Dimmu Borgir (Great Hall 2 Cardiff)
Again we arrive at the Great Hall 2 (the Great Hall curtained off) but this time just to see one band. Billed as an evening with Dimmu Borgir this was two sets from possibly the best Norwegian Black Metal band around. The first was a complete performance of their seminal Enthrone Darkness Triumphant album which was one of their first albums to include the orchestral flourishes that they are now known for. Despite not being the biggest Black Metal fan and not really having too much Dimmu stuff the performance was fantastic with the set roaring past with pace and precision with every song meaning horns in the air and voices chanting. There was a reasonably big crowd yet the gig still felt intimate with the band playing on top form. The sound was not great for the first three songs from what I could hear (I had an ear infection so earplugs for me I'm afraid) with Shagrath's vocals suffering but then then sound came alive with the roars and growls coming clear as Hell itself. Giving the fans a break from the madness there was a brief intermission with a drum solo after the break had ended which was the start of the 'greatest hits' set, of these Ritualist, Puritania, The Serpentine Offering and the terrific Gateways were the highlights. The band showed that they are one of the best live prospects on the scene with Shagrath easily getting the crowd to follow his every satanic verse and the dual guitars of Silenoz and the heavyweight Galder were riffing like demons over the frenetic blast beating of Daray easily mimicking the style of original drummer Tjodalv. Even the clean vocals of former bassist ICS Vortex were not missed as all backing vocals were done from backing tapes as were the orchestral elements. In short this was a great show that validates the statement I made about them at the beginning. Some may say they sold out by changing the Black Metal formula and adding symphonic elements but I think this makes them all the better. 9/10
Monday, 21 November 2011
Wednesday, 16 November 2011
Reviews: Disturbed, Electric Mary, Furyon
Disturbed: Lost Children
An album of B-sides from Disturbed would fill many with fear as tracks that are purposefully left off an album have been left off for a reason. However this doesn't seem like an album of B-sides but just another Disturbed album, yes you can hear the differences between their earlier material and their newer stuff but then there is not a huge void between the two. The album features the bass-heavy riffing, the intricate guitar playing of Dan Donegan and the machine-gun vocal delivery of David Draiman. The album also features one unreleased songs and two covers in the shape of Faith No More's Midlife Crisis and Judas Priest's Living After Midnight. This like all of their albums is a solid release that doesn't do anything new but yet doesn't need to, like with all Disturbed tracks if you've heard Down With The Sickness you know what you’re going to get but for fans and completists this is definite buy. 7/10
Electric Mary: III (Listenable)
These Aussie retro rockers return with their third full length (as if the title didn't give it away!) again the band play fuzzed up, heavy riffing hard rock in the vein of Lizzy or AC/DC with some Zeppelin thrown in as well. The album opens up with the propulsive O.I.C which sets the tone with its bluesy but heavy vibe, unlike their previous album this album does shake the sound up a little with both Stained and Long Time Coming having a very Soundgarden vibe which is mainly due to frontman Rusty Brown's voice having a Cornell-like rasp. This album is well played classic rock that is exciting and blood-pumping, they are not treading any new ground but it is still great stuff. 8/10
Furyon: Gravitas (Monster Energy)
Modern heavy metal band Furyon hail from Brighton and mix Southern style rock, heavy metal with some progressive rock thrown in for good measure. The album is produced by Rick Beato who has produced albums by Fozzy and Shinedown and brings a very modern touch to the proceedings. Pat Heath and Chris Green's guitars are brilliant with the dual leads tight and the soloing melodic. The majority of the songs are heavy riffing anthems with empowered vocals by Matt Mitchell, the band are a mix of Black Label Society with pinched harmonics and heavy riffing present on most tracks and they also have elements of Alice In Chains especially on the fourth track Don't Follow with Mitchell's voice and the riff itself coming straight out of AIC territory. A good album made even better by the fact that it's free with this month's Metal Hammer (December 2011). 8/10
An album of B-sides from Disturbed would fill many with fear as tracks that are purposefully left off an album have been left off for a reason. However this doesn't seem like an album of B-sides but just another Disturbed album, yes you can hear the differences between their earlier material and their newer stuff but then there is not a huge void between the two. The album features the bass-heavy riffing, the intricate guitar playing of Dan Donegan and the machine-gun vocal delivery of David Draiman. The album also features one unreleased songs and two covers in the shape of Faith No More's Midlife Crisis and Judas Priest's Living After Midnight. This like all of their albums is a solid release that doesn't do anything new but yet doesn't need to, like with all Disturbed tracks if you've heard Down With The Sickness you know what you’re going to get but for fans and completists this is definite buy. 7/10
Electric Mary: III (Listenable)
These Aussie retro rockers return with their third full length (as if the title didn't give it away!) again the band play fuzzed up, heavy riffing hard rock in the vein of Lizzy or AC/DC with some Zeppelin thrown in as well. The album opens up with the propulsive O.I.C which sets the tone with its bluesy but heavy vibe, unlike their previous album this album does shake the sound up a little with both Stained and Long Time Coming having a very Soundgarden vibe which is mainly due to frontman Rusty Brown's voice having a Cornell-like rasp. This album is well played classic rock that is exciting and blood-pumping, they are not treading any new ground but it is still great stuff. 8/10
Furyon: Gravitas (Monster Energy)
Modern heavy metal band Furyon hail from Brighton and mix Southern style rock, heavy metal with some progressive rock thrown in for good measure. The album is produced by Rick Beato who has produced albums by Fozzy and Shinedown and brings a very modern touch to the proceedings. Pat Heath and Chris Green's guitars are brilliant with the dual leads tight and the soloing melodic. The majority of the songs are heavy riffing anthems with empowered vocals by Matt Mitchell, the band are a mix of Black Label Society with pinched harmonics and heavy riffing present on most tracks and they also have elements of Alice In Chains especially on the fourth track Don't Follow with Mitchell's voice and the riff itself coming straight out of AIC territory. A good album made even better by the fact that it's free with this month's Metal Hammer (December 2011). 8/10
Sunday, 13 November 2011
Out Of The Beyond 10
Orphaned Land: The Never Ending Way Of The ORWarriorOR
