The View From The Back Of The Room: UFO

UFO & 4Bitten, Coal Exchange Cardiff

Into the bowels of the magnificent Coal Exchange for a night of classic Hard rock from a band that have always been quoted as Iron Maiden's main influence and have maintained a stable line up for nearly 40 years with only the guitarists changing. This was a gig I was looking forward to as I have never seen UFO live before. The same cannot be said for the 300 person plus crowd (which looked small in the huge room) who were all UFO fanatics, which also meant I was the youngest person in the crowd!

So onto the show itself

4Bitten

Hailing from Greece 4Bitten have completely bypassed me and I'm a bit annoyed that they have. The band play riff heavy, hard rock with a metallic sheen and are led by the Zakk Wylde like guitars of George M and the powerful vocals of Fofi Roussos. The songs were tight, heavy and melodic with all of the band playing with professionalism. The band were equally adept to heavy rockers and soaring radio friendly ballads which meant to me they sounded a lot like American band Hydrogyn which is not a bad thing. They were a tight, professional meat and potatoes rock band that were a good opener for the intensely partisan crowd. Someone to just kick off proceedings without stealing the spotlight. 7/10

UFO

As the band walked on stage the excitement was building and then the opening chords of Lights Out hit and the very vocal crowd erupted. The band looked on form with special mention to frontman Phil Mogg who still has a fantastic voice, delivers it with real power and conviction. Next was Mother Mary and then two from Seven Deadly, the bands newest album (and the reason for this tour) which slot in well with the classic material. The drumming of the co-founder member Andy Parker was excellent, as were the keys and rhythm guitars of co-founder member Paul Raymond both of whom have been doing this too long to mess anything up and know how to keep the band chugging along. The contribution from new boy bassist Lars Lehmann was also great he has the skills and also the slightly dangerous edge of erstwhile former bassist Pete Way. Most of the praise can go to guitarist Vinnie Moore who despite the criticism levelled at him (mainly because he's not Schenker or Paul Chapman) is a simply fantastic guitarist putting his own spin on every solo and maintaining all of the classic riffs. Back to the set which was filled with some hilarious banter from Mogg who stylised himself as a man uncle. The band went back to the classics with Cherry and Let It Roll before returning to Seven Deadly. With all of the newer material out of the way it was classics until the end with the sing-along Only You Can Rock Me, the proggy Love To Love which showed off Moore's guitar abilities at their best, the set ended with Too Hot To Handle and Rock Bottom which still has a killer riff to this day and broke out into a great guitar showcase instrumental before the song returned and ended the set and elicited huge cheers. A quick note about the sound which started out a little muddy but then returned to the almost perfect mix that the Coal Exchange has become synonymous with. For the encore again it was classics with their (possibly) best known song Doctor Doctor which was followed by Shoot Shoot and got the crowd jumping. This was a great set from a band that have lasted in the music business this long and are still at the top of their game showing that class is forever. 9/10
   

Out Of The Beyond 24

I AM I: Event Horizon (ZeeTeePee Records)

When ZP Threat left Dragonforce to peruse his own career many wondered what he would do next, many were expecting prime cheese ridden power metal. Threats voice is still unmistakable and recognisable from the opening track This My Life which features mid-paced riffage and big AOR keys. The songs are good (much better on record than live) but they are lacking something, the whole thing sounds just very middling, the band are talented and ZP can sing (on record) but the whole package of the melodic guitars, twinkly keyboards and Threats more restrained vocal delivery makes the band sound like a budget Stratovarius, tracks like Cross The Line, Silent Genocide and Kiss Of Judas (not a Strato cover) are all bouncy rockers that the Finn's do with ease and King In Ruins is a mega ballad that sounds like Journey. However everything just sounds a bit robotic there doesn't seem to be any genuine conviction in the writing and everything just seems a little 'generic'. ZP came from a band that reinvigorated a genre and whether you love them or hate them they were different, this is the same old thing that bands like Stratovarius have been doing for years. It just doesn't have any threat (sorry) to it. 6/10

Dirty Youth: Red Light Fix (Transcend Music/Universal)

