Out Of The Beyond 29

A special feature length retrospective review by Nick Hewitt

Michael Kiske & Amanda Somerville: Kiske Somerville (Frontier Records)

While rummaging through a local record shop I stumbled upon what I thought could be a little gem of a find that I did not know existed, this album excited me. So, without hesitation I handed over some of my hard earned money in exchange for the first collaborative effort from, in my opinion, two of the finest voice in metal; Michael Kiske and Amanda Somerville. The album opens up nicely with the pacey track Nothing Left To Say. Filled with thumping drums from Martin Schmidt (Atrocity and Leaves Eyes) and a solo from Magnus Karlsson (Primal Fear and Bob Catley) that could melt your soul. Dominated by Kiske this track welcomes us into the album well. Next, the two singles released from the album: Silence and If I Had A Wish. Both undoubtedly chosen for their catchy riff, melody and anthem like lyrics. Again Kiske takes the lead for If I Had A Wish, his voice carrying the song majestically with backing from Somerville behind almost ghost like. Silence is more of what I expected from this album, a slower track with both Kiske and Somerville’s voices chiming in together forming a smooth duet, while Karlsson strums along kindly in the background with some epic orchestral strings to finish. Anthem brings on more of the same, this time with a little more power behind it, short, blunt and to the point. This track could almost be perceived as a tête-à-tête between the two vocalists as they alternate at time with some passion.

Next End Of The Road which is a particular favourite of mine; a slow beautiful ballad that opens with a magnificent symphonic backing that carries the song throughout, but the real strength in this track is the way that Kiske and Somerville complement each other, both voices smooth, flawless and at times seem intertwined as one. This track really had me thinking, why did this album not happen sooner?? Don’t Walk Away and A Thousand Suns are up next, both of which are taken right from the hands of power metal itself. Brilliant riffs and solos fall perfectly in line with Somerville who has the dominance in these tracks. These really are the only tracks, which I feel we see the full range and brilliance of these two individuals voices (which I will come on too later). A Thousand Sun’s in particular really starts to showcase what Somerville is capable of, but for me, I know it only the tip of the iceberg. This track and the next to follow definitely have reverberations on late Queensryche and at times a notable Helloween influence (Surprise!)

Coming to the final few tracks Kiske and Somerville offer us a few rocky songs in the form of Rain, One Night Burning and Devil In Her Heart. Rain, a fast paced in your face track that leaves Kiske handling the verses and Somerville taking the lead on the slightly predictable chorus. One Night Burning is another flash of what both voices have to offer when really tested, supported brilliantly by a symphonic base it’s really hard not to appreciate Schmidt’s pounding drums here. Jimmy Kresic (Voodoo Circle) keyboards follow the orchestral symphony with some quick yet soft fingers flowing seamlessly into the third single and penultimate song from the album Second Chance. Another delightful soft ballad we are offered another chance to hear Kiske and Somerville’s voices bended into one, lyrically this is the most pleasing track and seems to hold great emotion for Kiske (maybe reflecting on his religion). Again Karlsson hammers out some fine solo’s here, especially prior to the final chorus. Although short each note rings in your ear as it fades. Finally the bonus track which sums up the album fairly well, outstanding musicianship from the band, loud, thumping and this time… heavy metal Set A Fire culminates in a bruising breakdown to finish with Kiske and Somerville stretching their voices the most they do throughout the entire album, and here lies the problem I have with this album…

Musically this album is up there with some of the best album’s I have heard in a while, the musicianship is second to none. The blend of orchestral symphonies with epic riffs and breakdowns one track to beautiful ballads the next somehow works, as each track slides into another with reasonable ease. Karlsson and Schmidt especially on impressive form throughout. Sadly, what people buy this album for is to hear the voices of Kiske and Somerville unite and make us regret turning the volume up to 11 when we first play the CD, and I just didn’t get that here. Yes their voices in this album are flawless and yes when the come together (for the ballads particularly) they combine perfectly, it just all seems to easy for them… at times, lazy. Kiske and Somerville are at their best when letting everything they have out of their lungs, reaching every note from the highest to the low. During this album we only really have one opportunity to hear this, which to me is a great disappointment. I read recently that album two is on its way early 2014, so I hope for more of the same only this time a lot more oomph! Musically this album is easily 10/10 but for what this album promised and was meant to represent it lets me down a little. 7/10.

