Reviews: Iced Earth, Exit Ten, Charred Walls Of The Damned

Iced Earth: Dystopia (Century Media)

American Traditional Metal legends Iced Earth return with their new solo album and their first after the retirement of Matt Barlow. Much like with Bruce Dickinson in Iron Maiden and Rob Halford in Judas Priest, Matt Barlow can be considered to be 'the voice' of Iced Earth, so, like Priest when they replaced him with Tim 'Ripper' Owens there was a great vocalist but not the one everyone wanted. So when Barlow returned for the second part of the 'Something Wicked' concept albums there were a lot of happy faces. This changed when Barlow announced his departure however in Canadian Stu Block, formally of Into Eternity, they have found a fantastic replacement. Not only can he do the mid-range power vocals of Barlow but also the shrill screams of Ripper. The album itself is the first album to not to be based on the concept since The Glorious Burden only the title track and Tragedy And Triumph are based on the continuing concept. This album is one of Iced Earths heaviest with many of the tracks heavy and unrelenting showing of Block's brilliant voice, creative genius Jon Schaffer's unrivalled rhythm playing and Troy Steele's melodic and aggressive leads and solos. Both the first title track and final track Tragedy And Triumph use the metal favourite of Holst’s Mars: Bringer Of War before launching into a thrashy assault with Dystopia and a Maiden homage with Tragedy And Triumph. Many of the songs are based on dystopian themes and films with V and Equilibrium both being based on the films of the same name. The track Anguish Of Youth has a similar style to The Dark Saga's I Died For You. Block's voice is at its best on his self-penned number End Of Innocence but throughout the album he is simply awesome. The disciples of Barlow will not be able to complain, his voice is flawless and this is classic Iced Earth sounding as hungry as they ever were. Tremendous. 9/10

Exit Ten: Give Me Infinity (Deep Burn Records)

After surviving the trials and tribulations of an unpredictable music world Exit Ten return with their second full length album. The band had a great debut with Remember The Day but many ignored it because of two reasons. Firstly the band looked like a fringed Emo band and the second was that the album was deleted after the record company went bankrupt meaning the band had to buy back their own album! However they have weathered this storm and come back stronger. Whereas Remember The Day was a melodic rock album with some progressive touches, like expressive guitar work, some keys and a very clean vocal delivery, this second album bring a distinctly more prog feel to the album. The band have created an 'album' meaning that all of the tracks fit perfectly together and it is definitely an album that needs to be heard from start to finish. The opener has a distinctly In Me feel (a band that Exit Ten are similar to in style) and this begins a very cathartic, upbeat and intensely technical album. The technicality doesn't get in the way of the bands core values of great song writing. Some of the highlights of this album is the track Drama which has a great almost Breaking Benjamin guitar riff and segues into a piano led outro, the heavy Curtain Call and the grungy Mountain. One of the keys to Exit Ten's uniqueness is their vocalist Ryan Redman who has an expansive and emotive voice that is equally suited to high balladry and gritty rocking. This is an album that needs to be heard, from a band that merges elements of Fightstar, Pearl Jam, InMe and Muse to create a fantastic album from a band that are so young. 9/10

Charred Walls Of The Damned: Cold Winds On Timeless Days (Metal Blade)

The first CWOTD album was a 30 minute speed/thrash album that came from the mind of former Death/Iced Earth drummer (and Howard Stern alumni) Richard Christy. He created the first album in his house before inviting Death bassist Steve Di Giorgio, screamer Tim 'Ripper' Owens and producer and guitarist extraordinaire Jason Suecof. The first album was short, sharp blast of heavy metal that was somewhat disjointed but enjoyable. This second album is both longer and more accomplished than its predecessor, Christy still blast beats furiously through many of the songs, with Suecof riffing like a demon melding heavy power with intricate melodies. It is however when the band eases off the gas that they become more of an interesting protest. Ripper's voice to be its usual blend of screams and Dio-like power. The album is not perfect nor is it necessarily essential but it is enjoyable for any fan of heavy metal or the people involved. 7/10 

Live & Dangerous 13: Joe Bonamassa, David Ford

Joe Bonamassa & David Ford (Cardiff Motorpoint Arena)

