Reviews: Deep Purple, Malefice, Sacred Mother Tongue

Deep Purple: Now What?! (earMusic)

Deep Purple two words that are forever engrained in the minds of rock and metal fans, much like their peers Sabbath and Zeppelin they are band that will always be held in high regard. Deep Purple have weathered their fair share of changes both stylistically and in their line up and are still releasing albums. This is their 19th album and their first since 2005's Rapture Of The Deep much has changed since then the biggest being the loss of founder member organist Jon Lord who died while the album was being made, his replacement; veteran Don Airey, does his best Lord impression throughout providing some Hammond riffs and solos as heavy as any guitar and are especially prevalent on opener A Simple Song which explodes into a massive middle after a subdued intro and also manages the organs and indeed orchestrations are at their peak on the doomy Weirdistan. The orchestral theme continues on Out Of Hand which sounds an awful lot like Perfect Strangers stylistically, albeit with better production (something which can be attributed to Bob Ezrin), Out Of Hand is also Steve Morse's first introduction pulling out a killer guitar solo. Deep Purple are at a point in their career where they can mix things up a bit (and have never been afraid to) so when tracks like the funk filled Body Line (shades of the Mark VI line up) and the lounge jazz of Blood From A Stone. The band also stretch out their musical muscles on the proggy Uncommon Man which is based on the Fanfare For The Common Man and as such means the song sounds like ELP (who famously covered the original). As with all Purple records the performances are brilliant with THAT rhythm section of Ian Paice and Roger Glover dictating the pace, the aforementioned leads of Morse's guitar and Airey's keys and the still excellent but less ear shattering vocals of Ian Gillan all showing that they are still very much part of why Purple are still making records. Despite this Now What?! still has some weak points; first single Hell To Pay sounds like a Purple pastiche, Après Vous which is just the band in cruise control and the pseudo horror of Vincent Price is just hilarious (which might be the idea). Despite this these tracks are still stronger than a lot of current bands ideas. Still when a band have been going since 1968 and have released some of the most influential albums in rock history then it will always be hard to rediscover that magic. On Now What?! Purple aren't threatening to top In Rock, Machine Head or Stormbringer but that was never the intention. What they have done is added another good album to their collection and shown that even after all these years they are still relevant and are still capable of producing some quality music. 7/10

Malefice: Five (Transcend Music)

Reading modern metallers Malefice are back and once again they are bringing their distinctly heavy brand of British metal to the masses. Five is a 7 track EP designed as a stop gap to tide fans over until the next full length (and give them some new stuff to play in the live arena). Things kick off with the thrash arpeggio riffage of V which is bolstered by some electronic backing and some heavy as hell breakdowns. The Great Deceiver shows the more melodic side of the band which shows off Dale Butler's excellent vocals and has a massive gang vocal chorus. Malefice sound enthused on this EP but there is something more they also sound like they are finally able to grab the brass ring, the guitars are tight peeling off razor sharp riffage, the drums pummel and the bass rumbles your bones, all of which shows that Malefice have honed their skills over long touring cycles to become an excellent band and this EP is a testament to that. With this new maturity the band can afford to open up their sound a bit by bringing in a djent style palm muted riff on Never Say Die and on Wasted they have aimed at arenas with its massive chorus hook add to this the piano based instrumental of Time and altogether you can see that Malefice have become a real jewel in the British metal crown and if this EP is anything to go by their fourth full length may be their masterpiece. 8/10

Sacred Mother Tongue: Out Of The Darkness (Transcend Music)

Northampton natives Sacred Mother Tongue return after a long gap with their second album. A few of the tracks were already featured on their EP A Light Shines released earlier in the year so I'm not going to focus so much on these songs (http://musipediaofmetal.blogspot.co.uk/2012/10/reviews-kiss-sacred-mother-tongue.html) Instead I'm going to focus on the rest of the album and for the most part it's riff heavy modern metal with some fantastic melodic solos and vocals. Ah yes the vocals gone are the screams from the debut and in their place frontman Darrin South gives his best clean vocal performance not that this is a bad thing as he truly has an excellent voice however many may lament the loss of the screams. These people can rest assured however that the band have lost none of their aggression, the drums of Lee Newell kick like a mule on tracks like the opener Demons and Just A Ride he is aided in his rhythm method by bassist Josh Gurner who provides the heavy bottom end in tracks like A Bird In Hand. The shit kicking rhythm section is the perfect foil for guitarist Andy James who can pull out muscular riffs from nowhere and then wows with his tight concise but extremely proficient and technical soloing that never strays into fret wankery. Evidence of this can be seen on the thrashy A Light Will Shine, the Maiden-like Believe and on the melodic opening to Bleeding Out (before all hell breaks loose). SMT have managed to create an album that merges metallic ferocity with some huge hard rock hooks (mainly from South’s vocals) and they seem to be in a transition period much like Trivium were a few years ago (a band they share a lot of similarities with) much like the Floridians emerged as world beaters so too will SMT if they keep this up. 7/10

Another Point Of View: Saxon (Review by Paul Hutchings)

Saxon at O2 Academy, Bristol 28 April 2013

Many readers will know the anticipation I was experiencing for this gig. After popping my gig cherry 31 years ago, Saxon will always be incredibly special to me.