 

Reviews: Touchstone, The Graveltones, The Dead Daisies

Touchstone: Oceans Of Time (Hear No Evil)

British progsters Touchstone are on their fourth album now and this one amps up the rock to 11! The band have moved through the motions and have added more layers to their sound on every album. This one is harder edged continuing what they started on their last album The City Sleeps. Things start well with Flux which does just that moving from a propulsive rock opening, into an orchestral middle with a building guitar solo from Adam Hodgson who really shows his talent on this album playing some excellent riffs and solos throughout the record, see the bluesy Contract to show how expressive he can be with his playing. However he is not the only member of the band and all the others are extremely talented bassist Moo provides a steady, proggy, beat to proceedings wrapping his fingers around the bands progressive but also melodic and catchy see the folky Tabula Rasa which lasts for over 7 minutes but wouldn't be out of place on the radio. The album sounds much more grown up with a tougher songs and more hard hitting lyrics, showing that Kim Seviour has developed as both a lyricist and as a vocalist over the four albums, her strong voice fitting perfectly with the band’s music. What I did notice was that founder member Rob Cottingham has less of a role on this album providing fewer lead vocals and using his keys as more of an atmospheric tool than as a lead instrument, see Shadows End which is the continuation of Shadow from the band's debut album, which is followed by a reworking of Solace from the band's sophomore album Wintercoast and has itself a sequel in the shape of Through The Night adding to the bands tendencies for having links between their songs (a prog tradition surely?) Finally the band's Wintercoast storyline develops it's forth chapter with the title track (again a band tradition) and ends the album strongly and has a killer solo. Touchstone have yet again released a record full of powerful modern prog, one that should take them to the top! 8/10      

The Graveltones: Don't Wait Down (RSK Entertainment)

The Graveltones impressed me when they supported Rival Sons earlier this year so it was with real anticipation that I awaited their debut. My anticipation paid off this as the album is excellent, part White Stripes, part QOTSA and part John Lee Hooker. The band is made up of Jimmy O who rattles off the fuzzy, garage, blues drenched guitar riffs and screaming solos, while at the same time gives a mad-eyed, howling vocal performance. he is aided and abetted by man mountain Mikey Sorbello who is a demon behind the kit, never have I heard a set of drums played with such technicality and head crushing power, see Dying On Your Feet for sizzling example of the power and the jazzy off-kilter St. Lucia which displays the small percussive touches that sets him apart. This the band The White Stripes always threatened to be but could never achieve, stunning musicianship dabbling with modern soul; see Crime To Be Talkin' which is a duet featuring a Lauren Tate's, Joss Stone like vocals, Hendrix style blues-rock replete with guitar freak-outs and a ferocious live show. The band nod to the past with many of their tracks but after a small tip of the hat they run through their stripped down, garage noise with perfection. This is a killer debut from a band that have big things ahead of them. 9/10   

The Dead Daisies: S/T (Self-Released)