The Dirty Youth hail from South Wales and they play alternative metal with a melting pot of influences. Fronted by the shocking pink mane of Danni Monroe the band will immediately conjure up images of Paramore however TDY are more like countrymen Skindred full of snotty attitude and big bouncy riffs, seen on opener Rise Up, which starts with an angelic piano led vocal before erupting into well dark brooding riff. The band add more strings to their bow with the low-down bass driven rhythm of tour mates Korn featuring heavily on The End, before adding bratty punk and SOAD with Requiem For The Drunk and Fight. Monroe's vocals are tough and remind me a bit of Maria Brink when she's singing clean. The guitars of Luke Padfield and Matt Bond (who also provides some keys) are great as are the drums and bass, the band have a managed to create some great anthems on their debut that will work excellently on the live circuit which is where this band will shine. Obviously there will be some Paramore similarities with the final part of the album having more of Hayley Williams and co Ellen, Last Confession and Promises all having that pop-punk sound. The Dirty Youth have created a great debut album full of big, hook filled rock songs its well T(I)DY! 8/10

Reviews: Snakecharmer, Alpha Tiger, Uncle Acid & The Deadbeats

Snakecharmer: Snakecharmer (Frontiers)

So serpent referencing name and an album cover that features an amp with the guitar lead coiled like a cobra. No guesses that Snakecharmer are linked with old leather lungs David Coverdale's primary source of revenue. Starting out as a tribute to the early more bluesy Whitesnake material, Snakecharmer have released an album of totally original blues rock material (just as the 'Snake have gone back to their roots since signing to the same label on Forevermore). However this is more than a simple bunch of also-rans trying to be Whitesnake the band is a melodic rock super-group featuring former Snakes Micky Moody who imparts the record with his signature hard rock rhythms, and also Neil Murray on bass, who keeps it all locked in tight with Thunder's Harry James who is on the skins. The other members are Adam Wake man on key's and Hammond, Wishbone Ash's Laurie Wise field completing the six-string line up and the vocals come from Heartland's Chris Ousey who comes from a long line of soulful British rock vocalists. This album is not a blatant rip off though as many of the tracks stray from the Whitesnake mold with many sounding like Bad Company (mainly due to Ousey's Paul Rodgers-like voice) To The Rescue shows this link at its best furnished with a bluesy bluster and funky, hip swinging back beat. The guitar interplay between Moody and Wisefield is cracking with Moody's more blues based approach working well with Wisefield's more melodic approach, seen on the slightly Lizzy like dual guitar attack on Accident Prone. Although the band are a melodic hard rock band in their own right drawing influences from other bands mentioned the spirit of Coverdale still looms large on this record with the gospel-style ballad of Falling Leaves (which has a great solo crescendo) the bluesy stomp of A Little Rock & Roll is vintage Lovehunter era and the rocky Turn Of The Screw which has more of later Snake sound to it. This is an extremely accomplished album from something that has evolved from a project into a fully formed band (every member contributes to the writing) and has delivered a strong set of melodic hard rock songs that are set to snake into your psyche and charm you (sorry). 9/10

Alpha Tiger: Beneath The Surface (Century Media)

How many more trad/power metal bands does Germany need? They already have Helloween, Accept, Blind Guardian...etc. However they have a new contender in the shape of Alpha Tiger. Having all the influences in place e.g. Maiden, Helloween and also Queensryche the band have amalgamated these influences into their brand of retro-styled metal. The album focusses on the current political situation, conspiracy theories and aliens (have they been talking to Muse?) which is not the general fodder for retro-metal bands but it works well. As with many albums of this genre an intro track starts proceedings before the first track kicks off with some razor sharp riffage and pounding drumming of The Alliance which immediately opens proceedings in fine style with some dual guitar riffage and the very strong vocals of Stephan Dietrich who has a definite Michael Kiske style delivery, in fact Alpha Tiger do sound a huge amount like classic Helloween which is no bad thing as they pull off the imitation very well. The pace slows slightly on the mid-pace rocker of Waiting For A Sign which sounds like Queensryche at their most balladic and sees the frontman doing his best Geoff Tate impression before the title track brings back the power metal tempo. This is an accomplished album that sounds a bit too much like Helloween to be seen as anything new but they are a good metal band for fans of the genre. 7/10

Uncle Acid & The Deadbeats: Blood Lust (Rise Above)