Redline

Openers Redline, formed in Birmingham in 2006, took to the stage to a reasonable crowd. Unfortunately they proceed to play 30 minutes of mediocre hard rock which did absolutely nothing for me. Vocalist Kez Taylor did his best and demonstrated a reasonable vocal range, but the rest of the band had absolutely no stage presence. This, combined with some appalling dress sense (when were red camouflage trousers ever popular?) meant interest quickly waned although there was a fascination watching them akin to rubber necking at a car crash. I’ve researched them on the web and found a comment which stated “if you want something to compare them to, simply classic hard rock like Chariot with some heavier moments of journey thrown in!” Well, that sums it up nicely. 4/10

The Quireboys

Now, whatever you think about Spike and the boys, one thing they don’t lack is stage presence. Whilst many of my party were not particularly keen, I actually really enjoyed them. The Quireboys have been around since the early 80s and I’d actually forgotten how many of their songs I knew. They’ve always been in my peripheral vision, but I’d forgotten songs like Tramps and Thieves, Mona Lisa Smile and This is Rock n Roll were actually theirs. As they crashed through a nine song set, their main influences of The Faces and The Black Crowes were clear. Keyboard player Keith Weir was superb, enhancing their real rock n roll approach. The twin guitars of Paul Guerin and Guy Griffin added real swagger to their songs and the rhythm section of Dave Boyce and Matt Goom anchored the sound. What struck me most was how much fun the band were having, wide grins on all of their faces and Spike enjoying some banter and storytelling with the very healthy audience. By the time that they got to the final three songs, the sing-a-long Hey You, Mother Mary and their chart hit 7’O’Clock the crowd were really engaged. The complete opposite of Redline, The Quireboys had experience, style, charisma and presence. They were thoroughly enjoyable and great to watch. They would have had a 9 but for the fact that they teamed up with Joe Elliott as Down ‘N’ Outz. That will always get a demerit in my book. 8/10

Saxon

And so to the main event: House lights dimmed, and the intro track on Sacrifice, Procession played out to a capacity crowd. Saxon launched straight into Sacrifice followed by Wheels of Terror from the new album. The crowd were in fine voice, with new songs welcomed as keenly as the old classics. Classics? There aren’t many bands around today with a back catalogue of classics like Saxon. Tonight these included The Power and The Glory, Heavy Metal Thunder, Motorcycle Man, Conquistador, And The Bands Played On, Rock n Roll Gypsy and one of their most famous, the cover the Christopher Cross track Ride Like the Wind. Biff was in fine form, earning bonus points by acknowledging that there might be “few in from Wales” which was met by a massive roar from the large Welsh contingent in the audience. I always forget how heavy Saxon are live, but Paul Quinn and Doug Scarratt’s guitars soon reminded me, with some brilliant soloing and riffing. Nigel Glockler’s drumming was effortless and combined superbly with Nibbs Carter’s bass lines to keep the momentum. Saxon played a very healthy number of tracks from the new album, all of which came across well in the live setting. Guardians of the Tomb, Night of the Wolf, Stand up and Fight were well appreciated. I did have to laugh at the sight of Paul Quinn with a double neck six and 12 string guitar for Made in Belfast though; He isn’t Alex Lifeson that’s for sure. You know what you get with Saxon, and sure enough, apart from the tedious drum solo which lasted about eight minutes, the rest of the set ws stuffed full of old school brilliance. Wheels of Steel, Dallas 1PM and 747 led to a killer encore of Strong Arm of the Law, Denim and Leather and finally Princess of the Night, which I’m not ashamed to say brought a little tear to my eye. A night of solid old school British Heavy Metal, performed by a band that mean so much to many UK metallers. Roll on Steelhouse. It’s going to be blinding! 10/10

Out Of The Beyond 26

Darkwater: Where Stories End (2010)

Where Stories End is Swede's Darkwater's second album and it is a far more direct approach to progressive metal than their debut was (if that's possible with prog). On the whole Darkwater have a style similar to that of Symphony X combining speed metal riffage with big keyboard runs and some powerful vocals from frontman/guitarist Henrik Bath. Things get off to flying start with the eerie keys of Breathe before the heavy guitar crunch kicks in, this is where the bands strength lay the keyboard and guitar interplay is excellent Magnus Holmberg's keys and orchestrations are dominant but not overpowering meaning that the guitars of Bath and Markus Sigfridsson can pull out some very heavy riffs especially on the 8 minute plus Why I Bleed which twists and turns throughout. For a band with only two albums these songs are very strong the instrumental passages are excellent and the vocals are also very, very, good. With tracks like the brooding Into The Cold, the evil A Fools Utopia and the very Dream Theater sounding In The Blink Of An Eye. Where Stories End is a very good album that will appeal to Symphony X fans and also fans of the darker side of progressive metal with some meaty riffs, classical keys and very strong vocals. 8/10

