Now we have Dan Capp’s sophomore full-length release, 11 brand new dark folk hymns of a mythological nature. For this release Capp forged a story, crossing traditional archetypes with his own philosophical explorations, before composing a concept album using new and archived musical ideas. To accompany the folktale, Capp added a 12,000-word short story to accompany the music. “As a listener, I prefer the journey of a cohesive album, and as a writer I prefer to have some kind of larger framework for my lyrics.”
Fire In The White Stone’s story takes the spirit of Tolkien, Wagner and the Grail mythos. Without revealing the story here, what we have is a multi-layered story which supplements the music and lyrics which are as evocative and immersive as the previous release. Produced by John A Rivers (Dead Can Dance), Fire In the White Stone features a host of guest contributions from Jo Quail (cello), Aslak Tolonen of Nest (kantele) and Jake Rogers of Visigoth/Gallowbraid (flute), as well as Julie Russell on backing vocals and fellow Winterfylleth members Chris Naughton (choir) and Mark Deeks (Keyboards). Wolcensmen is all about atmosphere, and the combination of instruments provides another unusual and captivating album.
Seafarer is the debut album by Norwegian singer Lindy-Fay Hella who is best known for her work with Viking folk act Wardruna. Whilst Seafarer is a continuation of her work with Wardruna it is very much its own unique album with a variety of different sounds and very much an avant-garde feel to it. The vocals by Lindy-Fay herself are of course the driving factor of this album being both ethereal, haunting and otherworldly. There are also deep shamanic style backing vocals which are provided by none other than black metal legend Gaahl. Musically although very folk influenced and with plenty of traditional folk instrumentation this isn’t simply a female led Wardruna with veers into progressive, avant-garde and art pop territories with use of keyboards and electronics. It’s hard to describe exactly what Seafarer is other than a fantastically eclectic album. The title is very appropriate as the album has a vast yet isolating sound very much encapsulating being alone out in the ocean. If you like Wardruna but are open to music of a more experimental nature then this is very much an album you should hear. Magical and enthralling. 8/10
Having bought the original limited edition CD of debut album Songs From The Fyrgen in 2017, I have to admit that the re-release last year passed me by and when Fire In The White Stone arrived I hastily retraced my steps and purchased the additional EP that accompanied the re-release, Songs From The Mere. It also prompted me to refresh my musical memory about the original album, which I gave top marks to back in 2017. Now we have Dan Capp’s sophomore full-length release, 11 brand new dark folk hymns of a mythological nature. For this release Capp forged a story, crossing traditional archetypes with his own philosophical explorations, before composing a concept album using new and archived musical ideas. To accompany the folktale, Capp added a 12,000-word short story to accompany the music. “As a listener, I prefer the journey of a cohesive album, and as a writer I prefer to have some kind of larger framework for my lyrics.”
Fire In The White Stone’s story takes the spirit of Tolkien, Wagner and the Grail mythos. Without revealing the story here, what we have is a multi-layered story which supplements the music and lyrics which are as evocative and immersive as the previous release. Produced by John A Rivers (Dead Can Dance), Fire In the White Stone features a host of guest contributions from Jo Quail (cello), Aslak Tolonen of Nest (kantele) and Jake Rogers of Visigoth/Gallowbraid (flute), as well as Julie Russell on backing vocals and fellow Winterfylleth members Chris Naughton (choir) and Mark Deeks (Keyboards). Wolcensmen is all about atmosphere, and the combination of instruments provides another unusual and captivating album.
More synths add texture, on tracks such as Hunted, which also combines classical guitar and percussion to capture the full effect. Tension, drama and emotion feature on every song, from the lengthy Lorn And Loath and title track, to the delicious 50 seconds of The Woodwose, a delicate acoustic instrumental which segues perfectly into the thrilling Of Thralls And Throes. In absorbing himself completely in this project, Capp has managed to deliver an album that excels in dedication, artistry and perfection. Submerse yourself into this album. Once more the rewards are there to be had. 9/10
Monolord: No Comfort (Relapse Records) [Paul Hutchings]
Gothenburg doom trio return with album number 4, the follow up to 2017’s excellent Rust. No Comfort sits very much in the same vein as their previous offerings, full of fuzzed down tuned guitar and bass, lengthy forages and exploratory passages which allow you time to immerse yourself into the darkness of their world. Six tracks and 47 minutes long, you know what you are going to get, and it starts in familiar style with a nine-minute piece, The Bastard Son which contains everything you would want. Thunderously heavy, the band move into a shorter track The Last Leaf, a sledgehammer of a song which crushes with its sheer intensity.