David Ford

How do you win over a crowd of avid blues-rockers? With an acoustic blues/folk one man band. Starting off with just a nail box, egg shaker and drum box David Ford kept the crowd in awe for the entire set list. He is the epitome of the solo artist as he used all the instruments at his disposal (including a small organ and an acoustic guitar) to create wonderful layered backing tracks. All the layering was done on the stage with the aid of a mic and small programmer device. Fords voice was gritty and raw and his performances had a hint of melancholy and passion. He left the audience spell bound with both his unique performance style and his likeable attitude. He reminded me of mix between Bob Dylan, Seasick Steve, Mike Oldfield and folk troubadour Frank Turner, and for those comparisons alone he was a great thing to behold. 7/10

Joe Bonamassa

As the strains of Maiden's 2 Minutes To Midnight lowered JB and band arrived on stage and immediately opened with their supercharged cover of Rory Gallagher's Cradle Rock before moving into the heavy as lead riff for When The Fire Hits The Sea. After a Gary Moore cover Joe then played three songs from new album Dust Bowl (title track, Slow Train and the funky You Better Watch Yourself) before the show stopping Sloe Gin brought the capacity crowd to its feet. Joe then pushed up the tempo with his self-proclaimed 'hit' The Ballad Of John Henry which started off three from the John Henry... album and was followed by Black Rock's Steal Your Heart Away. The next big showstopper came at the end of the main set with the one-two of the frenzied acoustic track Woke Up Dreaming and the epic Django/Mountain Time. These two brought the crowd to their feet again, all the credit can't go Bonamassa however as he is backed by a tremendous band, Rick Melick brings his Keys and Hammond to create meticulous melodies over the heavy rocking and authenticating the blues with some boogie. Carmine Rojas plays some exquisite bass and can match Bonamassa's style with ease, new drummer Tal Bergman is an animal behind the kit and smashes everything with power and precision (as shown on his drum solo in Young Man Blues where he was literally shaking the kit). However it is Joe's playing and voice that brings in the punters and they are both fantastic throughout. The best showcase for both is the encore which includes two covers one is Joe's electric reworking of Leonard Cohen's Bird On a Wire which showcases Joe's expressive and excellent voice and the second was ZZ Top's Just Got Paid which showed Joe's superior playing (clad in the obligatory Gibson Explorer). After this encore the room was shaking with rapturous applause, Bonamassa had destroyed the crowd with his thunderous blues rock and seemed in fine form (despite cancelling the last two gigs because of flu). Finally he was able to do this in the Motorpoint Arena which is not known for its sound quality; however the sound for this gig sounded the best it had in a long time. (Maybe things are on the up.) 9/10

Live & Dangerous 12: Y&T

Y&T (Cardiff Coal Exchange)

With doors opening at 7:30 and the band starting at 8:30 would Y&T be worth and hour wait? The answer is yes. Starting with On With The Show Y&T immediately got off to a rip-roaring start, and then smashed into the classic Black Tiger which got the diminutive crowd going. The band were celebrating the 30th anniversary of their Earthshaker album so many of the tracks came from that album, which is no bad thing considering the quality of it. Dave Meniketti is both a fantastic singer and guitarist and does both brilliantly at the same time (watch and learn Dave Mustaine) the band mix rockers and ballads with metal and blues all of which the do brilliantly none more so than on the epic I Believe In You which shows of Meniketti's voice and guitar talent, this was followed by Hurricane, Summertime Girls and Rescue Me. Not all the credit can got to Meniketti as he is back by a fantastic band, drummer Mike Vanderhule is both speedy and powerful (and even gets a drum solo that wasn't boring), bassist Brad Lang holds the fort and is a great replacement for founder member Phil Kennemore who died earlier this year and John Nyman plays excellent rhythm guitar and also has quite a voice which he shows to full effect on the Kennemore penned Squeeze which serves as a fitting tribute to him. The venue also can't be counted out as the Coal Exchange has crystal clear sound that meant every single glorious note could be heard. The band finished with a new track I'm Coming Home before returning with an encore of Don't Stop Running and the awesome Maidenesque Forever. This was a fantastic gig in a brilliant venue definitely one of my top gigs this year. 10/10 

Reviews: Five Finger Death Punch, Touchstone, Magenta

Five Finger Death Punch: American Capitalist (Spinefarm)