Innerwish: No Turning Back (2010)

A Greek power metal band formed by a virtuoso guitarist; sound familiar? However Innerwish are a band that may always be in the shadow of Gus G and his world conquering crew but despite this Innerwish deliver some top quality power metal that if I'm honest, sounds like Firewind a lot like Firewind. This is their fourth and most recent album and it is also probably their strongest. The Firewind comparison is clear from the opening riff of Signs Of Our Lives which has the dual guitars of founder member Thimios Krikos and Manolis Tsigkos shredding through some galloping Euro power metal style riffage backed by some blasting drums from Terry Moros and some very good keys and synths from George Georgiou (no Bob Katsionis style dual playing here!) all of this is topped by some very technical solos from Krikos and the strong and very European vocals of Babis Alexandropoulos (great name!). Like I said this is top quality power metal with some crunchy riffs and melodic solos and yes it does sound a lot like Greece's premier power metal band and this is not really a bad thing as if you are going to imitate then imitate the best, but with Firewind looking for a new singer this could be Innerwish's time to step out of the shadow and into the light! 8/10

Forever Never: S/T (2009)

Forever Never are a melodic metal band hailing from Essex and this was there second (and final) album. They mix tight, downturned, breakdown heavy, metal with massive melodic choruses and some electronic elements on tracks like Eradicated. The band are all very professional with the some progressive riffage coming from the guitars of George Lennox and an incredibly heavy bottom end from bassist Kevin Yates and drummer Sam Curtis on opener Empty Promises and T.I.T.S. However the bands ace in the hole is vocalist Renny Carroll who has an incredibly good voice equally adept to the soaring melodic clean parts of Broken Kingdom and the ballad of Lost Kingdom as well as having a strong scream on tracks like Break The Trend. Carroll's vocals are simply awesome and he is the perfect vocal foil for the heavy and melodic music as his vocals are so strong when screaming and when singing. This a great album full of huge melodic rock choruses and some massive metallic riffage. Forever Never is a great sophomore album from an underrated British metal band that proved to be not only their grand finale but also it became their magnum opus. 9/10

Another Point Of View: Kreator (Review by Nick Hewitt)

KREATOR & EVILE @ HMV FORUM LONDON

EVILE

So after making the long trip to London to get to this gig my excitement was getting stronger and stronger the closer it got. One solitary night where I would get the opportunity to behold Evile; the future of British thrash, and the one of my favourite bands Kreator; the past present and future of German thrash. Arriving just in time to see Evile breaking into their opening song of the set Cult, the lads from Sheffield powered their way through this catchy single with the ease I have come to expect from the foursome, hooking in the crowd with its brilliant chorus who responded with a loud ovation when the final note faded. Next two new tracks from Evile’s forthcoming album Skull, the songs of choice were Underworld and Head Of The Demon. Both songs were riddled deeply with the thrashing undertones Evile have become known for, but unfortunately lyrically, the songs were dull and very alike, meaning the crowd were visibly becoming disinterested including myself. Following a brief aside between Ol and Matt it seemed they decided to hit the crowd with what is usually their final song… The Thrasher. This instantly dragged the crowd back into a giant pit and back on Evile’s side. The final two songs consisting of Five Serpents Teeth and an encore of which was now In Dreams Of Terror were despatched by the lads perfectly, and kept the crowd going strong leaving the band with a loud chanting exit. Once again Evile showed to many their onstage class and pedigree to entertain. The set length for a main support slot was disappointing, but this didn’t really matter as this at times was loud brutal British thrash at its best. The only concern I had was the overwhelming mutual reaction to the two new tracks that were presented, if this is the best the new album has to offer it could be worrying for the band… we will have to wait and see. 8/10

KREATOR.