This band hails from the troubled Middle East and show that music defies all boundaries. Half come from Israel and the others are from Palestine. As for genre the band play progressive metal infused with barking death vocals and Arabic instruments. Think a Middle Eastern Opeth with Pink Floyd guitar solos and you'll be half-way there. The vocalist Kobi Fahr mixes Akerfeldt style clean vocals and growls, his performance is stellar and he is backed by a band of stunning musicians with lead guitarist Yossi Sa'aron playing some of the most stunning guitar work I have heard for a while, just check out The Path Part 1&2 and Warrior for examples of his brilliant playing, the sound also is different from many similar bands as they make use of native Middle-Eastern instruments like Ouds, Bouzouki and Saz as well as female Yemenite vocals from Shlomit Levi who's voice is beguiling and really adds to the colour of their musical talent. The band are going to appeal to fans of Opeth as this is who they share the majority of their style with but also there are elements of Porcupine Tree to be found with Steven Wilson both producing the album and providing the keys for it. This concept album is one of the best I have heard for a long time and comes from a band that need to be heard, truly inspiring stuff from a fractured region. 9/10
Royal Republic: We Are The Royal
This Swedish four-piece play turbo-riff rock with a punk attitude and some tongue in cheek humour. They are all quiffs and leather jackets and this is reflected in their Garage rock style. The album is 13 tracks of punchy, poppy rocking songs that have real bite to them. They are based on the subjects of sex, drink and parties and you can hear that this is the life that the RR has lived. Especially on the track President's Daughter which is the story of a true-life romance between the frontman and the Swedish president’s daughter. Tracks like Underwear and Tommy Gun are filled with great lyrics and good time attitude. This is a great party rock album form a band that I think would be excellent live. 7/10
Saint Jude: Diary Of A Soul Fiend
Rocking out of London like it's the 1970's Saint Jude are the newest force in the on-going Rock 'N' Soul (their description not mine) revival. The band are Hammond a fuelled 5 piece play classic hard rock with a major soul edge in the style of The Faces, Zeppelin and Big Brother And The Holding Company. Sultry, mystical and gorgeous front woman Lynne Jackaman is the mistress of ceremonies with her powerful, gritty, soulful voice is drenched in emotion and blues. She has an almost Janis Joplin-like voice that also has some Aretha Franklin elements to it. The band that back her are as tight as bicycle-shorts with all of them playing with technical expertise and a professional loucheness that the Stones do so well. Adam Greene's guitar playing is very like Keef's with the added element of Joe Glossop's Hammond adding a bluesy touch. Their debut album is full of rocking tracks and touching soul ballads, the opening track Soul On Fire gives a good introduction to the band’s sound as it full of blues and bluster, this gives way to the soulful Garden Of Eden. The acoustic Down This Road breaks the flow with a small folk detour before the powerful blues ballad Down And Out really stops the show a moment that is repeated on the moving Angel. Saint Jude are one of the best of a new breed of modern blues rock bands, now they just need to tour with The Answer and I'll be in heaven. 8/10
Orphaned Land: http://youtu.be/DUi1yf97paw
Royal Republic: http://youtu.be/dhcGNN9r1D4
Saint Jude: http://youtu.be/P64RGr8twaQ
This band hails from the troubled Middle East and show that music defies all boundaries. Half come from Israel and the others are from Palestine. As for genre the band play progressive metal infused with barking death vocals and Arabic instruments. Think a Middle Eastern Opeth with Pink Floyd guitar solos and you'll be half-way there. The vocalist Kobi Fahr mixes Akerfeldt style clean vocals and growls, his performance is stellar and he is backed by a band of stunning musicians with lead guitarist Yossi Sa'aron playing some of the most stunning guitar work I have heard for a while, just check out The Path Part 1&2 and Warrior for examples of his brilliant playing, the sound also is different from many similar bands as they make use of native Middle-Eastern instruments like Ouds, Bouzouki and Saz as well as female Yemenite vocals from Shlomit Levi who's voice is beguiling and really adds to the colour of their musical talent. The band are going to appeal to fans of Opeth as this is who they share the majority of their style with but also there are elements of Porcupine Tree to be found with Steven Wilson both producing the album and providing the keys for it. This concept album is one of the best I have heard for a long time and comes from a band that need to be heard, truly inspiring stuff from a fractured region. 9/10
Royal Republic: We Are The Royal
This Swedish four-piece play turbo-riff rock with a punk attitude and some tongue in cheek humour. They are all quiffs and leather jackets and this is reflected in their Garage rock style. The album is 13 tracks of punchy, poppy rocking songs that have real bite to them. They are based on the subjects of sex, drink and parties and you can hear that this is the life that the RR has lived. Especially on the track President's Daughter which is the story of a true-life romance between the frontman and the Swedish president’s daughter. Tracks like Underwear and Tommy Gun are filled with great lyrics and good time attitude. This is a great party rock album form a band that I think would be excellent live. 7/10
Saint Jude: Diary Of A Soul Fiend
Rocking out of London like it's the 1970's Saint Jude are the newest force in the on-going Rock 'N' Soul (their description not mine) revival. The band are Hammond a fuelled 5 piece play classic hard rock with a major soul edge in the style of The Faces, Zeppelin and Big Brother And The Holding Company. Sultry, mystical and gorgeous front woman Lynne Jackaman is the mistress of ceremonies with her powerful, gritty, soulful voice is drenched in emotion and blues. She has an almost Janis Joplin-like voice that also has some Aretha Franklin elements to it. The band that back her are as tight as bicycle-shorts with all of them playing with technical expertise and a professional loucheness that the Stones do so well. Adam Greene's guitar playing is very like Keef's with the added element of Joe Glossop's Hammond adding a bluesy touch. Their debut album is full of rocking tracks and touching soul ballads, the opening track Soul On Fire gives a good introduction to the band’s sound as it full of blues and bluster, this gives way to the soulful Garden Of Eden. The acoustic Down This Road breaks the flow with a small folk detour before the powerful blues ballad Down And Out really stops the show a moment that is repeated on the moving Angel. Saint Jude are one of the best of a new breed of modern blues rock bands, now they just need to tour with The Answer and I'll be in heaven. 8/10
Orphaned Land: http://youtu.be/DUi1yf97paw
Royal Republic: http://youtu.be/dhcGNN9r1D4
Saint Jude: http://youtu.be/P64RGr8twaQ
Live & Dangerous 18: Turisas, Chthonic, Kiuas
Turisas, Chthonic, Kiuas (Cardiff Great Hall 2)
Kiuas
Coming from the Great Hall 2 (which is just the Great Hall but with areas curtained off) this was going to be a modern metal showcase with 3 genres on show tonight. Kiuas have always been something of separate entity to many other power metal bands as they are from the darker side of power metal not the magic and fantasy of bands like Dragonforce and Hammerfall. Having never seen them with their original vocalist but having heard all the albums I was curious to see how new vocalist Asim Searah would be able to handle former frontman Ilja Jalkanen's wide raging vocal range, however fates conspired and this will have to wait as apparently he was stuck in their native Finland so could not be in Cardiff however instead of cancelling the band played a full force speedy set with guitarist Mikko Salovaara handling the vocals with the growls coming from bassist Teemu Tuominen. Both had adequate voices for a short set and they played with ferocity and genuine enjoyment, a great set that was a triumph over adversity. 7/10