Plenty of underlying melody, some blistering guitar work from vocalist and guitarist Thomas Jäger which is underpinned by the rock-solid engine room of Mika Häkki and Esben Willems. Larvae begins with a more conciliatory tone, a gentle guitar intro which is quickly joined by crashing bass and drums. Monolord is a band that knows how to do what they do very well. It’s slow, powerful and at times impressively oppressive. With a headline set to come at Hard Rock Hell Doom and Stoner very soon, this album reinforces that Monolord are deserving of their status of headline material. 8/10
Lowcaster: Flames Arise (Ripple Music) [Matt Bladen]
This is an interesting album, equal parts heavy, doom and prog, Flames Arise is the second album from these San Franciscan riff monsters and it's the sound of the band coming out of loss and tragedy. They have come out of these troubles a much more impressive unit. The band are a four piece Jason Bridges - Guitar & Vocals, Marc Brandi - guitar & vocals, Dean LaVoie - drums and Dave Silva - bass and their music veers between numerous soundscapes to provide you with a very cohesive and intriguing album. For every knuckle dragging riff, there's a dreamy ambient element that breaks up the raw abrasiveness of their sludge assault. At just 7 tracks long you may think it's a short album but Flames Arise is long player for sure meaning every track is full of expression letting things build properly. Flames Arise is the sound of a band moving on from their trauma into creativity. 7/10
Lindy-Fay Hella: Seafarer (Ván Records) [Rich Oliver]
Monolord: No Comfort (Relapse Records) [Paul Hutchings]
Gothenburg doom trio return with album number 4, the follow up to 2017’s excellent Rust. No Comfort sits very much in the same vein as their previous offerings, full of fuzzed down tuned guitar and bass, lengthy forages and exploratory passages which allow you time to immerse yourself into the darkness of their world. Six tracks and 47 minutes long, you know what you are going to get, and it starts in familiar style with a nine-minute piece, The Bastard Son which contains everything you would want. Thunderously heavy, the band move into a shorter track The Last Leaf, a sledgehammer of a song which crushes with its sheer intensity.
Plenty of underlying melody, some blistering guitar work from vocalist and guitarist Thomas Jäger which is underpinned by the rock-solid engine room of Mika Häkki and Esben Willems. Larvae begins with a more conciliatory tone, a gentle guitar intro which is quickly joined by crashing bass and drums. Monolord is a band that knows how to do what they do very well. It’s slow, powerful and at times impressively oppressive. With a headline set to come at Hard Rock Hell Doom and Stoner very soon, this album reinforces that Monolord are deserving of their status of headline material. 8/10
Lowcaster: Flames Arise (Ripple Music) [Matt Bladen]
This is an interesting album, equal parts heavy, doom and prog, Flames Arise is the second album from these San Franciscan riff monsters and it's the sound of the band coming out of loss and tragedy. They have come out of these troubles a much more impressive unit. The band are a four piece Jason Bridges - Guitar & Vocals, Marc Brandi - guitar & vocals, Dean LaVoie - drums and Dave Silva - bass and their music veers between numerous soundscapes to provide you with a very cohesive and intriguing album. For every knuckle dragging riff, there's a dreamy ambient element that breaks up the raw abrasiveness of their sludge assault. At just 7 tracks long you may think it's a short album but Flames Arise is long player for sure meaning every track is full of expression letting things build properly. Flames Arise is the sound of a band moving on from their trauma into creativity. 7/10
Lindy-Fay Hella: Seafarer (Ván Records) [Rich Oliver]
Seafarer is the debut album by Norwegian singer Lindy-Fay Hella who is best known for her work with Viking folk act Wardruna. Whilst Seafarer is a continuation of her work with Wardruna it is very much its own unique album with a variety of different sounds and very much an avant-garde feel to it. The vocals by Lindy-Fay herself are of course the driving factor of this album being both ethereal, haunting and otherworldly. There are also deep shamanic style backing vocals which are provided by none other than black metal legend Gaahl. Musically although very folk influenced and with plenty of traditional folk instrumentation this isn’t simply a female led Wardruna with veers into progressive, avant-garde and art pop territories with use of keyboards and electronics. It’s hard to describe exactly what Seafarer is other than a fantastically eclectic album. The title is very appropriate as the album has a vast yet isolating sound very much encapsulating being alone out in the ocean. If you like Wardruna but are open to music of a more experimental nature then this is very much an album you should hear. Magical and enthralling. 8/10
Tuesday, 1 October 2019
Reviews: Lacuna Coil, Ashen Crown, Chaos Motion, Cold (Matt, Paul H Val & Alex)