The main event loomed and the anticipation of the crowd grew as the set was constructed in front of us, the finished result appeared to be satans evil lair… so the ideal place for a band like Kreator to launch this brutal assault of sound. As the stage lights dimmed and a dull red light ascended upon the stage a murky mist of smoke grew, followed by the much-anticipated Mars Mantra opening music that Kreator have used so well for many years. The mere sound of the first few notes sent the crowd to the top of their voices, and then slowly, one by one Miland, Jurgen, Sami and Christian took their positions on stage starting their musical bombardment with the brilliant title track Phantom Antichrist without a moment’s hesitation. The crowd lapped up the pure thrash that was being delivered with pits opening up all around and air guitars by the handful could be seen. With little time to waste the German collective threw themselves into two more tracks back to back, treating the crowd to flawless renditions of From Flood Into Fire and fan favourite Enemy Of God. A brief pause and introduction followed before lead singer and guitarist Miland attempted to warm up the crowd for then next few songs that were to come, a mix of old and new including the likes of Phobia, Civilization Collapse and Hordes Of Chaos from 1986 all of which were supported by copious amount of smoke and steam cannons along with awesome thunder crack sound effects. Again Miland and Jurgen try to increase the vocal response from the crowd without too much effect, and notably to their annoyance at times. Nonetheless they carried on to deliver a hauntingly brilliant performance of my personal favourite Voices Of The Dead, during which smoke and dim lights filled the room. Again, with little hesitation Kreator ran straight into more classic old school tracks such as People Of The Lie and Pleasure To Kill, giving the crowd a feast of thrashing riffs, drums and perfect vocals to feed from. The movement in the room was unanimous and it stayed like this until Miland stopped the crowd and demanded they separate and prepare a venue-sized wall of death ready for the bone and ear-breaking track… Extreme Aggression. The crowd duly delivered. After leaving the stage there were mild attempts of chants to urge the German legends back to the stage but again, the crowd seemed reluctant to become vocally involved. Despite this, Kreator returned and dived straight into a brutal four track encore that included Betrayer, Violent Revolution and the song which every soul the HMV forum had been waiting for… Flag of Hate. (Miland of course supported the decades old flag of hate flag) The crowd’s physical passion was clear to see, with every body in the forum donating themselves to the thundering music that Kreator delivered. This, perhaps, was the reason for the poor vocal input from the crowd. Nevertheless, Kreator left the stage with a rye smile on their face knowing they had done a outstanding job and left behind them a slightly weaker building and a musically battered and yet beaming crowd. From a musical and performance point of view this was without doubt the greatest concert I have been to, but the lack of vocal support from the crowd did take the shine away from a mind-blowing performance of Kreator. I will forgive this as Kreator gave every shred of power and brutality they had on stage, and the crowd returned the favour with a physical show of appreciation I have never seen before. 10/10

Another Point Of View: Counting Crows (Reviewed By Paul Hutchings)

Counting Crows/Lucy Rose – Colston Hall, Bristol 20 April 2013

A welcome return to the lovely Colston Hall in Bristol and something a little lighter for a change.

Lucy Rose

23 year old Lucy Rose is a folk/indie folk singer from Warwickshire. She made her way onto the stage in an unassuming manner and proceeding to play a half hour set which consisted of tracks from her debut album Like I Used To. She was backed by an extremely competent group of musicians who allowed her to take centre stage. So, what is the music like? Well, a number of influences are clear; elements of Joni Mitchell and Neil Young are evident and comparisons with Anna Calvi and Laura Marlin would not be unkind; there were also elements of PJ Harvey present. With an unassuming but captivating stage presence, Lucy spent the entire set seated centre stage with her guitar and appeared genuinely delighted that the already packed venue provided her with well-deserved applause after each song. She was canny enough to acknowledge that the audience were not there to see her and her self-depreciating humour went down very well. If you fancy a bit of chilled out folk/pop then she is well worth checking out. 8/10

Counting Crows

The main event and two hours of the highest quality musicianship from California’s Counting Crows followed. Led by the energetic and extremely charismatic Adam Duritz the Crows already had a sold out Colston Hall completely won over. Opening with Sullivan Street the band cruised through 18 songs with ease. Duritz is such fantastic singer with a great range, and the band are all consummate musicians. The interchanges throughout were breath-taking at times, with virtually every member of the band change instruments, the only exceptions being Jim Bogios on drums and the excellent lead guitarist Dan Vickery. The set list contained five cover versions, not surprising given the band’s reputation for doing this. Still, you don’t often hear covers of Teenage Fan Club (Start Again) or Grateful Dead (Friend of the Devil). What you do expect from the Crows is Big Yellow Taxi (Joni Mitchell) and this was duly played towards the end of the set.
Other highlights? Well, fans favourites Round Here , Hangin Around and Mrs Potter’s Lullaby were all brilliant, with Round Here especially enjoyable as it always substantially extended by Duritz who put in an inspired vocal performance. Throughout the show the band appeared to be thoroughly enjoying themselves, with much interplay and fooling around. Of course, a band that has sold over 20 million albums should be pretty tight. The rhythm section of Bogis and Millard Powers kept everything ticking along and the triple guitars of Vickery, David Bryson and David Immergluck ensured that the guitar based sound of the band was at the forefront of their sound. You can hear the bands influences throughout; Van Morrison, REM, Dylan and The Band are all evident but the live performance reminded me massively of The Eagles which is no bad thing. They finished with Rain King and Holiday in Spain to a massive and deserved ovation. A welcome break from my usual metal nights and highly recommended. 9/10