Chthonic
The band that was really the odd-one-out on this tour were able to raise the heat in the room as well as permanently damage my hearing (but not in a good way). Taiwanese black metal band Chthonic played a set full of furious keyboard backed black metal that had the addition of the traditional Asian instrument the erthu. Many of the bands songs blended into one with only their most recent tracks standing out, with bassist Doris being the focal point of the band (unless you like keyboard players in masks that summon vampires) the rest of the band were visually arresting but not particularly enjoyable musically. This was mainly due to the appalling sound quality and the horrendous feedback that stemmed from singer Freddy's mic. These two factors were instrumental in decreasing my enjoyment of this somewhat generic band. 6/10
Turisas
A band that is still on the upward path of their career original battle-metallers Turisas brought their epic brand of Nordic metal to Wales once more. Supporting their great new album Stand Up And Fight the band played the best tracks from this album with the title track, Hunting Pirates, The March of the Varangian Guard, The Great Escape and Take The Day! Making up the bulk of the set with classics such as One More and To Holmgard And Beyond filling in the gaps. New faces were about with the new bassist filling Hannes shoes nicely and keyboard player (the band’s first since 2007) Robert Engstrand adding an extra layer of depth to the older songs. The band played a concise set before returning for an encore of the Disco classic Rasputin and their own classic set ender Battle Metal. All of which were received by a pumped-up Cardiff audience who sang along to every line showing that the disappointment of Manowar was just a blip. Another great show from a fantastic metal band. Hail Turisas! 8/10
Kiuas
Coming from the Great Hall 2 (which is just the Great Hall but with areas curtained off) this was going to be a modern metal showcase with 3 genres on show tonight. Kiuas have always been something of separate entity to many other power metal bands as they are from the darker side of power metal not the magic and fantasy of bands like Dragonforce and Hammerfall. Having never seen them with their original vocalist but having heard all the albums I was curious to see how new vocalist Asim Searah would be able to handle former frontman Ilja Jalkanen's wide raging vocal range, however fates conspired and this will have to wait as apparently he was stuck in their native Finland so could not be in Cardiff however instead of cancelling the band played a full force speedy set with guitarist Mikko Salovaara handling the vocals with the growls coming from bassist Teemu Tuominen. Both had adequate voices for a short set and they played with ferocity and genuine enjoyment, a great set that was a triumph over adversity. 7/10
Chthonic
The band that was really the odd-one-out on this tour were able to raise the heat in the room as well as permanently damage my hearing (but not in a good way). Taiwanese black metal band Chthonic played a set full of furious keyboard backed black metal that had the addition of the traditional Asian instrument the erthu. Many of the bands songs blended into one with only their most recent tracks standing out, with bassist Doris being the focal point of the band (unless you like keyboard players in masks that summon vampires) the rest of the band were visually arresting but not particularly enjoyable musically. This was mainly due to the appalling sound quality and the horrendous feedback that stemmed from singer Freddy's mic. These two factors were instrumental in decreasing my enjoyment of this somewhat generic band. 6/10
Turisas
A band that is still on the upward path of their career original battle-metallers Turisas brought their epic brand of Nordic metal to Wales once more. Supporting their great new album Stand Up And Fight the band played the best tracks from this album with the title track, Hunting Pirates, The March of the Varangian Guard, The Great Escape and Take The Day! Making up the bulk of the set with classics such as One More and To Holmgard And Beyond filling in the gaps. New faces were about with the new bassist filling Hannes shoes nicely and keyboard player (the band’s first since 2007) Robert Engstrand adding an extra layer of depth to the older songs. The band played a concise set before returning for an encore of the Disco classic Rasputin and their own classic set ender Battle Metal. All of which were received by a pumped-up Cardiff audience who sang along to every line showing that the disappointment of Manowar was just a blip. Another great show from a fantastic metal band. Hail Turisas! 8/10
Tuesday, 8 November 2011
Live & Dangerous 17: Manowar
Manowar (Great Hall, Cardiff)
Doors opened at 7pm on Manowar's first show in Cardiff but the band didn't come on stage until 9pm. This I could deal with despite the tickets specifically stated Plus Special Guest, what I couldn't deal with was that despite Manowar's place as one of the greatest classic metal bands in the world the Great Hall was only half-full which was disappointing as I expected more from the usually ecstatic Cardiff crowd. The band however were brilliant starting the set by playing their Battle Hymns album (admittedly in the wrong order and missing out William's Tale) however they were on top form with Eric Adams screaming and singing with power and prowling the stage with the energy of a man half his age. Joey DeMaio ripped up and down his bass with precision rumbling the bowels of every member in attendance; he stood the whole gig po-faced and menacing leading the band from the left side of the stage. Karl Logan sped up and down the fret board throughout the night ripping of riffs and solos but despite this he still managed to fuck up the intro to Battle Hymns (Ross The Boss wouldn't have done that.) There was then an intermission before they returned for the second part playing the now live staples Hand Of Doom, Call To Arms, Thunder In The Sky before launching into the classic Hail And Kill, Warriors Of The World United, Kings Of Metal, Black Wind, Fire And Steel. Which managed to lay waste to the crowd, and like that it was over the band had played a tight and concise two-hour set, which some would say is not worth the £38 ticket price but just to see Manowar is enough for some. Yes they are clichéd, OTT and very silly in some respects but they are still a killer live act, the only disappointment was the size of the crowd and the hard-core enforcement of the no photo rule. Both of these were downers on the night but the size of the crowd proved that Manowar are more of a one-off show than a touring concern. A great night but with some small annoyances. 7/10
Saturday, 5 November 2011
Live & Dangerous 16: Fozzy, Jettblack, Verses
Fozzy, Jettblack, Verses (CF10 Cardiff Uni)
Verses
When a band realises that they do not fit on a bill you know that maybe they shouldn't have said yes to the booking. This band had poppy metal tunes, 'popular' haircuts and more merch than good songs which meant that I couldn't warm to them. Despite how good they were as musicians, their singer hit a few bum notes (something I was expecting later in the evening) and like a said their music was just not inspiring. I'm afraid a band that just failed to click with me and a majority of the already small audience (except the drunk ones). 5/10