Lacuna Coil: Black Anima (Century Media Records) [Matt Bladen]
Throbbing electronics build the atmosphere on Anima Nera the first song from Italian metal band Lacuna Coil's ninth album. With their previous release Delirium they recorded their heaviest album to date and it seems that this darker heavier style has continued on Black Anima. Much of it is due to vocalist Andrea now using the roars more than his clean vocals which for me were always one of the let downs of Lacuna Coil's earlier work especially as Cristina Scabbia's vocals are so good, having gotten better on Delerium with a more epic style that continues here as she hits notes she's surely never hit before. Sword Of Anger is the first proper song here built on a melodic riff and the aforementioned roars with the soaring choruses giving the first taste of Cristina's vocals. It's a bouncy beginning to the album and it's a polar opposite to the down tuned groove monster of Reckless which has some thick baselines from bassist Marco 'Maki' Coti-Zelati who plays all the guitars, bass, keys and synths on this record getting adding yet more widdly guitar solos moving the band further away from their Goth/Alt metal roots into more modern metal territory with some djent style.
This album comes after their sold out 20th anniversary show at the Roundhouse in London where the band completely changed their stage look and celebrated their history as a band by moving into the upper echelon of the metal community, showing that their older numbers are still so well revered that they have to do them justice on stage but they aren't afraid to reinvent their sound as they have on their previous release and this. Apocalypse is a track that takes things back with the synth heavy gothic sounds of Our Truth but with big ballad like number ripe for singing back from a crowd due to the huge chorus hook and the "woah" refrains, the same can be said about the brilliantly dramatic Save Me. The tracks on this record are bloody brilliant, all the lyrical content is more personal and self-reflective than before but that just adds to the drama of this music.
Take a track like Now Or Never it's bludgeoning industrial metal which is roared by Andrea and breaks down into some In This Moment styled groove where both singers let loose. It's probably the most epic song on the album heavy as all hell but with that melody still standing true, elsewhere we have the pumping European sound of Under The Surface, they go full symphonic metal on Veneficium which sounds like a mix of Epica and Sentenced and gives Cristina another chance to go fully operatic on the longest song on the album backed by a full orchestral suite. Black Anima is a simply brilliant album, I mean top 10 of the year good! Dense compositions with stunning vocals and some of the best songs of their 20+ year career. Seriously pick up this album when it drops it's stunning. 10/10
Ashen Crown: Obsolescence (Self Released) [Paul Hutchings]
Although they have been around for the best part of three years ago, it was on 23rd December last year that West Midland death metallers Ashen Crown first tore the flesh from my face with a brutal set at the Music Minds Matters charity night at Fuel in Cardiff. With their demo Fall Of Thine Eyes providing the bulk of their set, this was a band to keep an eye on. Now, nine months later, the time has arrived for Obsolescence, their debut release and I am pleased to say that the wait has been worth it. Under the watchful stewardship of Neil Hudson of Initiate Audio and Media, who recorded, mixed and produced the album, this is a hefty slab which slams hard, varies pleasingly in style but retains enough crushing heaviness and thrashing speed to ensure attention does not drift at any point.
Obsolescence reflects the view that things change, with concepts such as religion, politics and some day to day ideologies slowly becoming obsolete. In changing times, there is no more relevant subject matter. Avoiding the pigeonholes that many find themselves in, Ashen Crown have managed to create an album that should appeal to a vast cross section of the metal community. The pounding opening of Unbroken Faith is a solid introduction, with vocalist Kieron Scott’s brutally gruff delivery raw but fitting snuggly with the band’s ferocity. As the bell tolls for the final time, the track segues perfectly into the crushing monster that is Crimson Sea, a song so full of groove it will be impossible not to move when it hits the live arena. Huge riffs, pummelling drums and razor-sharp chugging guitars all combine to great effect. The opening segment of thrash on Ultimatum maintains the interest, the dimension shifts both impressive and unexpected. Three tracks in and if you aren’t sitting up by now then there is something wrong as the second half of this track slows and the sheer crushing weight of the track affords brief respite before the acceleration kicks in again. More groove with Right To Rise, one of four six minutes plus monsters and another that grabs the attention and barely allows you to breathe through the whole song.