The Dead Daisies are a hard rock super group formed by ex-Noiseworks/INXS singer Jon Stevens and former Red Phoenix guitarist, no while their names may not sound familiar they are aided and abetted by guitarist Richard Fortus fresh from his stint with Axel Rose's travelling circus who brings GNR ivory-tinkler Dizzy Reed with him, the rhythm section are Rolling Stones bassman Daryl Jones and Charley Drayton who has played with everyone including The Cult. The band's sound is classic blooze-rock bringing together The Black Crowes Washington is Hard To Handle by another name, as well as Bad Company and Stones thrown in for good measure. The guitars are clean and bright bringing the blues rock riffs and acoustic rhythms. This is a real retro vibe that I last heard on The Temperance Movement album. The songs ring out like a hazy 70's summer record full of bell bottom blues and a lot of hair flowing American rocking. This is a cracker of an album Stevens has a tough, gritty voice that's sounds a lot like Buckcherry's Josh Todd. Phoenix plays a mean guitar, he and Fortus are a hell of team and are aided on Lock 'n' Load by Slash. As a debut album this is a great hark back to a a time when rock ruled the airwaves. 8/10      

Reviews: Lissie, Exit State, The Earls Of Mars, Ravenous

Lissie: Back To Forever (Columbia)

Back To Forever is the second album from California's Elizabeth Corrin Maurus and it continues in the same vein as her debut Catching A Tiger she peddles a modern kind of country and folk influenced rock that can only come from out of California. From the opening chords of the shimmering electronica based The Habit however you can tell that Ms Maurus has evolved her sound a bit as she has moved away from the Rumours era Fleetwood Macisms of her debut and stepped more into the Tango In The Night stages with the electronic loops and beats infecting many of the tracks. She seamlessly blends electronic pulse with acoustic strumming and some killer 80's guitar solos especially on the debut single Further Away (Romance Police) which has a killer chorus hook and leads into the paparazzi baiting  Shameless which has a repeating drum loop straight out of New York Hip Hop. Yes Lissie does mix up the sounds on this album but she still maintains the smoky vocals that set her apart from her peers merging Stevie Nicks see Sleepwalking and on the slower songs like the mega ballad They All Want You she has all the (summertime) sadness of Lana Del Rey. The album mellows out in the middle with the more country moments coming through and a defiant live sing-along in the shape of I Don't Want To Go To Work (which has a jarring guitar break in the middle) and even has Springsteen moment on Mountaintop Removal. This is a more mature album than her debut and some tracks to seem slightly out of place but for the most part the experimentation pays off and the album sounds big, bold and confident. Forget your chart nonsense; Lissie is the real deal, authentic musicianship at its purest. 8/10

Exit State: Let's See It All (Rocksector Records)

Roy Bright and his band of modern rockers return for their third album with a new guitarist in tow and Matt Harris puts his stamp all over this record straight from the off. Exit State have always been a band that have intrigued me as they combine some really heavy riffs with Bright's unique vocals that always seem at odds with the music but do seem to work. Their debut album is a very good full on party rock album and their sophomore release Black Veins brought a more adult vibe in terms of lyrical content. If I were to make a comparison I would say they have the same quiet/loud dynamics of The Foo Fighters (whether that's a good or bad thing depends on how much you enjoy Mr Grohl and co) personally I think if they were American and not from Lancashire. Still I digress and back to the album, they have started off the album strangely I think with a brooding track that features some electronic drum loops and heavy riffage before it bursts into the brighter, funkier Sun In My Eyes. This third has maintained the great compositions that the band has always had but it marries them with great production. The punky, voyeuristic title track follows and is followed by a stirring ballad in the shape of The Pain I Demand. As I've said before the band are somewhat of an enigma in the British rock scene as one minute they are poppy and the next heavy as lead, still they translate well and will appeal to a wide crowd with this strong third release. 7/10      

The Earls Of Mars: S/T (Candlelight Records)

