Reviews: Pagan's Mind, In Solitude, Hell

Pagan's Mind: Heavenly Ecstasy (SPV)

Pagan's Mind return with their fifth album in total and their first after the truly awesome God's Equation. Hopes for this album would be raised exceptionally high after the previous album but they do inevitably fail to meet the loft heights of God's Equation. That's not to say that Heavenly Ecstasy is a bad album, not by a country mile it is just trying to meet an unrealistic target. The progressive elements from the previous instalments have diminished slightly with a more overall melodic sensibility taking over the album. Some of the tracks are mid paced rockers some like The Master's Voice have the power metal element to their sound however it does counteract that with a nice breakdown at the end of the song. This album like the new Hammerfall one sees PM trying to adapt their sound to a more modern setting. The instrumentation is as usual excellent with Jorn Viggo Lofstad's guitar playing being a highlight that is beautifully counteracted by the jangly keys and powerhouse drumming. It is Nils K. Rue's vocals that are the star, he truly has a fantastic voice equally adept at soaring, crooning and screaming (sometimes in the same song) he is the icing on the PM cake. Some of the tracks on this album are samey because of lesser progressive touch, with Walk Away In Silence sounding very similar to I Don't Believe In Love by Queensryche. I am perhaps being overly critical only because it is hard to find any faults with this album; it is just that it is living in the shadow of God's Equation. By any other band this album would be their magnum opus, unfortunately Pagan's Mind have already achieved that. 8/10

In Solitude: The World. The Flesh. The Devil

It's 2011 and finally the legendary Angel Witch releases they're new...oh wait hold on In Solitude are a NEW band. Sorry it's just they are so retro it hurts (I mean really hurts but more on that later). With riffs straight out of the New Wave Of British Heavy Metal (NWOBHM) In Solitude tread a fine line between homage and parody. The start of the album is strong bringing to mind the aforementioned Angel Witch, along with early Venom and doom like tendencies. Topped with Maiden style riffs, especially third track Serpents Are Rising which sounds exactly like Di'Anno era Maiden. The vocals however are from the King Diamond school of Demonic wailing this adds to the overall satanic atmosphere, when you can hear them. This flags up the first major problem with this album, bands that try to emulate the NWOBHM scene also try to emulate the production techniques of the time bands such as Cauldron do this well however In Solitude do not, whether there is a deliberate attempt to make the sound as muddy as possible I'm not sure but, on a few tracks the vocals are indistinguishable, the guitars seem to fade in and out as well. So despite the performance being good the production lets this record down. The vocals too much like King Diamonds can grate on repeated listens. All in all an album that is good for NWOBHM revival completest but not for anyone who has baulked at the mention of the previous bands. 6/10

Hell: Human Remains (Nuclear Blast)

Continuing on the theme of Satan and the NWOBHM, Hell were one of the bands that although good faded into obscurity due to lack of interest form the major labels and the suicide of original vocalist/guitarist David K. Halliday. Roll forward to 2011 and Hell are back with almost the original line up except for founding guitarist Kev Bowers's brother Dave on vocals and Sabbat guitarist and production legend Andy Sneap on guitar. The roles here are reversed In Solitude were a modern band trying to sound classic. Hell are a classic band that sound incredibly modern, mainly due to Sneap's world renowned production skill. This album was created from the original 1980's demos (also included on the ltd edition) and is pitched almost like a concept album about evil and the Devil. One song segues into another seamlessly yet they all sound different enough to keep it from being boring. Genre wise it ranges from galloping NWOBHM, to proto-thrash to crunching doom, very similar in fact to Sneap's other band Sabbat. The real hero here though is Dave Bower's vocals equal parts evil and theatrical. His delivery is fantastic and in places he can scream as high as Rob Halford. All the musicianship is excellent and the songs are brilliant, song short and punchy others are epics The Devils Deadly Weapon stretches to over 10 minutes and is full of atmosphere and heavy riffage. So it's a welcome back to Hell, who despite living in Purgatory for years are back with a vengeance. As their own song The Quest goes: "If you truly believe in what you do; Your dreams one day will come true" They have proved this prophecy to be 100%. 10/10