Reviews: Within Temptation, Orchid, Sacred Gate

Within Temptation: The Q Music Sessions (Roadrunner)

A covers album from a symphonic metal band? Well that's what you get from Dutch band Within Temptation's new record recorded for Q Music radio in The Netherlands this is a selsction of tracks from various genres but mainly pop, all done in the style of the band. First is a cover of Bruno Mars' Grenade which has the big powerful hooks that WT are known for and sounds like a pulsating rocker that would be at home on their most recent album. As usual Sharon Del Adel's vocals are superb and the band add a metallic crunch to the more radio friendly tracks. The cover of Titanium is excellent and actually shows that David Guetta's writing sounds better with real instruments. The production varies as does the sound quality as these are cut from a radio show but that doesn't matter with some well chosen songs to cover, like the rocked up version of Lana Del Rey's Summertime Sadness which still maintains the orginals haunted vocal delivery but replacing the strings with some pulsing keys. Radioactive too is transformed into a euro-pop/metal anthem (the orginal is by Imagine Dragons) by the bands symphonic metal chug. Crazy (Gnarls Barkley) is now a restrained piano ballad. WT have made these songs their own with the lesser known tracks sounding like orginal compositions. They even do a good job with Behind Blue Eyes (much better than Limp Bizkit's version) turning it into a searing ballad full of remorse and a killer solo. This is a good stop gap album and won't be to everyone's taste but it's a good collection of well chosen covers. 7/10

Orchid: The Mouths Of Madness (Nuclear Blast)

Orchid are a Californian doom metal band and as such they sound like Black Sabbath, as well as Pentagram, Sleep and even the modern retro riffage of The Sword. But mainly Sabbath, this is blatant wholesale copying but if you are going to copy make sure you do so from the best. With down tuned fuzzed up riffage, voodoo drumming, some heavy bass and the pulsating synths of frontman Theo Mendell who has a gritty rock voice that works well with the retro styled heavy metal. The Sabbath influnces is at it's biggest on Marching Dogs Of War which has the reverbed vocals of Ozzy and some Iommi-like guitar and Geezer style bass riffage. Despite the Sabbath stealing Orchid also sound very American having a destinctly Californian sound coming with elements of surf rock as well as some hazy psych that comes straight from The Grateful Dead. This is a good album but it just doesn't seem to have the spark and the typically English love of the occult, as I have said the band sound a lot like Sabbath and if you like them (and if you don't I forbid you to read this blog!) then you'll like The Mouths Of Madness but just remember Iommi and co. still exist and they don't need to be replaced just yet. 7/10

Sacred Gate: Tides Of War (Metal On Metal Records)

"Spartan's What Is Your Profession!?" is the chant that reverberates around the festivals of England in the wee hours, it refers of course to the famous line from the film 300 which is set during the heroic battle between the Greeks and the Persians. Despite how annoying this chant can be it seems that Sacred Gate have taken as an influence and based Tides Of War around the legendary battle as well. However it may also be that this is a cool story to turn into an album and that two of the members are from Greece. The instrumental opening has all of the orchestral gusto of a historical epic soundtrack before the distinctly German Teutonic riffage kicks in on The Immortal One. Guitarist Nicko Nickolaidis riffs like a demon and pulls out some sweet solos too, he shows his prowess on the instrumental riffest of The Final March. He is ably backed by some strong percussion from drummer Christian Wolf and heavy rhythym from bassist Peter Beckers. Like I said this is a concept album so it follows a story meaning that lyrically it is very rigid to the story of the battle but musically the band sound like a lot like Iced Earth with their riff heavy delivery and the powerful Halford like vocals of frontman Jim Oliver (albeit without the Earth shattering screams). With tracks like the pulse quickening Gates Of Fire (which has some intensely melodic guitar lines), the power (metal) ballad Never To Return, the thrash ferocity of Spartan Killing Machine and the grand finale coming with the 12 minute  The Battle Of Thermopolyae which encompasses all of the hallmarks of the Iron Maiden epics. This is a great album if you are fan of real heavy metal so grab your Corinthian Helmet, strip naked and get ready to dine in hell! 8/10

Paramore (Guest review by Mike Chapman)

Paramore: S/T (Fuelled By Ramen)