FFDP are the epitome of 'modern metal' merging thrash, groove, metalcore and nu metal to create their brand of angry metal. The band are equally loved and derided in equal measure and while I don't 'love' them I enjoyed their last two albums (they are great in the gym.) This album is their third and it is a case of business as usual, the opening title track sets the tone with its heavy riffing, double kicking and both shouted and melodic vocals from frontman Ivan Moody. First single Under And Over It is admittedly a bit weak but following track The Pride makes up for this by being almost an angrier version of R.E.M's End Of The World As We Know It. The rest of the album is unfortunately very samey, the double kick drumming, precision riffing and aggressive but upbeat vocal passages are prominent throughout. This album does have more soloing than the last to albums which is a bonus but still the band do seem to be going through the motions. A band that seems to be more of live commodity than a recorded one FFDP just don't seem to have progressed since War Is The Answer, whether that is deliberate or not is up for debate. In conclusion this album is good, the playing is tight and professional, Kevin Churkos's production is meaty and modern and the songs fit well with the bands style, however the band do seem to have plateaued somewhat which will do them no favours with critics. 6/10   

Touchstone: The City Sleeps (SPV/Spinefarm)

Touchstone have managed to bring their female fronted prog rock around for a third album. However unlike other bands in the genre they have a harder almost metal edge that is mixed with very poppy sensibilities this is because the two vocalists Kim Seviour and Rob Cottingham both have very strong but distinctly poppy voices. The band are all fantastic players Cottingham also handles the keys which create the main melodic basis of the songs, Adam Hodgson's guitar playing is fantastic especially on Good Boy Psycho. The album starts with a propulsive opener in Corridors which is followed by the first of two epic tracks called When Shadows Fall which is a sequel to the track Shadows on their debut album. Two shorter speedy numbers follow before in my opinion one of the best tracks on the album in Sleeping Giants which is a haunting ballad that is nearly all sung by Cottingham who was a little under used on the last album but regains his voice on this album, the track is fantastic and very emotional as is Horizons which again is sung mainly by Cottingham and has an early Genesis vibe to it albeit with a modern edge. Good Boy Psycho is a schizophrenic rocker that ends in the aforementioned guitar explosion. The new songs all have a distinctly metallic edge and also could fall into the melodic rock of Saga and Eden's Curse. The final and title track is probably the most powerful one as it continues the Wintercoast concept that started on their last Jeremy Irons Narrated album of the same name. This again features voice-over talent with Anna-Marie Wayne (daughter of Jeff Wayne the creator of the musical War Of The Worlds) doing the honours this time around. The band really goes hell for leather on this track and it pays off as this is probably the best on the album. All in all and excellent album from a band that should have more kudos than they do. 8/10

Magenta: The Collection (Tigermoth Records)

This is a free compilation from the Welsh female fronted progressive rock band. It comes with nine of their most well-known tracks from their last 4 albums. It is a promotional release to advertise the bands upcoming tour and having seen the band live this is one you should check out. The album itself starts with their most well-known song Speechless what follows are 9 well-crafted true progressive rock songs in the style of Genesis or Marillion and also the neo-prog of Pendragon. This is an excellent album for any fan of the genre. The cd is available from Spillers and can also be downloaded from their website. 7/10

Reviews: The Answer, The Union, Reckless Love

The Answer: Revival (Spinefarm)

Northern Irish Blues/hard rockers The Answer return with their third and possibly best album. Starting with hard hitting opener Waste Your Tears we are immediately hit with the heavy rocking riff of this retro influenced band. Frontman Cormac Neesons voice is at its finest throughout with the band also on fire, the soloing is particularly excellent. Use Me is another speedy rocker that creates this opening salvo. The bands time on the road with AC/DC has served them well as the songs on this album feel more accomplished than their first but more fluid than on their last. First single Vida (I Want You) is a funky number that feels a little bit commercial as is Nowhere Freeway which features Lynn Jackman from Saint Jude dueting with the band. Honestly this could be a number one as it has a distinctly modern sound to it, Destroy Me has a Kashmir like sound with a crunching guitar riff that comes out of a Middle Eastern vibe and One More Revival brings the gospel influence to the album. This is an album of great tracks that really doesn't do anything new but who wants that when this is great as it is. The second disc features some demos and extra tracks out of these Piece By Piece, What I Am and their cover of Fire & Water are the tracks that stand out. The Answer are the leading band of their genre and on this album they prove it. 9/10

The Union: Siren Song (Payola Music)