A small detour

Due to the fact that the Millennium Music Hall in Cardiff is closing so it can move to a new location I will not be reviewing the GWAR/Clutch gig that happens there Tuesday the 14th of June 2011. The gig has now been moved twice, once to the Walkabout bar (!) and now to the Muni Arts Centre in Pontypridd. This is all well and good but I am unprepared to travel to Pontypridd just to see a band that should have been playing in my town. (It's a selfish reason I know but hey this is my blog)
 This brings me onto what I wanted to highlight in this particular blog entry, Cardiff (and Wales in general) has far too few legitimate concert venues. I have always known this but it was highlighted particularly to me when I saw Journey in Birmingham. Both the NIA and the LG Arena are huge venues and both are a short distance apart, they also have a HMV academy and a symphony hall as well as numerous other small venues around the city. Cardiff now have at the most 6 venues and these vary in size from very small e.g. Globe, Clwb, Solus to larger Uni, St David’s Hall, CIA and then the enormous Stadium. The MMH did a good job filling this hole between the mid-size venues but now we are going to have to wait again which means we are stuck with places that are far too small for big bands and larger arenas that are also small. The CIA (I refuse to call it the Motorpoint Arena) has a standing capacity of 7500 which although big is dwarfed by the NIA in Birmingham which has a seated capacity of 12,700. So with the stadium mostly used for what it is supposed to be used for i.e. sport. The only large arena we have isn't really that large.
I realise that part of the problem is the size of Cardiff itself, but surely we could find somewhere on the outskirts of Cardiff to build a large purpose built entertainment arena, perhaps attached to an exhibition centre like the NEC or the Expo centre in London. The ideal candidate for this would have been where the current Ikea Cardiff sits however obviously home furnishings do more business. This upsets me as music is a glorious thing that I feel strongly about, whereas sport, religion, politics etc. can cause rivalries music is a brother/sisterhood and brings people closer. So we are letting a whole generation down by not supplying adequate places for musicians to perform. Some have by passed Wales altogether because of this very reason.
I know some of you might be thinking, "Why don't you travel to the gig if you love music so much?" Well there is that argument although, this just adds extra cost, travel, hotel, etc. onto what is already an expensive hobby to have (Ticket prices are saved for another time) travelling to gigs only really works if you drive, and then this lessens some of the 'social' atmosphere or if you are there for more than one day e.g. a festival. I realise that most of what I'm saying will never be heard but I need to say it. Cardiff and Wales need more and bigger music venues; I mean we're the land of song for God sake! We need them now before all we have is shopping and silence.

With love from a Muso  

Live & Dangerous 4: Black Stone Cherry & The Treatment

Black Stone Cherry and The Treatment (Cardiff University Solus)

The Solus is not a big place, so this gig was always going to have a level of intimacy that other big bands could not afford. Using this as a warm up gig for their Download appearance Black Stone Cherry played 3 dates on this tour the last one being in Cardiff. Despite taking another two bands on the other dates, one being the excellent Black Spiders, they only had one support slot from up-and -comers The Treatment.

After releasing a fantastic debut album this year on Classic Rock magazine's Powerage label, I wanted to know if their stage show was as good as the album. This was confirmed from the first song as they hit the ground running rocking and rolling with experience of a band triple their age. Despite being young they have a lot in common with  early Aerosmith, with frontman Matt Jones has a similar voice to Mr Tyler and all the better for it. The band ripped solos and riffs out on every song and even got the crown swaying with lighters on the terrifically titled Nothing to Lose but Our Minds. The Treatment are a band out of time but are the perfect openers for a band that have as many classic as they do modern reference points. 8/10

Drums, Bass, Rhythm Guitar all start playing the opening to Change then as Ben Robertson steps up to the mic...nothing, unfortunately this is how the Black Stone Cherry set started, minor technical difficulties that were not resolved until the middle of second song Shooting Star with everything in working order again. BSC proceeded to pummel the crowd with their powerful live sound. The riffs for Blind Man and the evergreen Rain Wizard sent the crowd into a frenzy  before they slowed things down and invited the crowd to sing along with the beautiful Things My Father Said after that emotional moment BSC surprised many by playing a heavy but faithful cover of Adele's Rolling In The Deep before resuming normal service with Hell and High water the songs continued in this vain until a barnstorming drum solo from John-Fred Young brought the crowd to its knees for another sing-along with In My Blood. They then ended the set with the trilogy of Maybe Someday, Boom, Boom and Lonely Train, leaving fans wanting more, however they hinted that they would be returning with another band this year. So are Black Stone Cherry Worth seeing when they come back? Hell yeah they are! 9/10  