Jettblack
British 80's metal revivalists Jettblack pulled no punches on their support slot, the ballads form their debut did not feature at all. This was pure straight up rock 'n' roll. Opening with perennial fave Slip It On the band came out all guns blazing the riffing and solos from Will and John tearing the audience a new one. Will's vocals were spot on John's however were slightly croaky but this added to the raunch of the songs such as Two Hot Girls, When It Comes To Loving and Fooled By A Rose the bands set was short but was able to feature a guitar duel between the two frontmen which culminated in final song Get Your Hands Dirty. Jettblack was able to win over audience convincingly with their turbo-charged metal and are a great band to see live. 8/10
Fozzy
What was I expecting to see from the band fronted by WWE Superstar Chris Jericho? Well I had both glowing and abysmal reviews of their past performances, so it was time to make up my own mind by seeing them live. Coming on to Queen's We Will Rock You the band came out to large cheers and Stuck Mojo man Rich Ward immediately started to riff like a bastard. Jericho prowled the stage and sang mostly from the lighting rig and barrier, enticing the crowd to join in with the heavy noise. For the first three songs the sound was muddy with Jericho's voice being drown out (whether his is good or bad is your own opinion) but after three songs in and during the Maiden sounding Pray For Blood his voice was clear and really not bad, admittedly he is not the best singer technically but neither is Ozzy Osbourne, he is however able to work a crowd, mainly due to his other 'job', this was most evident during Martyr No More and God Pounds His Nails. This isn't to say I wasn't surprised by his voice on a few occasions; one scream made me think "Ok that was pretty good." Rich Ward and the band played brilliantly equally blending heavy biker rock, with groove and thrash metal to create a surprisingly heavy combo. If I was to sum up this gig, which ended with the favourite Enemy, in one word it would be surprising as I came in with my hopes low but I came out with a grin on my face from this very entertaining live band, entertainment always wins out over technical ability in the end. 8/10
Verses
When a band realises that they do not fit on a bill you know that maybe they shouldn't have said yes to the booking. This band had poppy metal tunes, 'popular' haircuts and more merch than good songs which meant that I couldn't warm to them. Despite how good they were as musicians, their singer hit a few bum notes (something I was expecting later in the evening) and like a said their music was just not inspiring. I'm afraid a band that just failed to click with me and a majority of the already small audience (except the drunk ones). 5/10
Jettblack
British 80's metal revivalists Jettblack pulled no punches on their support slot, the ballads form their debut did not feature at all. This was pure straight up rock 'n' roll. Opening with perennial fave Slip It On the band came out all guns blazing the riffing and solos from Will and John tearing the audience a new one. Will's vocals were spot on John's however were slightly croaky but this added to the raunch of the songs such as Two Hot Girls, When It Comes To Loving and Fooled By A Rose the bands set was short but was able to feature a guitar duel between the two frontmen which culminated in final song Get Your Hands Dirty. Jettblack was able to win over audience convincingly with their turbo-charged metal and are a great band to see live. 8/10
Fozzy
What was I expecting to see from the band fronted by WWE Superstar Chris Jericho? Well I had both glowing and abysmal reviews of their past performances, so it was time to make up my own mind by seeing them live. Coming on to Queen's We Will Rock You the band came out to large cheers and Stuck Mojo man Rich Ward immediately started to riff like a bastard. Jericho prowled the stage and sang mostly from the lighting rig and barrier, enticing the crowd to join in with the heavy noise. For the first three songs the sound was muddy with Jericho's voice being drown out (whether his is good or bad is your own opinion) but after three songs in and during the Maiden sounding Pray For Blood his voice was clear and really not bad, admittedly he is not the best singer technically but neither is Ozzy Osbourne, he is however able to work a crowd, mainly due to his other 'job', this was most evident during Martyr No More and God Pounds His Nails. This isn't to say I wasn't surprised by his voice on a few occasions; one scream made me think "Ok that was pretty good." Rich Ward and the band played brilliantly equally blending heavy biker rock, with groove and thrash metal to create a surprisingly heavy combo. If I was to sum up this gig, which ended with the favourite Enemy, in one word it would be surprising as I came in with my hopes low but I came out with a grin on my face from this very entertaining live band, entertainment always wins out over technical ability in the end. 8/10
Friday, 4 November 2011
Reviews: Steel Panther, Sylosis, Redemption, MaYaN
Steel Panther: Balls Out (Universal Republic)
The most serious band of the 1980's have returned with their new album which is filled with anti-government protest songs with deep meaningful messages...PSYCH it's actually the new filth ridden Sunset Strip homage from 80's throwbacks Steel Panther. With lyrics such as "Hit her in the shitter, treat her like a Critter. Fuck that lady right!" You know what to expect from this second album. Firstly and foremost has the joke worn thin...well not really as the music is still as authentic as always showing that unlike many 'real' bands the Panthers can play. The jokes are still pure filth and puerile but it's how far they go that makes them funny; many lines are crossed in this album but all of them with the trademark humour that endeared the legions of fans to them in the first place. So secondly is this album as good as Feel The Steel well the cultural references are still there with Tiger Woods, Charlie Sheen and Chris Brown all mentioned in the songs. The Motley Crue, Bon Jovi and Def Leppard style songs are still there, the latter most prominent on the misogynistic That's What Girls Are For. The large ballads such as If You Really Really Love Me and Weenie Ride (Which has to be the sequel to Community Property) are still epic and the songs rock hard however the album just doesn't seem to have the overall zing of the first album, I think this may be due to the lack of special guests on this album, obviously Panther wanted to make an album that was more 'them' but I think it suffers for that, on Feel The Steel appearances from Corey Taylor, M Shadows, Scott Ian and Justin Hawkins made the album funnier as it featured 'proper' musicians having fun like the massive metal party Steel Panther is supposed to be, the fact that in my opinion It Won't Suck Itself featuring Chad Kroger (who is not ad versed to writing filth himself, and co-writes this track) is probably best track on the album and features a killer solo from Nuno Bettencourt from Extreme makes it even better and illustrates my point. Panther should have continued to be the party rock band they are live and invited even more diverse artists to feature. (My own choice would be Lou Reed, as it would have stopped LULU). A well-played, produced and written album that is equal but certainly no better than their debut. 7/10