Paramore is the first album the band have written and recorded since the Farro brothers rather public and venomous departure. Hayley Williams recently told us Paramore listens as "a diary of the last year" covering much “emotional ground”. Examples of this can be found on the first track Fast in My Car in which Williams sings 'Been through the ringer a couple times/I came out callous and cruel'. What follows is a mature, articulate, and wholly entertaining walk through the minds and emotions experienced by the band throughout the last year. The crunching guitars and layered synths of first single Now hits us right between the eyes before we are lulled into the quirky pop dream that is Grow Up perfectly summing up Williams and the bands current mind-set, that ‘some of us have to grow up sometimes’. Second single Still Into You displays the band at their catchiest, a piece of sweet addictive pop with slick production and lyrics you can really sing along to. As you can tell, plenty of genre hopping can be found on Paramore. Tracks such as Daydreaming treat us to shoegaze influenced anthemic stadium rock, whilst Part II display the trademark Paramore sound, only refined by the fantastic production from Justin Meldal-Johnson (Gnarls Barkley, Beck, Nine Inch Nails). But for me the stand out track and a personal favourite of mine Ain’t It Fun perfectly sums up Paramore’s evolution. The track is something new and fresh, with a gospel choir lending their powerful vocals to a rousing finale. It shows us that Williams and Co are really having fun experimenting and utilizing every instrument, sound, and idea in which to channel the highly emotive content of every song. In a week where the album went number 1 in both the USA and the UK it’s hard not to see its appeal. Paramore’ explores new and exciting territory that may confuse some but delight many, summing up what has been a turbulent couple of years for the band. But if there is anything to be gained by all that life experience, its music in its purest form, good, honest and most of all fun. 10/10

The View From The Back Of The Room: Meat Loaf

Meatloaf: Motorpoint Arena, Cardiff


So the Neverland Express makes last stop in the UK after few cancelled shows it was all or nothing for this final show on the UK leg of the Last At Bat Tour. Luckily this is Meat Loaf who despite advancing years and declining health will never give less than 100%. This was all Meat for two hours. With an intro tape of The Beatles When I'm 64 its clear that Meat Loaf doesn't take himself seriously and is quite aware that to still be selling out venues at this age is a feat. The first song was from the newest album Hell In A Handbasket and opened the show with the hard rock gusto of Runnin For The Red Light (I've Got A Life) before it segued into Life Is A Lemon with its primal cry of "I want my money back!” For these first two tracks the sound was muddy (par for the course in the Motorpoint) but it cleared up as the piano and sax led rock and roller Dead Ringer For Love got the audience clapping and singing along with aplomb, the hard rocking continued with If It Ain't Broke Break It and the modern classic of Los Angeloser. Mr Aday still has a powerful voice although not as good as it used to be however he still gives 110% in his performances making sure that the pomp is ramped up to its full. He is also backed by a superb band with long-time associates guitarist Paul Crook, drummer John Miceli and vocalist Patti Russo (who has more costumes changes than an entire West End show!) it's his band that save the missed notes on many occasions and keep your spirits high throughout. Then it was time for the final three tracks from the first set, first was the newer track The Giving Tree which is a great ballad with a rocky end but pales in comparison to the soaring reflective super ballad Objects In The Rearview Mirror... before the almost train-like chug of Out Of The Frying Pan (and Into The Fire) and with a flash of colour the first part was over, the screens that had been broadcasting images throughout interspersed with the original music videos faded to black with the words "Intermission" followed by "Next...Bat Out Of Hell".

Yes Meatloaf and Jim Steinman's seminal debut album in its entirety and while the songs were spaced out with excerpts from the "Behind The Music" special, the songs themself still packed the punch they did back in 1977. From the opening keys of the title track through its 9 minute runtime the crowd were in awe singing along with every line before clapping along to the vocal break in You Took The Words... Meat then was joined by Justin Avery on piano and started to cry as he told the story of Heaven Can Wait (how genuine this was I don't know seeing as it was replicated every night, however he did seem moved) before the rock began again with All Revved Up With No Place To Go. the crowd were eating out of his hand by now fully enthralled by the magic happening on stage, on to the modified country ballad of Two Out Of Three Ain't Bad before the vaudeville duet of Paradise By The Dashboard Light and then it was time to end with the rarely aired For Crying Out Loud. When Meat introduced this track he started talking about Jim Steinman and again he began to cry (!?) but you can see why as Meat without Steinman is really not the same (as many of his albums have shown) so as the final crescendo of For Crying Out Loud the crowd were on their feet in rapturous applause. Then for the encores (not finished yet folks!) another huge cheer greeted I Would Do Anything For Love...which was followed by Boneyard a very heavy song that was a bonus track on the iTunes edition of Hang Cool Teddy Bear, the song showed off both Patti Russo's vocals but also Justin Avery (who has a great voice) and then burst into solos halfway through before adding the solo from Skynyrd's Freebird and ending in a reprise of All Revved Up... and with that it was no more the thank you’s came and went and the final tour (as yet) was all over in a standing ovation. yes he hasn't quite the voice anymore but his band compensate for this, but for entertainment purposes alone Meat Loaf is in a league of his own, not bad for a self-confessed "65 year old man with a busted knee" 10/10
   

Reviews: Avantasia, Gama Bomb, Uncle Acid & The Deadbeats

Avantasia: The Mystery Of Time (Nuclear Blast)