Out Of The Beyond Part 3

Draven: Eden


Coming from the U.K Draven are a band that released their debut album Eden in 2009 they have come on to the scene with more ingenuity and better songs that a lot of bands have ever had. They have been shown by critics as being part of the southern rock scene, but this isn't completely true as they exhibit more hallmarks of a British rock band than of any of their American counterparts. The album is a concept based on 'Paradise Lost' with all the tracks linking but not fully so they can be enjoyed on their own merit. Opener Blitz has a funky but heavy vibe that leads into the second track Itchy Finger which sounds like part of a heavy metal western. The title track has a sprawling powerful sound that gives it the kudos of being one of the best tracks on the album. Draven mix styles effortlessly on this album linking, country, blues, heavy rock and alternative metal to create a very professional album. That said the production is by Kevin 'Caveman' Shirley who produces Maiden and has produced Zeppelin and Metallica so it is immediately given an air of professionalism by his superb production. For a lesser band this would 'make' their album, in Draven's case it just adds to the overall sound as even with a lesser producer these songs would still be excellent. Draven then are a band that defy genres and do it well. Worth seeking out! 8/10


Yargos: To Be Or Not To Be


Yargos are a strange mix of modern progressive metal a la Theater, Threshold etc., classic progressive rock a la Yes; Gentle Giant etc. while also using electronics and then mixing it all together. They are hard to describe and sound unlike many other bands that are classed under the progressive banner, too heavy for pastoral proggers but possibly too lightweight for heavy fans. The band is made up of guitarist and multi-instrumentalist Wieland "Wielo" Hofmeister, keyboardist and drummer Ossy Pfeiffer and former Threshold vocalist Andrew 'Mac' McDermott they are backed by ex-Running Wild (see Pirate Metal) bassist Peter Pichl, guitarist Andreas "Andigitarre" Kienitz and female singer (and Ossy's wife) Anca Graterol. the band then all comes from prog or power metal backgrounds but despite the heavy backing this music has more in common with the classic 70's style prog bands. McDermott’s voice suits this type of music better than it did Threshold's (although he was in a Blaze Bayley situation with Damian Wilson the bands original singer being the fans favourite) he uses real passion over Hofmeister's and Pfeiffers' compositions. The tracks are all solid with the playing being virtuoso on all accounts, Mac's vocals take the front with Anca's mainly being for backing, although she does share lead with Mac on the Summer Tree #1. Despite this being a 'prog' record none of the songs are longer than 7 minutes but still include the time changes and instrumentation that are synonymous with the genre. This then is progressive music. They are a hard band to access but once your there a rewarding one to listen to. 7/10


Magic Kingdom: Metallic Tragedy


No this is not a Disney metal album (no matter how good that would be) Magic Kingdom are a neo-classical/speed/power metal band from Belgium. Like with many of the bands of this ilk they have one focus in this case like so many others it is Guitarist Dushan Petrossi who is following the likes of Tony McAlpine And Yngwie Malmsteen in the virtuoso stakes. This is heavy and fast metal played to perfection, with solos galore. A true air guitarists dream. Petrossi also take the tried and tested route of adding classical nuances to his playing so to come across as more than just a guitar player. However the album itself is a joy to hear no matter how 'Spinal Tap' (Violin scene anyone?) its creator comes across. All blast beats and shredding with a large lunged vocalist screaming over the top. This is dumb and silly but ever so entertaining. The final and title track of the album adds a small difference in that it is a mini metal opera with various vocalists playing different parts. The Concept was expanded on the next album Symphony Of War with the second part of this 'opus' taking up the entire second disc. This is dumb fun for anyone who enjoys any of the genres I have mentioned before. Air Guitars at the ready. 7/10


Glyder: Playground For Life


Glyder come from the Emerald Isle and with that comes the assumption that they sound like Thin Lizzy and in some respects they do, but not totally. Led by guitarist Bat Kincade Playground For Life is their second and most accomplished album. Opening with the very bluesy Gambler's Blues Glyder immediately show themselves to be accomplished musicians. They have big heavy riffs and a lot of power, third song Puppet Queen is the most Lizzyesque of the album with vocalist/bassist Tony Cullen doing his best Phil Lynott impression. The rest of the album mixes these hard rock flavours together with a strong sense of modern playing to create a great rock album replete with two lighter wavers in For Your Skin and Sleeping Gun. Worth checking out if you are a Lizzy fan and also if you’re a fan of good rock music. 8/10