Sylosis: Edge of The Earth (Nuclear Blast)
After seeing these modern thrashers live twice I decided to purchase their latest album to see if they translate as well onto disc as they do live. I'm pleased to say they do, their brand of technical modern thrash with melodic prog influences and death vocals makes for a very good listen and most importantly a very heavy one. The majority of the songs are heavy speedy thrashers or crushing metalcore style riffs much akin to heavier version of Trivium or a more modern Machine Head. After original vocalist Jamie Graham left many believed that they would fold however lead guitarist Josh Middleton has stepped up to the plate admirably giving growls, barks roars and the occasional clean passage real power as well as providing some incredibly tasty lead breaks, check out Empyreal for an example. The rest of the band are tight as they are heavy and give every song their all, the production is also modern and crisp meaning that this release is well above that of many of their peers. This album would only really appeal to fans of this type of modern thrash as I could see the vocals putting some people who prefer clean singing not going for it as there is very little. If Sylosis keep this up the future of British metal is in good hands. 8/10
Redemption: This Mortal Coil (InsideOut)
The US Prog-metal psuedo-supergroup Redemption return for their fifth album and it is more of the same, technical heavy and melodic tracks that come from the Fates Warning, Shadow Gallery, and Symphony X style of prog-metal. Current Fates Warning singer Ray Alder again takes the lead vocals on this album as he did on their last album the fantastic Snowfall On Judgement Day and again the writing is all done by guitarist/keyboardist Nick Van Dyk who on this album deals with his own morality after recovering from a rare cancer, despite the depressing subject matter (as Redemption seem to thrive on) the album is filled with melodic, technical metal that is based more on song writing than some of the virtuoso musicianship that comes from other bands in this genre. Stylistically I would make the link between Redemption and latter-day Symphony X. The keyboards are understated and flow with the heaviness of the tracks, the guitar playing from Van Dyk and Agent Steel guitarist Bernie Versailles is stunning with solos galore coming from both; check out the epic 9 minute+ Dreams From The Pit for all your soloing needs and Begin Again being the best introduction to Redemption's sound. The album clocks in at over 70 minutes but it really fly’s by with some of the shorter songs such as Noonday Devil and the opening track Path Of the Whirlwind filled with speedy riffing and classic metal pretentions albeit with odd time signatures. Redemption are no strangers to ballads ever with Let It Rain being one of the best The album is nothing new as I have said (something that can affect a score) but when the quality is this high then that really doesn't come into effect. As starting point for Redemption This Mortal Coil is great but Snowfall... is still their magnum opus. 8/10
MaYaN: Quaterpast (Nuclear Blast)
Billed as a Symphonic Death Metal Opera, MaYaN is the brainchild of Dutch guitarist and grunter Mark Jansen formally of After Forever and founder member of Epica. Jansen handles the grunts and screams but not the guitars on this album. He has assembled and all-star cast to aide him with this concept 'opera'; the production comes from symphonic metal producer’s extraordinaire Sascha Paeth and Miro (Kamelot, Epica, Avantasia etc.) and features the vocal talents of After Forever/ReVamp vocalist Floor Jansen, Epica and Sons Of Seasons chanteuse Simone Simons and Sons Of Seasons/Metalium singer Henning Basse. The album mixes all of Jansen's former bands as it is equal parts Epica and After Forever with both Floor and Simone giving top notch performances, however there is an extra layer added to the standard symphonic metal sound with Miro's choirs and orchestrations being professional. Another revelation is Henning Basse who sings on nearly every track meaning that it isn't all death grunting and screaming from Jansen and his band who also handle grunts and screams meaning there are some different voices on each track. Some have a more classic/power metal sound like Bite The Bullet (co-written with AF guitarist Sanders Gommans), some are straight up death metal like War On Terror and the album is punctuated by small choral songs that are sung by choirs and soprano Laura Marci. This is an epic album that will appeal to fans of Jansen's other projects and also those of progressive/symphonic death metal in general. This is a great album from some of the industry’s best performers. 8/10
The most serious band of the 1980's have returned with their new album which is filled with anti-government protest songs with deep meaningful messages...PSYCH it's actually the new filth ridden Sunset Strip homage from 80's throwbacks Steel Panther. With lyrics such as "Hit her in the shitter, treat her like a Critter. Fuck that lady right!" You know what to expect from this second album. Firstly and foremost has the joke worn thin...well not really as the music is still as authentic as always showing that unlike many 'real' bands the Panthers can play. The jokes are still pure filth and puerile but it's how far they go that makes them funny; many lines are crossed in this album but all of them with the trademark humour that endeared the legions of fans to them in the first place. So secondly is this album as good as Feel The Steel well the cultural references are still there with Tiger Woods, Charlie Sheen and Chris Brown all mentioned in the songs. The Motley Crue, Bon Jovi and Def Leppard style songs are still there, the latter most prominent on the misogynistic That's What Girls Are For. The large ballads such as If You Really Really Love Me and Weenie Ride (Which has to be the sequel to Community Property) are still epic and the songs rock hard however the album just doesn't seem to have the overall zing of the first album, I think this may be due to the lack of special guests on this album, obviously Panther wanted to make an album that was more 'them' but I think it suffers for that, on Feel The Steel appearances from Corey Taylor, M Shadows, Scott Ian and Justin Hawkins made the album funnier as it featured 'proper' musicians having fun like the massive metal party Steel Panther is supposed to be, the fact that in my opinion It Won't Suck Itself featuring Chad Kroger (who is not ad versed to writing filth himself, and co-writes this track) is probably best track on the album and features a killer solo from Nuno Bettencourt from Extreme makes it even better and illustrates my point. Panther should have continued to be the party rock band they are live and invited even more diverse artists to feature. (My own choice would be Lou Reed, as it would have stopped LULU). A well-played, produced and written album that is equal but certainly no better than their debut. 7/10
Sylosis: Edge of The Earth (Nuclear Blast)