This is a re-release of UK Psych/doomsters, Uncle Acid And The Deadbeats second album in preparation of their new album to be released in April. Blood Lust follows in the tradition of British doom by providing mind-melting psychadelia with good old fashioned Sabbath riffage, much like label mates Electric Wizard there is a fuzzed up, analogue vibe to the recordings with the production providing hiss, fizz and pops as well as some neatly vocodered wailing from Uncle Acid himself who also handles the six string chugging as well as the massive guitar solo freak outs while also dabbling with the eerie keys and lashings of mellotron. The Deadbeats are made up of bassist Kat and drummer Red who both keep things dark and doomy through the occult based tracks like Death's Door, Curse In The Trees; I'm Here To Kill You. Final track Withered Hand Of Evil and bonus track Down To The Fire show the juxtaposition of the band as it moves from the slow moving doom of the former to the acoustic fireside instrumental of the latter. This is a very good album full of retro vibed occult rock that has become huge at the hands of world beaters Ghost, Uncle Acid & The Deadbeats have all the pieces in place to be as big as their Swedish compatriots and I for one can't wait to see them on the same plateau! 8/10

Reviews: Bullet For My Valentine, Stratovarius, Vandroya

Bullet For My Valentine: Temper Temper (RCA Records)

So Welsh metal boyos BFMV return with a new album and this one follows on from previous effort Fever, which tried to re-capture the aggressive heaviness but melodic almost poppy song writing of their debut The Poison. Temper Temper continues in this vibe merging the heavy metal riffage, with hard rock arrangements and the huge vocal hooks of Matt Tuck. More so than the previous effort this album is more in tune with their debut, witnessed by Tears Don't Fall (Part 2). As for the rest of the album it's the same big rock tracks with a melodic edge, the first too tracks are strong and heavy, the title track has a very fast staccato riffage but some dodgy lyrics, P.O.W is an emo arena ballad that will get everyone shouting along at gigs, before Dirty Little Secret brings together all of the metalcore hallmarks of a melodic clean verse before the thrashy screamed chorus. With these middle tracks the album does slump a little bit with a few of them just sounding a bit forced Leech especially is a bit crap, the slow building Dead To The World which features lots of mountain-top soloing (and a lyrical collaboration with Chris Jericho, so it's not exactly Shakespeare) picks up the pace a bit by injecting some classic metal head banging and again lots of soloing. The punky Riot and the thrashy Saints & Sinners manages to bring to mind the BFMV of old before Tears Don't Fall (Part 2) updates their classic sing-along. The band are all playing well and every song is well constructed and well performed, as I had no doubt it would be, the production too is very crisp and modern. The special edition features a few bonus tracks with Not Invincible being the best of the bunch and a live cover of Whole Lotta Rosie being the worst. I wanted to hate this album for a number of reasons but it is actually quite good. The fans will lap it up but it might not win over the 'serious' heavy metal crowd, but I doubt BFMV will care about that... 7/10

Stratovarius: Nemesis (Edel)

Finland's primary symphonic metal band are still surviving despite having no original members. Having seen a bit of career re-insurgence since 2010's Polaris their 13th album features more of the huge symphonic choirs and bouncy power metal mixed with sky shattering ballads, case in point the epic If The Story Is Over. Straight from the unstoppable riffage of Abandon you can see that the band are still firing on all cylinders with the interplay between guitarist Matias Kupiainen and keyboardist Jens Johansson being the key to the band’s sound, Johansson as the veteran tinkles the ivories with panache with his runs and solo's exciting and beguiling, his programming and orchestral elements are also integral and flesh out the band’s sound tenfold (see the euro pop of Halcyon Days). Kupiainen does has done his best since Polaris to forge his own guitar identity from that of founder and former member Timo Tolkki and has done so excellently giving a much harder edge to proceedings. The drums and bass of Rolf Pive (replacing long time member Jorg Michael) and Lauri Porra cannot be ignored either giving a driving back beat to the power metal merriment. As well as Johnasson the other veteran, singer Timo Kotipelto proves once again why he is one of the best vocalists in his genre, with a voice that sounds a strong now as it did in 1995. Polaris and Elysium both were Stratovarius' mature records and Nemesis is too. It's the sound of a band in their third decade a band that are still hungry to make the best albums they can and they are, much like it's two predecessors Nemesis is a mature symphonic power metal master class. 9/10

Vandroya: One (Inner Wound Music)

Vandroya are the latest symphonic/progressive metal band to come out of Brazil and they do what they do very well. The main reason for this is the superb voice of front woman (former Soulspell singer) Dasia Munhoz, her voice is a clear revelation and after the classical intro of All Becomes One swells into the blast beat drums and galloping riffage of opening track The Last Free Land Munhoz's voice immediately hits you in the throat as it's not the average operatic fodder you have with other female fronted bands, she has a strong melodic rock voice which reminds me of Marta Gabriel from Crystal Viper. She is the icing on a very nice metal cake, the sound of the band obviously have a lot in common with country mates Angra with a very progressive/power metal style of speed metal riffage, songs full of time changes and some very good riffs and solo's. The band are all highly skilled and the music is virtuosic ranging from the speedy power metal of Anthem (For The Sun) to big ballads like the haunting Why Should We Say Goodbye which shows off Dasia's voice to its fullest, there is also a duet with Seventh Seal's Leandro Cacoilo on Change The Tide. This is a very strong debut album that is full of strong prog/power metal anthems that will appeal to fans of Angra, Symphony X and even Kamelot. 8/10
  