Yargos: http://youtu.be/J01G8x4J9q0
Draven: http://youtu.be/1zRkBFXWKus
Magic Kingdom: http://youtu.be/uI5zHA1RS90
Glyder: http://youtu.be/RJe8ojCbm4U

Live & Dangerous 3: Journey, Foreigner and Styx

I know I know not the most 'metal' of bands but hey it could be Lady Gaga. Stick with it though because you will be suprised. Plus they are all rock bands and it's my blog so I'm going to continue anyway.

Journey, Foreigner and Styx (Birmingham LG Arena)

With Darren Reddick of Planet Rock (in) fame(y) MC the night we were introduced to Styx who came out with aplomb. Starting with Grand Illusion and Too Much Time On My Hands they got off to a good although not a great start. The band seemed to be enjoying themselves and trying too hard with their perhaps better known (in the UK) touring mates. Guitarists Tommy Shaw and James Young rocked out and soloed with cohesion and precision but it was keyboard player Lawrence Gowan's constant preening and pouting that eventually started to grate on me. His voice is fantastic very similar to the original singer Dennis DeYoung however whereas DeYoung was very theatrical in his performances, Gowan just seems a bit desperate for attention. The best part of their set was the epic Come Sail Away, was all rocking and rolling with very prog influences. They also had some technical difficulties which should be ironed out by the last dates of the tour. Styx then were an alright opener for a crowd that seemed to be only there for the other two bands and not reciprocating the effort Styx was giving. This was probably why they came off to me as slightly desperate. 6/10

Foreigner on the other hand overcame the notion of this being a 'one band show' by not trying to oversell themselves and just sticking to what they know. This was truly a 'Jukebox' (excuse the pun) show with it being straight hit after hit. All of the rockers were amped up and the ballads perfectly executed. Heading out with the one two punch of Double Vision and Head Games the band seemed to be enjoying every minute of it founding member and guitarist Mick Jones especially had a smile on his face throughout as his fellow countrymen cheered. The crowd were defiantly fired up by Foreigner’s incendiary set (Sorry again for the pun). Slowing things down with Cold As Ice and Waiting For A Girl Like You it was singer Kelly Hansen that rose above the band as his vocal theatrics managed to mirror both former singer Lou Gramm and even bordered on Mr Coverdale, he was interesting to watch and listen to constantly moving like Steven Tyler from Aerosmith. More rockers followed and then came the show stopping I Want To Know What Love Is which got the LG on its feet and singing with every word. After the cathartic shout along Foreigner ended on a high with perennial favourites Hot Blooded and the heavier than usual Jukebox Hero (hence the earlier pun). Journey was defiantly going to have to work hard to beat Foreigner’s hell for leather display. 9/10

It was never in any doubt who the headliners were from the opening strains of Separate Ways the crowd were on their feet, clapping along to its staccato riff. The band are clearly enjoying themselves and are, as you would expect, completely in  sync with each other as a band the sound was flawless. It was all eyes on new singer Arenl Pineda as the chorus kicked in and they weren't disappointed, although he has a slightly gruffer voice than Steve Perry he can hit the notes with ease. After a collective sigh of relief Journey continued with the hits and included some new tracks from their new album Eclipse (which I will review when someone gives me a copy) despite being much heavier than the earlier Journey output they fitted in perfectly with the rest of the set,  Resonate and the Zepplinesqe Chain Of Love being two highlights. Neal Schon opened up on the newer tracks his soloing being as good as anyone I've seen, leading to much air guitaring form the crowd (and me). However this was not just an ego trip for Schon all of the band were given room to breathe. with drummer Deen Castronovo taking lead vocals on Mother, Father and doing a damn fine job, that drummer can really sing. As the set came to a close the tear jerking Faithfully led into the upbeat Don't Stop Believing which got the crowd singing at the top of their lungs again. This then led into Any way You Want It ending the set. A short break was then followed by the encore of Lovin', Touchin', Squeezin' which gave everyone that loved-up feeling and ended the set proper. Definitely a band I would see again and I urge people to see them when they come around again. 9/10

Overall then a very good gig and well worth travelling to Birmingham to see. The stage shows from Foreigner and Journey were awesome, lights, video, and effects the whole thing worked well together, the only slight disappointment was Styx who I was expecting more from. However any disappointment from Styx was destroyed by the rocking set from Foreigner and the emotionally charged set from Journey. Overall 9/10

P.S I'd like to thank Nick Hewitt for inviting me to the gig, cheers buddy! 