Tobias Sammet has returned once again to his Metal Opera project and once again he is joined by an array of guest performers and this time the German Film Orchestra Babelsberg which takes a lot of the pressure off keyboard extraordinaire (and composer) Miro. At its core Avantasia is Sammet on vocals and bass, long time co-conspirators Sascha Paeth and Miro on guitars and keys and long-time session stickman Russell Gilbrook (who replaces Eric Singer). The orchestra really lend a movie-like feel to the record which makes it sound very similar to Trans-Siberian Orchestra in terms of the soundscapes it creates. Spectres kicks things off with Sammet showing off his amazing set of pipes, this track features Joe Lynn Turner who is the first of the usual host of guest vocalists that appear in this project, however unlike the previous efforts a few of the guest vocalist are drawn more from the hard rock and AOR scene than the metal one with Pretty Maids' Ronny Atkins providing gravelly tones to the rampant Invoke The Machine and Mr Big's Eric Martin making his presence felt on the radio rock ballad of What’s Left Of Me which would be at home on a Meat Loaf record. On the other side of the coin; Michael Kiske, Biff Byford and Bob Catley all return to their recurring guest posts supplying their unmistakeable vocals in spades. Thankfully Cloudy Yang, who made a fantastic impression on Angel Of Babylon, returns on the Mystery of Time and impresses again when dueting on the electronically backed ballad Sleepwalking. Again this is a concept piece (about science and religion) so it takes time to truly appreciate but after repeated spins this album shows just how good it actually is. Back to the guest front the only other outsiders come in the form of axe-slingers with Bruce Kulick and Oliver Hartmann providing the lions share but the most interesting to me is the contribution of Ayreon's Arjen Anthony Lucassen (who also not averse to a concept album or 6!). This is a fantastic album that moves between hard rock, power metal, AOR with some big progressive tendencies. It looks like Sammet has done it again creating another bombastic, dramatic, engaging and mostly an incredibly entertaining listen that is more of musical journey than and album. 9/10

Gama Bomb: The Terror Tapes (AFM)

Northern Ireland's premier thrashers return with their fourth album (their first in four years) in that time they have lost a founder member in the shape of guitarist Luke Graham and vocalist Philly Byrne has undergone vocal surgery. However they have now returned with a new guitarist and Philly's voice sounds exactly like it used to. Now Gama Bomb have never been the most serious of bands their crossover thrash has always been in the same vein as Municipal Waste their songs are full of horror, sci-fi, weed smoking and beer drinking. Clocking at just over thirty minutes this is a rapid thrash assault that encompasses hardcore punk as well. The riffs are honed like laser beams and the drums don't relent in their double kick smashing, Philly spits his vocals with tongue tangling speed. Gama Bomb are never going to change the world but with tracks like Beverly Hills Robocop, Terrorscope, Smoke The Blow With Williem Dafoe, Metal Idiot and the 18 second Shitting Yourself To Live, Gama Bomb are the sound of a booze fuelled party full of 80's action movie re-runs. 7/10

Uncle Acid & The Deadbeats: Mind Control (Rise Above)

Uncle Acid follows up on his 2012 album Blood Lust by releasing his follow up in under a year. Mind Control picks up where the last album left off with riff heavy, Sabbath worship heavy on the fuzz and brimming with occult imagery. Opener Mt. Abraxas sets the tone with some doomy riffage that changes pace throughout its 7 minute runtime before ending in a hammering riff that will incite some drone style head banging. The production and album presentation are both very retro with some definite hints to Ozzy and co. The eponymous Acid handles the Iommi like riffs, eerie Hammonds and fractured unholy vocals with his Deadbeat cohorts handling the drums and bass respectively. With tracks like the trippy 60's psych of Poison Apple, the stoner rock haziness of Desert Ceremony evokes the spirit of Sleep, the folky disarray of Follow The Leader which has the smoke-filled haze of Planet Caravan and the voodoo chug of Devil's Work. This is a great album from Acid and his not so merry men, classic British doom right from the heart of its birthplace. 9/10

Reviews: Volbeat, Ghost, Gary Clarke Jr

Volbeat: Outlaw Gentlemen & Shady Ladies (Vertigo)