As the album progresses, Hudson’s quality in the production is evident with the album sound sharp and crystal clear, allowing the listener to catch every note. Guilty Of Hatred carries a stomp which rages, drummer Mike Ellis proving that allowing him time to ease into the drum position was the correct decision. Haunting female vocals on the epic Blood Beneath Us add a further dimension of intrigue and atmosphere, showcasing the fretwork skills of Ste Fowkes and Jay Rogers whilst the now familiar Fall Of Thine Eyes sounds fresh and intense. After such a frenetic 35 minutes, it comes as both a relief and a surprise to find Ashen Crown close the album with the sombre and melodic Under The Leaves, which still contains more firepower than many of their fellow outfits. Indeed, it fairly rattles along for the first section, causing much movement. Variety, quality compositions and a delivery that is ferociously hungry are evident in the eagerness of the band and with some luck Ashen Crown should become familiar to many more in the metal community soon. They will be celebrating the release of Obsolescence with a headline show in the 'Home Of Metal' at the O2 Academy Birmingham on Saturday 26th October. If you are in the area, get your carcass along to see a pivotal moment for one of the finest UK death metal bands around today. 8/10
Chaos Motion: Psychological Spasms Cacophony (Transcending Obscurity Records) [Val D'Arcy]
Where to even start with Chaos Motion's debut concoction Psychological Spasms Cacophony? When it comes to tech death there are several give-away traits; odd time and key signatures, complex syncopation and general rhythmic irregularity, not to mention overly technical passages and general showing off. Whilst this album holds up that tradition for the most part it's also something quite different altogether. This is without a doubt the most inaccessibly puzzling record I've listened to for some time. It's almost like the band have set out to create the very antithesis of what we consider a song in every track. So much so this caused me to look up the Oxford definition of music just to make sure this actually qualified as such. All the components seem to be here, but it's as if they've taken the rules of songwriting and intentionally denied them at every step. True to its name, the chaotic construct of the music here is so much at odds with nature that no logical expectation is allowed; indeed the only constant is that of the absence of reason.
Sometimes, an act has such an unintentionally apt name that you just can’t help yourself making jokes at their expense. See, The Things We Can’t Stop radiates about as much warmth and enthusiasm as an icy wind – true, you won’t be hurt, yet you certainly won’t be welcoming the presence, or indeed longing to feel the sensation again. So unappealing are Cold that they make Snow Patrol’s brand of climate-themed soft rock look avalanche-sized in excitement and urgency. Shine opens with a tale about a girl called summer, who begins upset and locked away, yet will ‘learn to shine again’. Normally, I would be quite sympathetic to such a theme yet the lyrics and musical choices are doing absolutely nothing to sell me on the concept. Snowblind – which sadly isn’t a Black Sabbath cover – opens on some dissonant guitar musings, which sound as if they could be leading into something promising, before they give way to a slavishly mid-tempo crawl which fails in capturing the moody, morose feeling in every respect except making me moody at the lack of risk on display.
Throbbing electronics build the atmosphere on Anima Nera the first song from Italian metal band Lacuna Coil's ninth album. With their previous release Delirium they recorded their heaviest album to date and it seems that this darker heavier style has continued on Black Anima. Much of it is due to vocalist Andrea now using the roars more than his clean vocals which for me were always one of the let downs of Lacuna Coil's earlier work especially as Cristina Scabbia's vocals are so good, having gotten better on Delerium with a more epic style that continues here as she hits notes she's surely never hit before. Sword Of Anger is the first proper song here built on a melodic riff and the aforementioned roars with the soaring choruses giving the first taste of Cristina's vocals. It's a bouncy beginning to the album and it's a polar opposite to the down tuned groove monster of Reckless which has some thick baselines from bassist Marco 'Maki' Coti-Zelati who plays all the guitars, bass, keys and synths on this record getting adding yet more widdly guitar solos moving the band further away from their Goth/Alt metal roots into more modern metal territory with some djent style.