Reviews: Black Stone Cherry, Alestorm, Revoker

Black Stone Cherry: Between the Devil & the Deep Blue Sea (Roadrunner)

Black Stone Cherry came about in 2006 with their debut album, hitting the scene like a modern take on the classic southern masters such as Molly Hatchet and Skynyrd, with their last album they expanded their sound making it more FM radio friendly, that continues on this album with the production of Howard Benson (Daughtry, Theory of A Deadman, Kelly Clarkson) bringing a commercial sheen to their southern hard rock sound. The vocals of Chris Robertson are as usual fantastic and very powerful with the rest of the band playing at the top of their game. What is evident on this album is that their song writing has improved with many tracks viable for hit single status Blame It On The Boom Boom and Let Me See You Shake being two notable examples, among the tracks are a few lighter waving ballads and some dirty rockers some with lyrics coming straight out of the 1980's Sunset Strip. BTDATDBS is an accomplished modern rock album with a great southern spirit. Definitely an album to play loud! 9/10

Alestorm: Back Through Time (Napalm)

Pirate Metal was sure to have gone the way of Nu-Metal but with Alestorm we see it continuing as if nothing has happened. With this third album they vary the theme focussing on historical figures as well as the well-worn themes of Pillaging and drinking, they even go as far as covering the Wurzels classic I'm A Cider Drinker. The key to Alestorm's survival has been their ability to mix up tempo folk metal with a tongue-in-cheek self-deprecation, ballad like Scraping The Barrel shows that Alestorm don't take themselves or their critical reception too seriously. All in all this is a great album to listen to when partying with your hearties (sorry) but definitely not a treasure trove. 7/10

Revoker: Revenge For The Ruthless (Roadrunner)

Imagine if you will Bullet For My Valentine took Roadrunner's offer to sign in 2007 instead of signing with Sony BMG you would get an album that would sound like Revoker's debut. Hailing from South Wales Revoker have many similarities with their Welsh breatherin in both musicality and vocally (Especially on the lead single Stay Down). Jamie Mathias' voice is pitched somewhere between Matt Tuck and Machine Head's Robb Flynn. this also goes someway to telling you what Revoker sound like, they have a mix of melodic gang choruses and MH style modern thrash. Revoker are talented musicians (I can personally vouch for their live prowess) however like with many of the label mates they share a similar sound that is not really breaking any boundaries. This being the case the album is good but not good enough to be genre defining ...yet. 7/10

Reviews: Hammerfall, Xerath, Above Symmetry

Hammerfall: Infected (Nuclear Blast)

Power Metal heroes Hammerfall are now on their 8th album and they have managed to create an album that fans who have only heard their 1993 album Glory to the Brave will have wondered whether this is the same band. Hammerfall themselves have described this album as different to previous efforts and they are right. There are certain tracks such as B.Y.H and Immortalized that hint back at the power metal sound that made them legends. The rest of the album has more in common with the other bands that come from the Gothenburg area of Sweden; they have a melodic thrash style albeit with Joacim Cans' powerful melodic vocals on top. Other tracks such as Patient Zero and I Refuse have and almost Sabbath like quality, (I Refuse especially, has much more in common with Heaven and Hell than The Dragon Lies Bleeding). Despite the differences, (maybe even because of them) this is a good although darker in tone album than previous ones. It has 11 strong tracks the best of which is the final track Redemption. Seek this album out if you’re not a fan of Hammerfall and you will be pleasantly surprised, for fans you may say that Hammerfall have 'sold out' with a more mainstream sound but this album is great and a worthy addition to the Hammerfall catalogue. 7/10

Xerath: II (Candlelight)

Xerath came onto the metal scene in 2009 with their debut  I while good this follow up is fantastic a great mix of technical metal that has become associated with the emerging Djent scene but also have a heavy groove that is topped off with anthemic orchestral music. The band is tight and powerful with Richard Thompson's vocals reminding you of Devin in his Strapping mode. That said it is the orchestral flourishes add a whole new dimension to proceedings that stop Xerath from sounding like a Strapping tribute, they give the album an almost filmic quality to the album. II is a heavy, technical and epic album great for anyone who likes their metal heavy and professional with a little something extra. 9/10