Denmark's premier (and the world’s only!?) Elvis metallers' new album is one that will not open any new minds it is simply the new record of a band that know how they sound and wouldn't change it if they could. With the last couple of albums the band have focused on gangsters and women this one still has songs about the lawless and the women but it also focuses on a new era of the Old West. Now don't worry frontman Michael Poulsen hasn't started wearing a Stetson he is still very much the rockabilly busting out Metallica riffs his deep crooning vocal is still at the forefront of their sound on the outlaw loving tracks like the thrashy Black Bart, the hook laden Doc Holliday and the melodic Pearl Heart. I used the word thrashy deliberately as Volbeat have added a new lead guitarist to their ranks in the shape of Ex-Anthrax man Rob Caggiano who has definitely brought the noise (sorry) on the speedier tracks like The Hangman's Body Count. He also has produced the record adding his years of experience to the band. This album has many highlights two of which are the bluegrass/rockabilly track Lonesome Rider which features Sarah Blackwood from Canadian indie band Walk Off The Earth and Room 24 which is graced by the vocals of Danish metal legend King Diamond who adds a whole new layer of evil to the track with his demonic wails, the track also gives Caggiano a chance to show off his guitar prowess. Like I said this album isn't going to set the world on fire, if you are a Volbeat fan then you'll know what to expect and you will enjoy another trip through history with these metalbillies (is that a word?), if you don't get Volbeat then there's is nothing here to change your mind, although if you don't like them why not? Another solid slab of Metallica riffage and Misfits vocals joined together perfectly. 8/10

Ghost: Infestissumam (Lorma Vista Recordings)

The 'newly' instated vocalist Papa II leads the Nameless Ghouls in another album of top notch occult rock that still straddles the boundaries between Blue Oyster Cult and a poppier Mercyful Fate. Papa II is the same man in different suit (or is he?) and his voice is still a melodic demon summoning croon. Much remains intact from their debut but everything seems ramped up on this record, it's the sound of a band aiming for arenas backing up the hype that surrounds them. The chamber choral chant of the title track leads into Per Aspera Ad Inferi which has a relentless riff and a very percussive chorus. The guitars still have that classic twin guitar sound with the stripped back bass and drums and lashings of keys and organ all lending to the bands retro 70's sound. The evil carnival sound of first single Secular Haze follows with its tribute to psychedelic occult rock. It's from here that you can see that the band are making taking their shot at the mainstream with the glam stomp of Jigolo Har Megiddo which is like a Satanic T-Rex track and is followed by the progressive schlock horror ballad of Ghuleh/Zombie Queen which is a swaying trippy ballad that starts out as The Eagles before turning into a voodoo Beach Boys. Perhaps the best track on the album is the heavy rocking Year Zero which features some serious guitar work from the Nameless Ghouls which is followed by the AOR of Body And Blood and the eerie 60's power pop of Idolatrine before the album ends with doomy, darkly psychadelia of Monstrance Clock which ends with the chant of "Come Together For Lucifer's Son". Ghost have produced another retro slice of occult rock that will satisfy the faithful and move them in the right direction which in this bands case is to the top! 9/10

Gary Clarke Jr: Blak And Blu (Warner Bros Records)

Gary Clarke Jr. is being billed as the next big thing in blues with Entertainment Weekly calling him "the chosen one". So is this hype warranted? In a word yes, Texas Bluesman Clarke Jr. is doing something that no-one else is he is he is almost reinventing the blues As well as playing in front of Barack Obama and guest appearances on Eric Clapton's Crossroads festival as well as jamming with the Rolling Stones and B.B King. Handling the guitar and the vocals Clarke Jr. does both excellently his guitar sound is fuzzed up and his voice is truthfully soulful showing that this is man that has been doing this his whole life (which he has been receiving his own day in Texas when he was only 17) Things start off with the hip shaking old school R&B of Ain't Messin' Round which is straight off the Stax production line, this record is all about juxtaposition as the second track is a chugging When My Train Pulls In which is a moody, blues piece drenched in organ, a simple guitar riff and some reverbed vocals the song builds up for its seven minutes into a frankly jaw dropping guitar solo, which then turns into another solo. Clarke Jr. has been interviewed many times and has said that his mission is to trace all music back to the blues (clearly a man possessed) and the title track shows this, it is for all intents and purposes a hip-hop song with some processed beats and a sprinkling of staccato guitar that works well with the hip hop backing. This is then totally reversed on the analogue country boogie of Travis County is another one designed to get your feet moving along with the acoustic countrified picking of Next Door Neighbour Blues. It's here that I will mention the cast of extremely talented backing musicians who all contribute their individual instrumentation to Clarke Jr.'s guitar and vocals. The record is also produced by Clarke Jr. Mike Elizondo and Rob Cavallo in various couplings and it means that many of the tracks sound different production wise, this gives the record an almost jukebox feel with its different production techniques and genre shifts. More Hip-Hop comes in through with The Life, with a funk style playing on Glitter Ain't Gold and the doo-wop of Please Come Home as well as a Hendrix cover in the shape of Third Stone From The Sun which shows off Clarke Jr.'s guitar stunning prowess As I've said this is an awesome album moving effortlessly between genres but all with Clarke Jr.'s signature voice and guitar phrasing. Every now and again there are artists that come along and shake up the standard order and just like Joe Bonamassa is headlining arenas without any label backing and his own interpretation of Blues Rock, Gary Clarke Jr. is drawing from a much wider palate and has the technical prowess and songwriting to become bigger than John Mayer, however Gary Clarke Jr. has something Mayer now lacks; individuality. 10/10