The collaboration between former Thunder guitarist Luke Morley and Pete Shoulder continues with this second album. Their debut was blues rock masterpiece and was one of the best albums of the year, this album continues in that vein. Opener Siren Song starts with a countrified opening and then blasts the doors off and rocks like something BLS may have written. Blame It On Tupelo follows the rocking trend until Orion breaks the flow with a folky detour. This is then followed by the almost Glam-rock stomp of Obsession and the hymn-like ballad of Make Up Your Mind which shows just how soulful Shoulder's gritty and sonorous voice can be. The Remedy has a dirty slide riff that falls into another ballad of Cut The Line that is beautiful and works well after the rockier song before it. The album is brilliantly written with light and shade in every track. Morley and Shoulder's guitar playing is fantastic and Shoulder's voice is suited perfectly. After the demise of Thunder as a touring and recording prospect I thought I'd lost the book forever, however The Union is just another great passage in the history of rock and roll. 8/10

Reckless Love: Animal Attraction (Spinefarm)

Having released their first album last year Swede's Reckless Love have returned with their second album that is possibly even more 80's than their first. Like last time there is a very strong Van Halen element to the album with frontman Olli Herman both looking and sounding like 'Diamond Dave' and guitarist Pepe ripping out the double tapping like Eddie used to. However their sound has matured on this album, the opening and title track has a distinctive Def Leppard vibe to it and ballad Fantasy is straight out of the Bon Jovi songbook. This album maybe lumped with the parody metal of Steel Panther but Reckless Love are not a joke band they are just bringing the Booze, Babes and Bikinis of the Sunset Strip back to metal and in doing so they have created a well-produced and performed party rock album full of juicy hooks and some very tasty guitar playing, after listening to this album you'll be hungry for more (sorry for the puns). 7/10

Reviews: Steven Wilson

Steven Wilson: Grace For Drowning (Kscope)

Starting with a multi tracked vocal song in the title track and a heavy weight instrumental in Secritarian before the cascading Deform To Form A Star gives the first hint of his day job this could only be the new solo album from creative genius Steven Wilson. Every track on this album is different; it spans multiple genres and has Wilson's creative stamp over all of it. No Part Of Me is a techno infused romp that includes a horns section crescendo and is then followed by Postcard a touching piano led ballad that features a choir that dissolves into the next track Raider Prelude which is a haunting baroque style track that has a chamber music style. The final song on disc 1 (yes this is two discs) is Remainder The Black Dog which sounds like an early Porcupine Tree track and features the guitar talents of the legendary Steve Hackett of Genesis. The second disc has fewer tracks but they are of the same quality, opener Belle Du Jour is a restrained acoustic track with orchestral backing. Index is an industrial style track filled with a restrained menace. Track One follows and turns from its acoustic opening to a dark ominous coda and then into a Pink Floyd style guitar solo. Raider II was the track that was going to be the deal breaker for many people, described as a 23 minute jazz-funk track this was going to test even the most open of mind. The track starts slow and then builds into a flute topped rockier section about 3 minutes in the flute continues over the jazz influenced piano led middle part (the piano played by Jordan Rudress of Dream Theater). This leads into a guitar rundown and a blasting section showing Wilson's guitar talents before breaking into a jazz clarinet breakdown. This moves into an ethereal acoustic part that becomes almost folk-like before ending on a crushing guitar up-scale that also features some scat sax playing before ending in percussive crescendo and trails out with a bass led coda. The final track is Like The Dust I Have Cleared From My Eye and is a slow ballad with a stunning guitar part that ends the album well.

I realise this is a big review but there is really a lot to say, this album is fantastic and any fan of music should seek out this and its predecessor (as well as Wilson's other works with Blackfield and No Man). An excellent album from a gifted individual. 10/10

Reviews: Mastodon, Evile, Beth Hart & Joe Bonamassa

Mastodon: The Hunter (Roadrunner)

After the prog-metal madness of last album Crack The Skye the metal madmen of Mastodon return with a more straight forward album that only has a semi concept. Smashing out of the blocks with Black Tongue and the catchy; almost commercial Curl Of The Burl. Both these songs feature the big riffing that Mastodon have made their name in. The next track Blasteroid is a punk rock song with odd time signatures that mixes things up a bit especially because it is followed by the heavy stoner riffing Stargasam. The band have created another heavy album where every track is different and the album is better for it. The vocals of Brent and Troy are brilliant as are drummer Brann who takes his first full lead vocal on the track The Creature Lives. The playing is stunning especially on All The Heavy Lifting and on the very trippy title track. Mastodon have come back from their prog flight of fancy with a very accomplished album that harks back to their roots but also sees them as the band they are now. Give it a few spins and you will unlock all of its treasures. 9/10


Evile: Five Serpents Teeth (Earache)