Out Of The Beyond 23

Chris Caffery: Faces (Black Lotus/Warner Chapell) 2005

Chris Caffery was/is the guitarist for Savatage (still one of the most underrated bands ever) and Trans-Siberian Orchestra. This was his first full length solo album and it featured no less than 16 songs on disc one and 9 on the bonus disc (God Damn War) so it shows that Caffery has no shortage of creativeness. From the opening title track you can hear his aggressive and progressive riffage, what is a lesser known quantity is Caffery's voice which is also good, it's a scratched bark that reminds me of Dave Mustaine especially on the brutally heavy and angry Pisses Me Off which starts off with some killer guitar soloing as well as having a hint of Savatage's Jon Olivia who's bark is unmistakeable. However like Mustaine’s it can get The band is made up of some TSO and Savatage alumni with bassist Dave Z and Jeff Plate both coming from the Symphonic rock orchestra (and Plate being in the later period Savatage) keys come from former Rainbow ivory tinkler Paul Morris, however how much these men actually contributed to the album is a bit of a mystery as Caffery is credited as playing all of the above as well as engineering and producing. The album is a metal assault until Music Man slows the pace with its acoustic and mellow rock sound, this is a nice change of pace that breaks up the flow of the album and stops it becoming wearing, this is followed by the 80's rock of Life, Crazy Life!!! this erupts into the metal of The Mold before the bluesy Bag O’ Bones. This is an album shows Caffery's creativity at its peak and it also shows what a progressive, wide and varied album he has created spanning many genres but all of them filled with some superb guitar playing (shown at its best on the semi-instrumental Preludio) and despite the long runtime it is a great album of top-quality rock/metal (and I haven't even mentioned disc 2 yet!) 8/10

Chris Caffery: God Damn War (Black Lotus/Warner Chapell)

The second disc has more of the same but is noticeably shorter and less progressive than the main disc however it still has the same quality performance and features a few curveballs with the Middle Eastern flavoured Saddamized and the solo piano performance of Amazing Grace which is a little bit of a strange choice as well as the very odd finale of Curtains. 6/10

Alabama Thunderpussy: Open Fire (Relapse) 2007

This was Alabama Thunderpussy's final album before splitting and features the vocals of Exhorder man Kyle Thomas. The band that have always been referred to as the "metal Molly Hatchet" and on this album they show it with the opening blast of The Cleansing and the fantastic Void Of Harmony. The guitars of Ryan Lake and Erik Larson are fantastic giving them some fantastic stoner/southern flavoured metal riffage and some great solo's especially on Words Of A Dying Man Thomas' vocals are excellent reminding me of Phil Anselmo albeit a bit more soulful. This is a fantastic final album for a band with one of the best names in the business with every track giving full heavy Southern heavy metal sound and meaning that there is not really a weak track. Well worth seeking out if you enjoy Down, Corrosion Of Conformity or even Molly Hatchet. 8/10

Accept: Blood Of Nations (Nuclear Blast) 2010

Blood Of Nations was Accept's comeback album and the first to feature screamer Mark Tornillo and drummer Stefan Schwartzmann as well as being the return of Axeman Herman Frank. So in the intervening years between the final Udo fronted album (1996's piss poor Predator) and this Accept did seem to re-find their sound bringing back the Teutonic speed metal of their early years. The guitar interplay between Wolf Hoffman and Herman Frank is the classic sound that nearly every German power/thrash/trad heavy metal has copied since. Beat The Bastards has is a killer start showing that Accept are back in full flight but also have incorporated some more modern thrash riffs (possibly added by super producer Andy Sneap), the head banging Teutonic Terror follows closely with its shoutable refrain of "Give 'Em The Axe!" Tornillo isn't Udo nor is he trying to be but with that powerful rasp he is a perfect fit for Accept's second age providing them with some great new tracks to kill in the live arena. 8/10

Reviews: Helloween, Enforcer, Hatriot

Helloween: Straight Out Of Hell (Spinefarm)