Above Symmetry: Ripples (InsideOut)

The band formally known as Aspera have re-released their debut under their new name after another Aspera threatened the Norwegian band with legal action. They play melodic prog metal in the same vein as Symphony X and Fates Warning and because of this they are not doing anything new, but they are doing it very well. They sound very polished and professional despite their young age. The guitar and keyboard interplay is great both complementing each other well, both player being virtuosos. However this is not to criticize the rest of the band with bassist Rein T. Blomquist being a particular highlight. The vocals of Atle Pettersen are also well suited as he has a powerful voice and good range. Although Above Symmetry are sticking to a formula that has been around since 1984 with Fates Warning's debut album they do it very well. A great album if a little similar to others in the genre. 7/10

Out Of The Beyond Part 2

Jettblack: S/T & Slip It On E.P

Two words that sum up Jettblack: Balls Out. These guys truly invoke the spirit of old school hard rock. They have a particular 80's flavour to them, bringing to the table the sounds of the Ratt, Skid Row, Def Leppard and even having some parlances with Y&T. They are unashamedly retro with lyrics based on sinning and women. The opening trio of Slip It On, Two Hot Girls and When It Comes To Loving perfectly set the tone for the rest of the album. These all feature great riffs, solos and melodic choruses. With Will Stapleton and Jon Dow sharing both guitar and vocal duties, Jettblack are able to combine their old school influences into something fresh. With Not Even Love they have a ballad that rivals some of Leppards greats, before they go back into the 80's assault. The Slip It On E.P is a companion piece that gives two extra studio tracks (one being a cracking cover of Highway To The Dangerzone) plus it also includes an acoustic version of the song Mother Fucker featured on the album which shows even when stripped back Jettblack still write killer songs. If you’re not a fan of 80's music then you may want to avoid this but if you like your rock like you like your love (hard and fast) then make a date with Jettblack. 8/10

Foxy Shazam: S/T

The lead singer of Foxy Shazam Eric Sean Nally share co-writing credits with Justin Hawkins on both the Hot Leg album and the new Meatloaf album. This alone gives you an idea about what Foxy Shazam sound like. Another way to describe it would be...Queen. Starting out as a post hardcore band they have gradually emerged into a band that is hard to categorize but mostly sound like Nally's writing jobs...oh and Queen a hell of a lot like Queen. The album itself is their third and most accomplished, featuring a standard rock band line up augmented with a werewolf like piano player and a horn player the band takes 70's pomp rock to its OTT best. With a varying style on each song ranging from punk, to glam and with hit single Unstoppable already being played back to back with We Will Rock You in American sport stadiums. Foxy Shazam only have to break it over here and they will be America's answer to the people's rock band. Help them out buy the record you know you want to. 8/10

Triaxis: Keys To The Kingdom

So continuing the theme of bands that, sound like other bands. I give you Welsh metallers Triaxis, who sound like Iron Maiden (If Bruce and Adrian were girls). The gallop is there, the melody is there and the siren vocal are their yet they also add more of a progressive take on the Maiden sound with two songs clocking it at over seven minutes and none under four. This is a definitive purchase for Maiden fans, non maiden fans may want to avoid it, but fans of female fronted metal may also find it interesting. 7/10

Xystus: Equilibrio

This is a concept metal-opera that has been conceived by Dutch band Xystus. Before this album they had released two prog-power metal records with symphonic touches. On Equilibrio they have enlisted the help of an entire orchestra and choirs to back the musical side of things. The story revolves around two battling kingdoms and a hero given a quest by a goddess of sorts who has to choose between good and evil and unite the kingdoms. Lead singer Bas Dolmas takes the part of the traveller and protagonist with the duelling monarchs portrayed by Michelle Splietelhof and John Vooijs both of whom are musical actors. The death is portrayed by George Oosthoek lead growler in the gothic metal band Orphanage. The Ethereal vocals of the goddess are supplied by Simone Simons of Epica fame. The album itself is a true symphonic metal masterpiece, the concept doesn't get in the way of the album but it is one that needs to be digested in one sitting (so no shuffle). I cannot praise this album enough. 9/10