After seeing these modern thrashers live twice I decided to purchase their latest album to see if they translate as well onto disc as they do live. I'm pleased to say they do, their brand of technical modern thrash with melodic prog influences and death vocals makes for a very good listen and most importantly a very heavy one. The majority of the songs are heavy speedy thrashers or crushing metalcore style riffs much akin to heavier version of Trivium or a more modern Machine Head. After original vocalist Jamie Graham left many believed that they would fold however lead guitarist Josh Middleton has stepped up to the plate admirably giving growls, barks roars and the occasional clean passage real power as well as providing some incredibly tasty lead breaks, check out Empyreal for an example. The rest of the band are tight as they are heavy and give every song their all, the production is also modern and crisp meaning that this release is well above that of many of their peers. This album would only really appeal to fans of this type of modern thrash as I could see the vocals putting some people who prefer clean singing not going for it as there is very little. If Sylosis keep this up the future of British metal is in good hands. 8/10
Redemption: This Mortal Coil (InsideOut)
The US Prog-metal psuedo-supergroup Redemption return for their fifth album and it is more of the same, technical heavy and melodic tracks that come from the Fates Warning, Shadow Gallery, and Symphony X style of prog-metal. Current Fates Warning singer Ray Alder again takes the lead vocals on this album as he did on their last album the fantastic Snowfall On Judgement Day and again the writing is all done by guitarist/keyboardist Nick Van Dyk who on this album deals with his own morality after recovering from a rare cancer, despite the depressing subject matter (as Redemption seem to thrive on) the album is filled with melodic, technical metal that is based more on song writing than some of the virtuoso musicianship that comes from other bands in this genre. Stylistically I would make the link between Redemption and latter-day Symphony X. The keyboards are understated and flow with the heaviness of the tracks, the guitar playing from Van Dyk and Agent Steel guitarist Bernie Versailles is stunning with solos galore coming from both; check out the epic 9 minute+ Dreams From The Pit for all your soloing needs and Begin Again being the best introduction to Redemption's sound. The album clocks in at over 70 minutes but it really fly’s by with some of the shorter songs such as Noonday Devil and the opening track Path Of the Whirlwind filled with speedy riffing and classic metal pretentions albeit with odd time signatures. Redemption are no strangers to ballads ever with Let It Rain being one of the best The album is nothing new as I have said (something that can affect a score) but when the quality is this high then that really doesn't come into effect. As starting point for Redemption This Mortal Coil is great but Snowfall... is still their magnum opus. 8/10
MaYaN: Quaterpast (Nuclear Blast)
Billed as a Symphonic Death Metal Opera, MaYaN is the brainchild of Dutch guitarist and grunter Mark Jansen formally of After Forever and founder member of Epica. Jansen handles the grunts and screams but not the guitars on this album. He has assembled and all-star cast to aide him with this concept 'opera'; the production comes from symphonic metal producer’s extraordinaire Sascha Paeth and Miro (Kamelot, Epica, Avantasia etc.) and features the vocal talents of After Forever/ReVamp vocalist Floor Jansen, Epica and Sons Of Seasons chanteuse Simone Simons and Sons Of Seasons/Metalium singer Henning Basse. The album mixes all of Jansen's former bands as it is equal parts Epica and After Forever with both Floor and Simone giving top notch performances, however there is an extra layer added to the standard symphonic metal sound with Miro's choirs and orchestrations being professional. Another revelation is Henning Basse who sings on nearly every track meaning that it isn't all death grunting and screaming from Jansen and his band who also handle grunts and screams meaning there are some different voices on each track. Some have a more classic/power metal sound like Bite The Bullet (co-written with AF guitarist Sanders Gommans), some are straight up death metal like War On Terror and the album is punctuated by small choral songs that are sung by choirs and soprano Laura Marci. This is an epic album that will appeal to fans of Jansen's other projects and also those of progressive/symphonic death metal in general. This is a great album from some of the industry’s best performers. 8/10
Monday, 31 October 2011
Reviews: Machine Head, Chickenfoot, Exit State
Machine Head: Unto The Locust (Roadrunner)
A bit late as I bought the 'proper' edition not the magazine one. From the acapella opening, 8 minute runtime and split passages of I Am Hell (Sonata In C#) you know that Unto The Locust is going to be something a bit special. Album follows on from where The Blackening left off and adds to the now expansive Machine Head sound. Don't underestimate this album it is metal of the very fucking heavy variety but it adds flourishes of prog here and dashes of classic rock there. I Am Hell itself evolves into a heavy thrasher full of speed metal riffing and squealing solo's all of which are fantastic with Phil Demmel and Robb Flynn ripping any of their contemporaries apart. The second track starts with a melodic guitar riff and evolves into almost an arena rock song. Flynn's voice is fantastic throughout he screams, roars, shouts and even sings brilliantly on every track. Dave McClain's drumming is both restrained and explosive and Adam Duce also produces his seminal bass power on all of the tracks. Third track Locust is classic Machine Head and is still as powerful as when it was released a few months ago. The slow-burning This Is The End follows and then erupts into a maelstrom of heavy riffing before merging into the ballad-like Darkness Within which is Machine Head's Fade To Black. The proggy Pearls Before The Swine has changing time signatures and a sprawling nature. Final song Who We Are has machine gun drumming, heavy rock riffing and choral finish which rounds out the album in style. This is an awesome album that features all of Machine Head's trademarks and adds some of their influences as well. These are further explored in the two covers featured on the special edition one is Judas Priest's The Sentinel and the other is Rush's Witch Hunt, the Priest one is good and the Rush one is...okay but their influences are at their most evident throughout the proceeding tracks. Unto The Locust is not just a fantastic metal album but a fantastic album period. BUY IT NOW! 10/10
Chickenfoot: III (EarMusic)
The super group return with their confusingly titled second album III this album seems the band being just that a 'band' more of cohesive unit. Like their self-titled debut they mix elements of all their bands e.g. Montrose, Van Halen, RHCP and also legends like Zeppelin to create a heavy, funky rock sound. Up Next is one of tracks that show this as it is filled with funky, bass heavy rocking and the tongue-in-cheek lyrics of Sammy Hagar. Chad Smith hammers the drums keeping a heavy backbeat that is buoyed by Michael Anthony's groove-leaden bass. Joe Satriani's playing is somewhat understated compared to his day job but it still packs punch where it is needed and he works brilliantly in this band setting, the best example of this is Three And Half Letters and Dubai Blues the first is a social commentary song with a heavy rocking riff and some squealing solo's from Satch and the second is a Zeppelin-like haze of a rock song with some great playing. Hagar's voice is also on top-form his whiskey (or should that be tequila?) soaked vocals add a bluesy vibe to all of the tracks. All of the tracks are solid the only exceptions being Alright Alright and Big Foot which both seem a bit generic. Other than that the album is a step up from their debut, only a small one but the band seems to be carving their own niche in heavy-funky rock music that defines them as a talented band rather than talented individuals. Also I just want to comment that they have the best CD packaging by far, 3D glasses are always awesome. 8/10