This is Evile's third album and their first since the tragic passing of bassist Mike Alexander. With debut Enter The Grave the band produced a retro thrash attack that was dumb fun, on second album Infected Nations they became more technical but a bit more inaccessible. On this third album the band have found their sound, which is a mix between the two previous albums. From the opening of  the first title track, you realise that the bands playing is far more accomplished than it used to be, frontman Matt Drake's voice has also matured and is now his roar pitched between Araya and Hetfield's. The soloing from his brother Ol is brilliant and lightning fast. Most of the songs range from speedy thrashers like Eternal Empire and chugging riffers like the very commercial sounding Cult. The band are not all heaviness however the tribute to Mike Alexander In Memoriam is an excellent ballad that serves as a fitting tribute to their former bassist (who also co-wrote the song). All in all this album is an excellent metal album that shows a young band who are going to go far. I for one can't wait to see them rip these songs up live. 8/10

Beth Hart & Joe Bonamassa (Provogue)

Beth Hart is a female blues singer that is well known in the blues rock circles. Joe Bonamassa needs no introduction at all. These two great artists have teamed up for this album of blues and soul covers. Joe B specifically chose Hart to sing on this album and you can see why, her soulful gravelly vocals are perfect for hard drinking, hard loving songs that are covered on this album. Joe's vocal input is limited to just one track which is a duet between the two, but his expressive guitar playing is on every track bringing them a more modern edge. The rest of the band are Joe's solo band and they all play like the seasoned veterans they are. Like all of Joe's recent albums the production his helmed by Kevin Shirley who brings his fantastic plaudits to the album. The star however is Hart herself who is a stunning talent, vocally she is reminiscent of Amy Winehouse but is grittier, she steals this album and is a perfect vocal foil for Joe's guitar. An excellent album that is for blues and soul fans as well as fans of the two title musicians. 8/10

Live & Dangerous 11: Sylosis, Malefice, Anterior, Chapters

Sylosis, Malefice, Anteior, Chapters (CF10 Cardiff University)

Chapters

Having arrived for the end of Chapters set I only saw a few songs but from what I saw they were a generic four-piece death/thrash band. They seemed accomplished and ready for bigger things but really they were nothing that special. 6/10

Anterior

Despite having a bias towards Anterior because of my nationality, they are also a great band that plays melodic death metal that is filled with face melting solos. When the supported Sylosis earlier in the year they wiped the floor with them. This time they were equally as anthemic and entertaining but due to the other bands that were coming they seemed a little undersold. Still they played a relatively short set that had the home town crowd moving and air guitaring along. 8/10

Malefice

A band that always inspires pits due to their heavy crushing riffs and furious breakdowns Malefice were quite rightly second to the headliners. They opened with their chugging groove riffage that continued throughout their set. The playing was heavy and fierce and Dale Butler's screams were guttural, the breakdowns were neck snapping and the faster passages and solos on the newer songs got whipped the crowd into a frenzy. The band finished with the title track of their latest album Awaken The Tides which ended the set on a high and made the crowd ready for the headliners. 8/10

Sylosis

When I first saw Sylosis they seemed to be a band finding their feet with their new line up. After the loss of their singer lead guitarist Josh Middleton stepped up to plate and on the newest album did a fantastic job. Only now has this translated into the live arena, his vocals and lead playing are brilliant, as are the rest of the band. Their new thrash mixed with metalcore and death metal works very well, the band are still a little static on stage but due to the technical nature of the riffage that can be overlooked. Sylosis got the crowd really moving continuing the pits that Malefice started and even ending on a Wall Of Death. The final tracks of Conclusion Of An Age and Empyreal ended what was a very good set from a superb band. 9/10

Final thoughts: This gig shows what talent there really is in Britain, all of the bands were from the UK and all hopefully will become much bigger than they are now. This was a fantastic gig and a triumph of British metal.

Out Of The Beyond 9

Blood Ceremony: S/T

This occultist doom/metal band hail from Canada. They are your typical Rise Above records fodder, the songs concentrate on Witchcraft and mysticism. Satan and the party God Pan feature heavily. The band have a set of nine heavy rocking songs drenched in organ and flute both of which are played by front woman Alia O'Brien, who also provides the suitably moody and bewitching vocals that have more than a passing resemblance to Grace Slick of Jefferson Airplane. The tracks are all heavy/jazzy/folky and psychedelic in their own way. Fans of Rise Above bands and this kind of 70's style Doom rock will enjoy this retro throwback of an album. 8/10