German Power Metal originators are now on their 14th album and this one follows on from previous effort 7 Sinners however this has a noticeably lighter mood than the aggressive almost thrashy predecessor. Musically it harks back to Helloween's early Andi Deris albums full of founder member Michael Weikath's trademark Power Metal riffage, things kick off with the Eastern influenced and progressive Nabataea before the classic speed metal chug of World Of War takes you back to the Teutonic glory days full of glorious guitar solos from Weikath and Sascha Gerstner who both play for their lives as does bassist Markus Grosskopf and drummer Daniel Lobe. Live Now has an almost Bon Joviesque vibe to it with lots of talk-box and a huge hooky chorus. This is one of the strongest albums Helloween have produced in the Deris era and they have achieved it by merging their last to albums with some big keys on Far From The Stars and also a massive organ riff on the special version of Burning Sun (dedicated to Jon Lord). Deris himself is now fully installed as the frontman of Helloween and is on his best form in years on this album his vocals are still much grittier than Michael Kiskes but he can hit the high notes and his voice is now so familiar at the helm of the power metal masters not only suited to the speedy metal assault of the euphoric title track but also on big ballads like Hold Me In Your Arms. This is not just a great Helloween album (the best since Master Of The Rings) but is also a great metal album in general. 8/10

Enforcer: Death By Fire (Nuclear Blast)

Third album from the band I consider to be one of the top bands in the NWOTHM Enforcer and it's a case of if it ain’t broke don't fix it. Olof Wikstrand's vocals still soar and shriek like an air raid siren and his and Joseph Tholl's guitar interplay is classic speed metal. This is a strictly retro affair with 8 (full) tracks of leather trousered, white sneaker wearing heavy metal straight out of the Priest and Maiden play book however if there was one band that Enforcer sound most like it's 80's nearly men Tokyo Blade. This album is slightly weaker than their previous (and more well-rounded) effort however, the riffs are razor-sharp, the drums are a barrage and the bass gallops like a horse on amphetamines! From Death Rides This Night to Satan the pace doesn't let up with solos and dual riffs galore especially on the instrumental Crystal Suite. This isn't a game changing album it will not convert anyone that hates this retro style metal, however it is a very well distilled example of why so many people love it. It is fast, frenetic and most of all fun, Enforcer are still very near the top with this third effort, so grab some mates, get your High Tops on and rock like it's 1982! 7/10

Hatriot: Heroes Of Origin (Massacre)

Hatriot are a thrash metal band from Oakland California and play classic American thrash in much like the second wave of thrashers like Testament, Forbidden, Overkill and Exodus. The Exodus comparison is particularly apt as the band is fronted by their former frontman Steve 'Zetro' Souza who's snarl is still as unmistakeable as ever. The rest of the band are a bunch of young guns with two guitarists bringing the tight neck snapping riffage and blistering solo's on tracks like Weapons Of Class Destruction and Murder American Style. One of the keys to the band's aggressive sound is the rhythm section, which also provides the answer to why Zetro is singing for an unknown band, the bassist and drummer are Cody and Nick Souza respectively sons of the vocalist. This is a shrewd move for the band as they have been immediately signed to Thrash label Massacre. However there is no need to be cynical as on the evidence of this album they have not be signed purely because of this reason, Hatriot have created an album of brutal thrash that will get many a pit to open very wide. 7/10

 

The View From The Back Of The Room: Orange Goblin

Orange Goblin, Admiral Sir Cloudsley Shovell, The Earls Of Mars & Lifer: Clwb Ifor Bach, Cardiff, 30/01/2013

Lifer

Into the Clwb we go for another night of metal. Heavy Welsh metallers were first with a sound not to dissimilar to the headliners along with lots of Sabbath and Pantera doom/groove. The last couple of times I've seen them they have been impressive but haven't really fulfilled their potential. This time however this time they were far better. They had lots of groove and mixed it up with big chugging breakdowns and some thrashy riffage. The last few times there have been sound problems but everything here was nice and loud showing off the vocals and shredding guitars. The local boys drew a big crowd from the off and were the perfect powerful opener for Goblin. The local boys impressed this time. 7/10

The Earls Of Mars

Next were the excellently named Earls Of Mars who peddle Avant-guard eerie-keyboard filled doom rock and a storming upright bass. Imagine Hawkwind if they were covering Sleep songs with some jazz thrown in just for added weirdness. They had a delightfully mad singer/keyboardist who had a schizophrenic delivery which made for a trippy mind expanding noise based upon the jangly guitars, pulsing bass and jazz drumming. With only a few songs these were drawn out into expanding progressive, dreamy, doomy madness. The Earls Of Mars have a very good first impression from a young band that managed to both slow the pace and keep the crowd. 7/10