The video for Jettblack's "Two Hot Girls": http://youtu.be/GsALXltSMRE

Footage of the Xystus concert: http://youtu.be/iKUBGbL0u5g

 

Reviews: Sixx A.M, Symfonia, Eden's Curse

Sixx A.M: This Is Gonna Hurt (Eleven Seven)

Due to his major input into Motley Crue you would expect this album to sound like a mixture of the Crue and guitarist DJ Ashba's day job G'N'R. However what we get with this album is a truly modern rock record with some orchestral flourishes. These are supplied by singer/producer/multi-instrumentalist James Michael who adds the strings, keys and layered production that he has used on the previous Meat Loaf album, to this collection as well as lending his incredible voice to it as well. Like with all albums with Sixx's involvement it's the songs that stand out. They are rocking, reflective and beautiful. The opener This Is Gonna Hurt is a pulsing industrial sounding track that gives way to the modern Life Is Beautiful that sounds almost like Shinedown and Daughtry. Live Forever has a Muse-like quality and Skin and Smile  are the lighter waving ballads that will fill any arena. Sixx A.M have surpassed themselves on this album. It is better than The Heroin Diaries albeit not by much but it is a lot better than the last Motley Crue album. If you’re a fan of any of the members other projects you know how good this album is, if you’re not then I urge you to buy this album and become a fan. 8/10

Symfonia: In Paradisum (Edel)

Timmo Tolkki - those two words should put joy into the hearts of any power metal fan. Tolkki is the founding member and guitarist of Stratovarius. Right up until 2009 Tolkki was the main creative influence of the band until he left to follow his own pursuits. After a few badly received albums and a disastrous classical project Tolkki is back doing what he is very good at. Symfonia are somewhat of a super group as it features former Angra singer Andre Matos, keyboard virtuoso Mikko Harkin and former Helloween drummer Uli Kusch. Tolkki has written some of his best material in years for this album and the way him and Matos work together is fantastic. There are galloping rhythms, soaring solos and keening keys all of which are Tolkki trademarks. This album ranks with the new Stratovarius album as among the best power metal releases in years. If this is your idea of heaven then buy In Paradisum if this sounds like hell then best stay clear. For those of us still here let's hope this super group delivers live as well as they do on record. 8/10

Eden's Curse: Trinity (AFM)

Eden's Curse are a classic metal band that are based in England but have members from all over the globe. They are the brain-child of vocalist Michael Eden and bassist Paul Logue. In terms of style they have a melodic metal edge on a par with Maiden and Dio (even going as far as covering Rock And Roll Children as a bonus track). The band are tight precise and play with a real energy complimenting the unique voice of Eden, his nearest comparison would be James La Brie of Dream Theater who features as a guest vocalist on the album, dueting with Eden on No Holy Man which is one of the strongest tracks on the album. Andi Deris of Helloween also guests on a track but none of these high profile guests detract from the focus being on the band itself. After to overlooked but brilliant albums Eden's Curse have arrived. Get ready to be cursed! 9/10  

Live & Dangerous 2: Roger Waters

Roger Waters (O2 London)

This was going to be a big one. Not performed in Britain since 1982 Roger Waters performing the 1979 album The Wall in its entirety was going to be an event. Having not attended the Thursday night show I had missed the one night reformation with the remaining Pink Floyd members. This didn't dampen my spirits as I knew that the show itself would be fantastic. I managed to catch it from On Thin Ice as the London traffic meant I missed the opening. The stage was magnificent with unknown roadies building the wall as the songs progressed. The mix of inflatables and CGI projection gave great visual stimulation that were the perfect accompaniment to the aural genius of the music. Water's backing band were phenomenal, but it was Roger himself who was the star, singing with a new found energy and enthusiasm and thrusting himself into the role of frontman. You can see he is clearly revelling in becoming the dictator style character for In The Flesh/Run Like Hell/Waiting For The Worms. The world may have changed but the message this production conveys is still the same today and is even more relevant. (The line Should I Trust The Government? in Mother is met with the same answer as it was in 1982 "No Fucking Way!") This concert was a triumph of music, production and sheer human achievement (Just to move the stage setup would take and army) But it all comes together when it's performed in front of an audience. This was truly a moment of history (But if you do it again Roger may I suggest the Millennium Stadium it would be easier to get to) 10/10