Exit State: Black Veins (Rocksector Records)
The British rock band return with their second release coming only a year after their debut album. It was good album if a little short and under-produced. This is an entirely different beast with the band's playing and song writing has improved tenfold. This album has less of the hard rock tendencies of their debut and mixes post-grunge with sleaze and arena rock. The latter best represented by the track All For You (which features an epic guitar solo from ex-The Prodigy man Gizz Butt) this track follows on from the early arena style rock from their debut, the rest of the album is straight ahead post-grunge with frontman Roy Bright's angsty vocal delivery giving the band a big emotional edge. Despite many of the tracks following a similar style, some do vary the style with Wasted having a distinctly sleazy style and the opening track Enough Already having a very punky vibe. This is a great album for any fans of hard rock with a modern edge. 7/10
A bit late as I bought the 'proper' edition not the magazine one. From the acapella opening, 8 minute runtime and split passages of I Am Hell (Sonata In C#) you know that Unto The Locust is going to be something a bit special. Album follows on from where The Blackening left off and adds to the now expansive Machine Head sound. Don't underestimate this album it is metal of the very fucking heavy variety but it adds flourishes of prog here and dashes of classic rock there. I Am Hell itself evolves into a heavy thrasher full of speed metal riffing and squealing solo's all of which are fantastic with Phil Demmel and Robb Flynn ripping any of their contemporaries apart. The second track starts with a melodic guitar riff and evolves into almost an arena rock song. Flynn's voice is fantastic throughout he screams, roars, shouts and even sings brilliantly on every track. Dave McClain's drumming is both restrained and explosive and Adam Duce also produces his seminal bass power on all of the tracks. Third track Locust is classic Machine Head and is still as powerful as when it was released a few months ago. The slow-burning This Is The End follows and then erupts into a maelstrom of heavy riffing before merging into the ballad-like Darkness Within which is Machine Head's Fade To Black. The proggy Pearls Before The Swine has changing time signatures and a sprawling nature. Final song Who We Are has machine gun drumming, heavy rock riffing and choral finish which rounds out the album in style. This is an awesome album that features all of Machine Head's trademarks and adds some of their influences as well. These are further explored in the two covers featured on the special edition one is Judas Priest's The Sentinel and the other is Rush's Witch Hunt, the Priest one is good and the Rush one is...okay but their influences are at their most evident throughout the proceeding tracks. Unto The Locust is not just a fantastic metal album but a fantastic album period. BUY IT NOW! 10/10
Chickenfoot: III (EarMusic)
The super group return with their confusingly titled second album III this album seems the band being just that a 'band' more of cohesive unit. Like their self-titled debut they mix elements of all their bands e.g. Montrose, Van Halen, RHCP and also legends like Zeppelin to create a heavy, funky rock sound. Up Next is one of tracks that show this as it is filled with funky, bass heavy rocking and the tongue-in-cheek lyrics of Sammy Hagar. Chad Smith hammers the drums keeping a heavy backbeat that is buoyed by Michael Anthony's groove-leaden bass. Joe Satriani's playing is somewhat understated compared to his day job but it still packs punch where it is needed and he works brilliantly in this band setting, the best example of this is Three And Half Letters and Dubai Blues the first is a social commentary song with a heavy rocking riff and some squealing solo's from Satch and the second is a Zeppelin-like haze of a rock song with some great playing. Hagar's voice is also on top-form his whiskey (or should that be tequila?) soaked vocals add a bluesy vibe to all of the tracks. All of the tracks are solid the only exceptions being Alright Alright and Big Foot which both seem a bit generic. Other than that the album is a step up from their debut, only a small one but the band seems to be carving their own niche in heavy-funky rock music that defines them as a talented band rather than talented individuals. Also I just want to comment that they have the best CD packaging by far, 3D glasses are always awesome. 8/10
Exit State: Black Veins (Rocksector Records)
The British rock band return with their second release coming only a year after their debut album. It was good album if a little short and under-produced. This is an entirely different beast with the band's playing and song writing has improved tenfold. This album has less of the hard rock tendencies of their debut and mixes post-grunge with sleaze and arena rock. The latter best represented by the track All For You (which features an epic guitar solo from ex-The Prodigy man Gizz Butt) this track follows on from the early arena style rock from their debut, the rest of the album is straight ahead post-grunge with frontman Roy Bright's angsty vocal delivery giving the band a big emotional edge. Despite many of the tracks following a similar style, some do vary the style with Wasted having a distinctly sleazy style and the opening track Enough Already having a very punky vibe. This is a great album for any fans of hard rock with a modern edge. 7/10
Thursday, 27 October 2011
Live & Dangerous 15: Evile, Savage Messiah, Mutator
Evile, Savage Messiah, Mutator (Bogiez Cardiff)
Mutator
Local boys Mutator burst onto the stage in a burst if frenetic riffing and howling from frontman/guitarist Stu Harris. The boys played with conviction and passion but they just seemed to be towing the line and playing what I saw as generic thrash metal. Many of the songs sounded like they were homages to the genre's legends rather than new tracks. The crowd were buoyed by the thrash onslaught no matter how generic it seemed to be. Maybe as the band improve and get bigger their writing will improve also? 6/10
Savage Messiah
Savage Messiah were a much more promising prospect playing melodic thrash in the vein of Megadeth with some traditional metal influences. Frontman Dave Silver had a clean powerful 80's style melodic voice and was also a great guitar player peeling off solo's with ease. Unlike Mutator Savage Messiah seemed to much more accomplished and their songs were all their own work, albeit featuring nods to the legends. The band were professional and seemed to be enjoying themselves all the time they were on stage. Great songs, great musicianship, great band. Look forward to seeing them again. 7/10
Evile
A band that have eluded me live for a while so I was determined to see them tonight. I was glad I did as they performed fantastically and with such professional ease despite frontman Matt Drake's flu. Not that this affected his voice as he was able to use his Hetfield-like roar with gusto. Opening with the title track to their latest album Five Serpents Teeth the band immediately grabbed the crowd’s attention before ripping them a new one with Killer From The Deep. The band kept up their relentless pace Mixing songs from all three albums with Thrasher causing the biggest pits. Evile finished the main set with the title track of their second album Infected Nation before coming back for an encore of the title track of their first album Enter The Grave. The band slaye(r)d the crowd form beginning to end and were fantastic, the Drake brother’s guitar playing was top notch, with the powerhouse drumming and galloping bass shaking the foundations of Bogiez. Even the sound wasn't bad. Definitely a band to see again and one of the brightest hopes on the British metal scene. 9/10