Admiral Sir Cloudsley Shovell

ASCS picked up the pace again with some Cockney, mutton chopped, retro rock. The power trio bring the Groundhogs/Budgie style proto-metal assault full of fuzzed up guitars and rough and ready vocals. They have all of the 60's meat and potatoes hallmarks in place running through their album with songs such as Mark Of The Beast, Devil's Island and the trippy Red Admiral, Black Sunrise all being warmly received by the now packed and raucous crowd. This was a good first showing for the Admiral who managed to give a strong showing to a partisan crowd and win a lot of them over (based on merch sales alone!) ASCS are a fast and furious freak out machine for the lovers of metal, beer and 'medicine' worth catching. 8/10

Orange Goblin

So finally it was time for the main event with Orange Goblin hitting the stage. The headliners had chosen some strong support so they had to deliver the goods and deliver they did! The London destroyers mixed new and old with a full spectrum of their discography from the psych of their first two albums to the balls out riff age of their last three and everything in between. Things kicked off with a short intro song before launching into one of the new albums best songs The Filthy & The Few before going back to The Big Black which was followed by Acid Trial and the not often played Made Of Rats before creeping doom of The Fog. The sound from the venue was spot on meaning you could hear every single booming note from Mad Man Mountain Ben who was at his best conjuring head banging and shout-alongs. The rhythm section was locked in tight to every groove and guitarist Joe Hoare was so versatile that he could do the job of four men never mind two (as he does on the early tracks). With the main set ending with the Zombie loving They Come Back (Harvest Of Skulls) and the classic Quincy The Pig Boy. A brief pause and rest bite for the baying throng before the encore of the Sabbath alike Blue Snow new album opener Red Tide Rising and the old school belter Scorpionica which sent the crowd home, very happy (and very inebriated by this point). Still one of the best live bands on the circuit it's nice to see them in this kind of close environment in a crowd full of the faithful. Very good start to the year! 10/10

Reviews: Coheed & Cambria, Miss May I

Coheed & Cambria: The Afterman: Ascension (Hundred Handed/Everything Evil)

So the story of Armory Wars continues on this the first part of a double album from prog rockers Coheed & Cambria. While I've never actually followed the story itself I've always found C&C music very interesting as they have always merged pop and prog together much like one of my favourite bands 3. The comparisons between the two are numerous from Claudio Sanchez's vocals being similar to Joey Eppard's, the prog/pop formula both bands have, this is accentuated by the fact that both bands have a familial connection with Josh Eppard, C&C's drummer on this album (returning for his first album since From Fear Through The Eyes Of Madness) being Joey's brother. This is also the first album to feature new bassist Zach Cooper. The album ranges from heavy rockers like the tracks Key Entity Extraction Part I to IV, U2 like histrionics on The Afterman and the very Queen-like Goodnight, Fair Lady. This is another top quality album from Coheed who seem to have firmly established themselves as one of the leading modern prog-rock bands around today in terms of musicality and scope. 7/10

Coheed & Cambria: The Afterman: Descension (Hundred Handed/Everything Evil)

Part two of the ambitious continuing concept follows on in terms of style from Subtraction the final track of Ascension by starting with two acoustically driven tracks with the haunting mandolin based Pretelethal and Key Entity Extraction: Sentry The Defiant opening the proceedings in a very introspective and downbeat way. Whether this was a conscious decision is up to the band however when Key Entity... bursts into its heavy metal glory the band show that they are trying to expand their musical palate, Number City has a dancey rock-pop style and sounds a bit like Fallout Boy or Phil Collins! Descension is slightly less heavy than the first part of this double album which is by no means a bad thing but it is a bit more commercial sounding adding lots of processed electronics and modern pop sensibilities and yes it does drop off at towards the end album and the overall tone maintains an introspective tone. This second part is also good however like with many double albums released on two discs there can be songs that would have been better not making the cut so it would make a more concise single album but it is still a good album. 6/10

Miss May I: At Heart (Rise Records)