Protest The Hero: Fortress

This album is the bands second and I think is their best album. Each track is a cacophony of noise and speed that is mixed with the great vocals of Rody Walker. The band were a Mathcore band but on this album they have stepped up their game and released a schizoid progressive metal album, that’s sounds like what would happen if Dragonforce gave the swords and sorcery a rest. (DF Keyboardist Vadim plays a keyboard solo on one track in an interesting link). The band could well now be linked with the djent scene but they are so much more and are intentionally very hard to classify. Cracking album that will be like Marmite to most people. 8/10

Exit Ten: Remember The Day

Another band that are more than how they look on paper. They seem to be another scene band that will only be liked by kids and those with fringes. However Exit Ten are a band that bring searing technicality and merge it with pop sensibilities. The band reminds me of InMe and their debut is a great prog rock album that is truly progressive as they are a rock band that tries to push the boundaries of their sound. The vocals are great as is the playing. One warning though this album is very hard to find as problems with the production company meant that it was withdrawn just after release. If you can find it however you will be surprised by what you find. 9/10


Blood Ceremony: http://youtu.be/W3QWZl5vWCw
Protest the Hero: http://youtu.be/32Q4x112dAU
Exit Ten: http://youtu.be/XEUkkO6FDBE

Reviews: Opeth, Arch/Matheos, White Wizzard

Opeth: Heritage (Roadrunner)

Prog metal masters Opeth have been threatening to make this album since Blackwater Park the band have been slowly adding more 70's style prog rock flourishes to their work with every album. Watershed featured less of the guttural roaring from Akerfeldt and now Heritage has got rid of it completely. They have also toned down on the metal and become a 'rock' band. That isn't to say this album isn't heavy. It is but in a different way to its predecessors. The album starts and ends with two acoustic instrumentals that frame the album perfectly. The first proper song is Devils Orchard which is a very retro sounding organ drenched progressive track that sets the tone nicely. The following 8 tracks are songs that would be more at home on a King Crimson or a Camel album. The only thing that links them to the Opeth of old is Akerfeldt's undeniably powerful and resonant voice. Second track I Feel The Dark starts off as a slow acoustic number and then the guitars after about 3 minutes and crush everything that came before. Next track Slither is a tribute to Ronnie James Dio and as such has a very definite Rainbow-like sound with Akerfeldt doing his best Ritchie Blackmore impression this leads into the dramatic and haunting Nepenthe which features a jarring piano opening backed by a jazz shuffle that turns into a song that sounds very similar to Porcupine Tree. In fact the whole album has a very Porcupine Tree sound. The bonus tracks of Pyre and Face In The Snow are also excellent the one a jazzy number with an excellent classical guitar solo and the other a doom laden and emotional ballad. This is truly a finely crafted album from an excellent band, it will split opinion but the faithful will see it for the masterpiece it is. 10/10    

Arch/Matheos: Sympathetic Resonance (Metal Blade)

John Arch and Jim Matheos were the two founder members of the flagship progressive metal band Fates Warning. Arch left soon after their first few albums but Matheos is still the leading creative force behind the band. So because of the history between these two this album was going to be special, and it lives up to the expectation. Although only featuring 6 tracks they are all over 5minutes long with three clocking in at over 10 minutes long. All of the tracks have the emotional and intricate playing of Matheos who is on fire throughout, Arch's LaBrielike voice (or should that be LaBrie's Archlike voice, because of the chronology) soars above the heavy riffing with fantastic emotion and power. Admittedly this album does sound a lot like Fates Warning, but that isn't a bad thing, so if you are not a fan of that band then you will not like this album (there I said it) if however you like well written, played and produced progressive metal then this is an album I suggest you purchase. 9/10

White Wizzard: Flying Tigers (Earache)

This is White Wizzard's second full length album; it was recorded with second vocalist Wyatt Anderson before he left recently. The album is also has an expansion in sound, the band's core is still a new take on NWOBHM but they have now included a distinct Sunset Strip sound of bands like Skid Row and Motley Crue. The first 6 tracks are speedy metal tracks Night Train To Tokyo having a distinctly sleaze style. The main bulk of the album though is a concept that revolves around aliens as the beginnings of humanity; these tracks are very well formed and have some prog tinged elements similar to Maiden's Seventh Son Of A Seventh Son. Founder John Leon handles not only the bass but also the lead and rhythm guitar on this album, all of his playing is good and Anderson's vocals are very overwrought and soaring, but he can also do the sleaze style grit. A great album but even with the new expansion in sound this is still a very formulaic but enjoyable album. 7/10