Mutator
Local boys Mutator burst onto the stage in a burst if frenetic riffing and howling from frontman/guitarist Stu Harris. The boys played with conviction and passion but they just seemed to be towing the line and playing what I saw as generic thrash metal. Many of the songs sounded like they were homages to the genre's legends rather than new tracks. The crowd were buoyed by the thrash onslaught no matter how generic it seemed to be. Maybe as the band improve and get bigger their writing will improve also? 6/10
Savage Messiah
Savage Messiah were a much more promising prospect playing melodic thrash in the vein of Megadeth with some traditional metal influences. Frontman Dave Silver had a clean powerful 80's style melodic voice and was also a great guitar player peeling off solo's with ease. Unlike Mutator Savage Messiah seemed to much more accomplished and their songs were all their own work, albeit featuring nods to the legends. The band were professional and seemed to be enjoying themselves all the time they were on stage. Great songs, great musicianship, great band. Look forward to seeing them again. 7/10
Evile
A band that have eluded me live for a while so I was determined to see them tonight. I was glad I did as they performed fantastically and with such professional ease despite frontman Matt Drake's flu. Not that this affected his voice as he was able to use his Hetfield-like roar with gusto. Opening with the title track to their latest album Five Serpents Teeth the band immediately grabbed the crowd’s attention before ripping them a new one with Killer From The Deep. The band kept up their relentless pace Mixing songs from all three albums with Thrasher causing the biggest pits. Evile finished the main set with the title track of their second album Infected Nation before coming back for an encore of the title track of their first album Enter The Grave. The band slaye(r)d the crowd form beginning to end and were fantastic, the Drake brother’s guitar playing was top notch, with the powerhouse drumming and galloping bass shaking the foundations of Bogiez. Even the sound wasn't bad. Definitely a band to see again and one of the brightest hopes on the British metal scene. 9/10
Sunday, 23 October 2011
Live & Dangerous 14: The Trews, The Sharp Darts, Little Wing
The Trews, The Sharp Darts, Little Wing (Birmingham HMV Institute)
Little Wing
This 5-piece play technical alternative metal in the style of Exit Ten and Fightstar. They possessed serious skill especially lead guitarist Ryan Baynham whose melodic style is the cornerstone of their sound. Vocalist Dan Rowbottom has a possessed manic style between singing contorting and flailing like a madman. His voice his good and clean and the band are all very tight. The only problem was that the sound was very muddy meaning that not all of the intricacies of the band could be heard. One to watch. 7/10
The Sharp Darts
One question went through my mind while watching this band. Are they trying to be Oasis? Mod haircuts? Check. Telecasters and parkas? Check. Sneering frontman wielding a tambourine? Check. So then The Sharp Darts are so much like Oasis it hurts but that said they are also like Paul Weller as well and play furious mid pace indie that got many of the locals jigging. (The band were from Birmingham after all) However for me I enjoyed it but no more so than I would an Oasis tribute playing album tracks rather than hits. 4/10
The Trews
I was always going to be biased but this was my first time seeing one of my favourite bands so I was not going to berate them. Despite playing to a crowd of 50 or so people the band came on rocking for their debut UK tour. However three songs in there was a high pitched squeal coming from the amp of guitarist John-Angus who was visibly annoyed. This apparently was the latest in a long list of mishaps that had befallen the band on this tour. Despite this and with a replacement amp the band carried on regardless playing a set of heavy rockers that included Paranoid Freak, Not Ready To Go, So She's Leaving, The World I Know, Hold Me In Your Arms and frantic I Can't Stop Laughing. The set was broken up by two slower songs in Hope & Ruin and Highway Of Heroes (Which is a tribute to a friend of the band who didn't come back from Afghanistan). The band then broke into the favourite Poor Ol' Broken Hearted Me and finished. They returned to a rapturous reception and took two requests from the crowd the favourite being Yearning. Despite the sound problems, the small crowd and the obvious frustration of the group, it was a great gig from a band that thrive on performing. Now if only someone could get them a stint on Jool's Holland they would be much bigger than they are! 8/10
Little Wing
This 5-piece play technical alternative metal in the style of Exit Ten and Fightstar. They possessed serious skill especially lead guitarist Ryan Baynham whose melodic style is the cornerstone of their sound. Vocalist Dan Rowbottom has a possessed manic style between singing contorting and flailing like a madman. His voice his good and clean and the band are all very tight. The only problem was that the sound was very muddy meaning that not all of the intricacies of the band could be heard. One to watch. 7/10
The Sharp Darts
One question went through my mind while watching this band. Are they trying to be Oasis? Mod haircuts? Check. Telecasters and parkas? Check. Sneering frontman wielding a tambourine? Check. So then The Sharp Darts are so much like Oasis it hurts but that said they are also like Paul Weller as well and play furious mid pace indie that got many of the locals jigging. (The band were from Birmingham after all) However for me I enjoyed it but no more so than I would an Oasis tribute playing album tracks rather than hits. 4/10
The Trews
I was always going to be biased but this was my first time seeing one of my favourite bands so I was not going to berate them. Despite playing to a crowd of 50 or so people the band came on rocking for their debut UK tour. However three songs in there was a high pitched squeal coming from the amp of guitarist John-Angus who was visibly annoyed. This apparently was the latest in a long list of mishaps that had befallen the band on this tour. Despite this and with a replacement amp the band carried on regardless playing a set of heavy rockers that included Paranoid Freak, Not Ready To Go, So She's Leaving, The World I Know, Hold Me In Your Arms and frantic I Can't Stop Laughing. The set was broken up by two slower songs in Hope & Ruin and Highway Of Heroes (Which is a tribute to a friend of the band who didn't come back from Afghanistan). The band then broke into the favourite Poor Ol' Broken Hearted Me and finished. They returned to a rapturous reception and took two requests from the crowd the favourite being Yearning. Despite the sound problems, the small crowd and the obvious frustration of the group, it was a great gig from a band that thrive on performing. Now if only someone could get them a stint on Jool's Holland they would be much bigger than they are! 8/10
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