This is the Ohio natives’ third album and it apparently is more mature than their previous efforts. Having never heard their first two albums I can't make that comparison however what I can say is that is a heavy as hell slab of American metalcore that dabbles in Whitechapel, Parkway Drive and bands of their ilk. The band have some pretty technical guitar parts with some intricate riffage as seen on Hey Mister as well as some heavy as hell breakdowns on tracks like Leech and Second To None. The dual vocals also work well with (although normally I'm not a fan) with singer Levi Benton giving his most mighty roar and bassist Ryan Neff providing the melodic clean vocals that mix well. The songs themselves are well constructed and played with the right amount of electronics to create atmosphere that builds into some of the songs. With mixture of spiky metal and hardcore throw down’s Miss May I have definitely incorporated everything that that makes Metalcore so appealing to many, with shout-along choruses and some very brutal breakdowns. While I don't always see I to I with Metalcore when a band show me something special I can appreciate them. Miss May I have something special about them, perhaps it’s the fact that they have some very strong song writing behind them, but whatever it is they do what they do very well and this album has put them very firmly near the top of the pile of new American metal. 8/10

Reviews: ZZ Top, In Solitude, Aeon Zen

ZZ Top - La Futura (American Recordings)

So 'The Little Ol' Band from Texas' return fresh with a new beard in the form of Super-producer Rick Rubin, and the man with the Midas Touch has done it again bringing ZZ Top back as a pressing concern rather than a nostalgia act. So Billy, Dusty and Frank have returned with their strongest material since Eliminator mixing their boogie blues past with modern production and electronics. The opening track I Gotsta Gets Paid shows this mix as it is bluesy cover of a Hip Hop track called 25 Lighters which has lots of funky guitars as well as a thumping drum beat from Frank Beard. The quality is strong for the entire album with Chartreuse full of ass swinging boogie (and a riff similar to Rainbow's Long Live Rock & Roll); Consumption is prime Eliminator territory with its off-kilter rhythm and phazered guitars. This all leads to the big ballad of Over You which is a triumphant desert break up song. Age has not mellowed the 'Top with an album full of dirty women, drinking and partying. Billy gives his classic half whispered, grizzled vocal performance as well as his great guitar playing, which is excellent throughout especially when it duels with James Harman's harmonica on Heartache In Blue. Beards drums keep the engine ploughing along and Dusty's bass lays on the funk thick with both his bass and backing vocals aiding long time buddy in their blues-rock domination (I noticed too that Dusty's voice is almost a dead ringer for Outlaw Country singer David Allen Coe). This is an album that ZZ Top have been threatening to make since their 80's re-insurgence, its bluesy, its rocking, it's got all the hallmarks of ZZ Top's musical career and most of all it makes you want get up have a party and shake your bones! 8/10

In Solitude - In Solitude (Season Of The Mist)

So the fact that I'm reviewing Swedes In Solitude's debut album 2 years after their second album was released shows how weird the music industry has become. This is the re-mastered and expanded version of their debut but it features the same Mercyful Fate meets classic Maiden sound of their second album and a sound similar to compatriots Ghost but with more galloping bass. Things kick off with the one-two punch of In The Darkness and Witches Darkness which has some changing time signatures and shows of frontman Pelle Ahman's expansive vocals which range from slight growling to falsetto screams much like King Diamond but with much more mid-range singing than the King's OTT shrieking. The guitars duel throughout both weaving their metal magic backed by a bass gallop. The album features lyrics of the occult increasing the Mercyful Fate and Angel Witch comparisons, but In Solitude manage to stop themselves from becoming a pastiche or a comedy act through good hard rocking songs and some obvious passion. If some people have the original copy what may make them part with more money is the inclusion of two bonus tracks and that the whole album has been re-mastered. This is a money spinning exercise of course but it will also bridge the gap until they release their third album by keeping their name in the music press. All in all a very good retro-occult metal album that showed how In Solitude began. 7/10

Aeon Zen - Enigma (Nightmare Records)

Multi-instrumentalist Richard Hinks returns with his third album from his band Aeon Zen and this time he reduces how much he contributes, only providing the writing, production, guitars and bass. This is because he now has a fully formed band with the keys, drums and extra guitars handled by other musician, this album also features a full time vocalist with the previous albums having a revolving line up of famous vocalists like Pagan's Mind's Nils K Rue, Spock's Beard's Nick D'Virgilio. Andi Kravljaca holds his own against these men bringing a powerful European style vocal to the progressive metal soundscapes Hinks produces. The whole album has elements of Symphony X, Pagan's Mind as well as some of the more modern  However Hinks also has some guests in the form of Atle Peterson from Prog-metallers Above Symmetry. Djent bands like Tesseract. This can be seen on Divinity which has some thrash riffs, blast beat drums, Gojira-like fret slides and some growled vocals from Hinks who is a capable vocalist in his own right and also on the down-tuned, palm muted Still Human This is a great album that in places reminds me of Devin see Turned To Ash and in others more prog rock with the piano based Eternal Snow being a showcase of this before it turns into a Machine Head song! This is an album that spans various genres and in places is heavy, progressive and majestic (sometimes all at the same time) and takes a few listens to unlock its mysteries however after a few spins you see that this is a great album that will please any fan of contemporary metal. 8/10