This album comes after their sold out 20th anniversary show at the Roundhouse in London where the band completely changed their stage look and celebrated their history as a band by moving into the upper echelon of the metal community, showing that their older numbers are still so well revered that they have to do them justice on stage but they aren't afraid to reinvent their sound as they have on their previous release and this. Apocalypse is a track that takes things back with the synth heavy gothic sounds of Our Truth but with big ballad like number ripe for singing back from a crowd due to the huge chorus hook and the "woah" refrains, the same can be said about the brilliantly dramatic Save Me. The tracks on this record are bloody brilliant, all the lyrical content is more personal and self-reflective than before but that just adds to the drama of this music.
Take a track like Now Or Never it's bludgeoning industrial metal which is roared by Andrea and breaks down into some In This Moment styled groove where both singers let loose. It's probably the most epic song on the album heavy as all hell but with that melody still standing true, elsewhere we have the pumping European sound of Under The Surface, they go full symphonic metal on Veneficium which sounds like a mix of Epica and Sentenced and gives Cristina another chance to go fully operatic on the longest song on the album backed by a full orchestral suite. Black Anima is a simply brilliant album, I mean top 10 of the year good! Dense compositions with stunning vocals and some of the best songs of their 20+ year career. Seriously pick up this album when it drops it's stunning. 10/10
Ashen Crown: Obsolescence (Self Released) [Paul Hutchings]
Although they have been around for the best part of three years ago, it was on 23rd December last year that West Midland death metallers Ashen Crown first tore the flesh from my face with a brutal set at the Music Minds Matters charity night at Fuel in Cardiff. With their demo Fall Of Thine Eyes providing the bulk of their set, this was a band to keep an eye on. Now, nine months later, the time has arrived for Obsolescence, their debut release and I am pleased to say that the wait has been worth it. Under the watchful stewardship of Neil Hudson of Initiate Audio and Media, who recorded, mixed and produced the album, this is a hefty slab which slams hard, varies pleasingly in style but retains enough crushing heaviness and thrashing speed to ensure attention does not drift at any point.
Obsolescence reflects the view that things change, with concepts such as religion, politics and some day to day ideologies slowly becoming obsolete. In changing times, there is no more relevant subject matter. Avoiding the pigeonholes that many find themselves in, Ashen Crown have managed to create an album that should appeal to a vast cross section of the metal community. The pounding opening of Unbroken Faith is a solid introduction, with vocalist Kieron Scott’s brutally gruff delivery raw but fitting snuggly with the band’s ferocity. As the bell tolls for the final time, the track segues perfectly into the crushing monster that is Crimson Sea, a song so full of groove it will be impossible not to move when it hits the live arena. Huge riffs, pummelling drums and razor-sharp chugging guitars all combine to great effect. The opening segment of thrash on Ultimatum maintains the interest, the dimension shifts both impressive and unexpected. Three tracks in and if you aren’t sitting up by now then there is something wrong as the second half of this track slows and the sheer crushing weight of the track affords brief respite before the acceleration kicks in again. More groove with Right To Rise, one of four six minutes plus monsters and another that grabs the attention and barely allows you to breathe through the whole song.
As the album progresses, Hudson’s quality in the production is evident with the album sound sharp and crystal clear, allowing the listener to catch every note. Guilty Of Hatred carries a stomp which rages, drummer Mike Ellis proving that allowing him time to ease into the drum position was the correct decision. Haunting female vocals on the epic Blood Beneath Us add a further dimension of intrigue and atmosphere, showcasing the fretwork skills of Ste Fowkes and Jay Rogers whilst the now familiar Fall Of Thine Eyes sounds fresh and intense. After such a frenetic 35 minutes, it comes as both a relief and a surprise to find Ashen Crown close the album with the sombre and melodic Under The Leaves, which still contains more firepower than many of their fellow outfits. Indeed, it fairly rattles along for the first section, causing much movement. Variety, quality compositions and a delivery that is ferociously hungry are evident in the eagerness of the band and with some luck Ashen Crown should become familiar to many more in the metal community soon. They will be celebrating the release of Obsolescence with a headline show in the 'Home Of Metal' at the O2 Academy Birmingham on Saturday 26th October. If you are in the area, get your carcass along to see a pivotal moment for one of the finest UK death metal bands around today. 8/10
Chaos Motion: Psychological Spasms Cacophony (Transcending Obscurity Records) [Val D'Arcy]
Where to even start with Chaos Motion's debut concoction Psychological Spasms Cacophony? When it comes to tech death there are several give-away traits; odd time and key signatures, complex syncopation and general rhythmic irregularity, not to mention overly technical passages and general showing off. Whilst this album holds up that tradition for the most part it's also something quite different altogether. This is without a doubt the most inaccessibly puzzling record I've listened to for some time. It's almost like the band have set out to create the very antithesis of what we consider a song in every track. So much so this caused me to look up the Oxford definition of music just to make sure this actually qualified as such. All the components seem to be here, but it's as if they've taken the rules of songwriting and intentionally denied them at every step. True to its name, the chaotic construct of the music here is so much at odds with nature that no logical expectation is allowed; indeed the only constant is that of the absence of reason.