Reviews: Hatebreed, Beholder, Immortal Guardian

Hatebreed: The Divinity Of Purpose (Nuclear Blast)

Described by frontman Jamey Jasta as "all pit, no shit" the sixth Hatebreed album had to live up to this proclamation. Happily the Connecticut ragers duly oblige with twelve tracks of explosive, aggressive and incendiary crossover metal made for live mosh pits. Thrash mixed with hardcore punk and metalcore are the order of the day with every track featuring some nitro fuelled riffage and skull smashing drums. The album is evenly split between the quicker more punk/thrash tracks like Indivisible as well as some head banging down-tuned metalcore anthems like Honor (sic) Never Dies. All of the tracks are brutal and devastating with most of the lyrical content being up lifting and anti-authoritarian like Own Your World which has a fist in the air chorus and some razorblade riffage with lots of bouncy breaks ala FFDP. You always feel that Hatebreed release albums to have more songs to pay live and with this release they have added some frenetic neck breakers like The Language which will incite circle pits galore as well as some tracks with heavy breakdowns which will cause jumping en masse. Every track is accented by the unmistakeable roar of Jamey Jasta who has to be a shoe-in for most intimidating frontman and with the crisp modern production Hatebreed have created another album of relentless uncompromising metal. 7/10

Beholder: The Order Of Chaos (Razorline Records)

Yet another flyer of the British Metal flag return with their second album, following on from their 2009 debut Beholder have become so much more mature and refined on this second album. Gone are the songs about Spartans and in comes the politcal and social lyricism and a much more aggressive aural assault. Things kick off with the pulverising Pantera-like of riffage of Black Flag which is a tirade against the greed of governments and is a bit of a change from the trad/power metal of their debut. The pace picks up on Profit Of The Lie which has a modern thrash assault of LOG but without Randy Blythe's roar before Here I Stand brings back the classic metal roots but with lashings of attitude. The entire album is a modern thrash assault with shredding riffage and some big low slung grooves. The guitars of Scott Taylor and Martyn Blackwell peel off razor sharp riffs and tight explosive solos, the rhythm section of Si Felding and Chris Bentley pummel and pulverise and all of this metallic noise is topped by the aggressive croon of Simon Hall who is one of the best vocalists on the British metal circuit with a voice similar to Exhorder's Kyle Thomas (a band they have much in common with) as well as the melodic croon that brings to mind Iced Earth's Matt Barlow. This is a great album that shows how Beholder have grown as songwriters and found their own sound by merging classic metal with modern American thrash metal and some progressive songwriting all of which comes together to deliver some high-quality aggressive British metal. For evidence of their songwriting credentials see Killing Machine and the fantastic Liar which will destroy in the live arena with its shout along chorus. The maturity can also be seen in the slower songs like Morphine Serenity which have power as well as gravitas. Beholder have definatly got both the chops and the songwriting prowess to become a much bigger musical force with this excellent album combined with their great live show will win people over then they will just ascend up the ladder on their own terms! 8/10

Immortal Guardian: Super Metal (Self/Released)

Hailing from San Antonio Texas, Immortal Guardian are a band that play the same kind of extreme Power Metal that British mentalists Dragonforce do but with more progressive touches. The band is the brainchild of guitarist/keyboardist Gabriel Guardian who has the uncanny knack of playing both simultaneously and is aided in the six string department by Jyro Alejo and this double team brings the speed riffage and ludicrous solos to this E.P. The bass and drums too run at a rate of knots although the drums do sound slightly light and tinny however this maybe because of the independent production but it does not detract from the technical display Cody Gilliland gives. The band have a good vocalist in Wesley McCool (now replaced) who ranges from soaring clean vocals and guttural roars. If you are fan of extremely well played, technical metal then you will love Immortal Guardian as they do everything Dragonforce do but without the overt silliness of the Brits, fans of air guitar will lap this up, others may see just rampant fret wankery. 7/10