Is it enjoyable? No not really, it's hard work and at times I felt like I was being tortured, like a form of forced sleep deprivation but rather my brain not being allowed to process thought in the way every instinct would like. There is certainly an artistry to orchestrating such a bewildering experience. One of the joys of music, for me, is the interpretation of the sounds, being able to read and anticipate the direction of travel and the subsequent reward of success or the occasional surprise when it takes an unexpected turn to reveal a new landscape. Now imagine being blindfolded in pitch darkness and trying to navigate a terrain of jagged rocks and pitfalls, whilst being pushed and pulled from all sides at rapidly increasing and decreasing speeds and intervals. So why on earth would you subject yourself to this cacophony? Well, everything I've described here is my experience of this album through a conventional lense. This isn't a conventional piece of music. If you can do with your ears what your eyes might do when trying to process a magic eye image then you might be in with a chance of surviving this album, even liking it.
Chaos Motion have created a musical paradox with Psychological Spasms Cacophony that can be described by comparison to drinking hot tea to cool down. An abstraction so compelling in its absence of norms, you must submit and allow it to trample over you without resistance for it to reveal its meditative qualities. This album does require the listener to be in certain surroundings and a certain state of mind to take effect, but if you can achieve that and persevere, its an interesting albeit challenging experience. 6/10
Cold: The Things We Can’t Stop (Napalm Records) [Alex Swift]
Cold: The Things We Can’t Stop (Napalm Records) [Alex Swift]
Sometimes, an act has such an unintentionally apt name that you just can’t help yourself making jokes at their expense. See, The Things We Can’t Stop radiates about as much warmth and enthusiasm as an icy wind – true, you won’t be hurt, yet you certainly won’t be welcoming the presence, or indeed longing to feel the sensation again. So unappealing are Cold that they make Snow Patrol’s brand of climate-themed soft rock look avalanche-sized in excitement and urgency. Shine opens with a tale about a girl called summer, who begins upset and locked away, yet will ‘learn to shine again’. Normally, I would be quite sympathetic to such a theme yet the lyrics and musical choices are doing absolutely nothing to sell me on the concept. Snowblind – which sadly isn’t a Black Sabbath cover – opens on some dissonant guitar musings, which sound as if they could be leading into something promising, before they give way to a slavishly mid-tempo crawl which fails in capturing the moody, morose feeling in every respect except making me moody at the lack of risk on display.
The Devil We Know tries to capture a dark feeling, yet Scooter Ward’s distinct lack of vocal range and the narrow ability of the musicians behind him fail to inspire anything other than a dull sense of tedium. Although I alluded to the fact that Cold basically sound like a desaturated version of Snow Patrol, we hear the cruel irony of that fact when, five songs in, we get a somehow more dreary cover of Run, which manages that seemingly impossible task by actually slowing the song down and taking out much of the guitar and synth layers which gave the original a dull semblance of emotion, no matter how faint. From there, the album continues on a meandering, pseudo-emotional path, failing to offer anything in the vein of originality or even importance. On the Things We Can’t Stop, Cold gives new meaning to middle of the road, to the extent that they are shrinking to minuscule size, and disappearing between the cracks in the concrete, while far more determined and firm vehicles rush overhead, ignoring the stunted cries from a band whose music is so insignificant, that no casual passer-by need pay attention 2/10
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