The Earls Of Mars are on odd one, mixing rock, jazz and psych they are a full on head-trip featuring some percussive mastery from Dave Newman who bashes and crashes like a child in a kitchen, he is aided in his noisemaking by Si McCarthy who plays the doomy upright bass. From the first track Poor Whores Petition the band show their chops with a driving doomy dirge that features some fuzzy riffage from guitarist Harry Armstrong, the band then totally confuse you by diving straight into a 4 minute jazz rock anthem which shows off main-man Dan Hardingham who uses his organ to great effect making The Swinger a swaggering, acid tinged key workout with schizophrenic vocals also from Hardingham. Now I've seen The Earls Of Mars live twice and both times they have freaked me out and on record they are no more coherent, every track differs wildly and they can just as much get stuck in a groove as they can veer off on a tangent. The songs are strange, weird and in places terrifying but mostly very well constructed and perform by a group of talented (if a little mad) musicians, bringing to mind Captain Beefheart in his heyday, especially on The Astronomer Pigs (yes all the songs have very odd names). This is weird music for weird people and though some will hate it beyond anything else those who have opened (or indeed expanded) their mind will take it to their hearts. 7/10  

Ravenous: We Are Become Death (Coffee Jingle Records)

Ravenous are a thrash band from Southampton and they have shot out of the blocks with a killer debut. This get started with Abhor and you know where we're going from there with the razor sharp riffs, heavy drum licks, rattling bass lines and some face melting old-school soloing. The band bring to mind modern thrash masters Evile on the opening track and on the pacier tracks like Deathstiny which wouldn't be out of place on Five Serpents Teeth. However they are not all about super-fast riffs they also have huge amount of groove with second track Reverse with its breakdown outro and the heavyweight Suffocate bringing to mind Machine Head especially in the vocal department with Dave Game a dead ringer for Robb Flynn also the band look back to the legends of 'Tallica on the amazing Easter Island (We Are Become Death) which starts off slow before building into a massive arena sized stomper that Lars and co do best and then finally exploding into its finale, Ravenous too must be live killer too with its shout along one word chorus. For a band that are only on their debut record I was surprised how professional it sounds in terms of song writing and production, the songs are tough, heavy, melodic and feature all of the best thrash metal hallmarks, the production is excellent with all of the instruments and vocals given time to breathe. With Evile up in the air in terms of members it might be time for Ravenous to step up to fill the void. A killer debut that rips you limb from limb! 9/10 
            

Another Point Of View: Paradise Lost

Paradise Lost, Lacuna Coil and Katatonia – Wulfrun Hall, Wolverhampton

Paul casts his critical eye over a night of doom metal.

A midweek trip to the Wulfrun Hall in Wolverhampton to celebrate 25 years of Paradise Lost, supported by the Italians Lacuna Coil and Swedish doom merchants Katatonia. Both bands cite Paradise Lost as a major influence although it is worth noting that Katatonia have been around for 20 years and Lacuna Coil celebrate their 18th anniversary next year. One of the major points of interest is the stability in these bands. Katatonia’s core has been intact since 1999 with the last line up changes four years ago, Lacuna Coil have had the same line up since 1998, and four of the five members of Paradise Lost have been in the band since 1988.

Katatonia

Having seen the Swedes on four previous occasions I knew what to expect from these guys. Late last year I saw them twice on their headline tour for the excellent Dead End Kings album at the Islington Academy and The Fleece and both times they were fantastic. With a huge back catalogue there was no shortage of quality. This time however, they had opted to play the whole of their 2003 offering, Viva Emptiness, as a 10th looked very appetising, as this is a very good album. However, like many albums, playing it live can highlight weaker tracks which are masked when listening elsewhere. The band opened with the album closer Inside the City of Glass and proceeded to perform it in reverse order. This was a smart move as it meant a set which built to a climax with fan favourites Ghost of the Sun, Sleeper and Criminals. Highlights included a stunning version of Evidence, the beautiful Omerta and Burn the Remembrance. This band doesn’t do huge posturing or have a massive stage presence, relying very much on the quality of the music to draw the crowd in. And here was the problem for me. Whilst Jonas Renkse’s melancholic delivery was pitch perfect as always, Niklas Sandin’s bass was turned up far too high in the mix, and the crushing vibration combined with Daniel Liljekvist’s exemplary drumming meant that the layered and delicate guitar work of Anders Nytstrom and Per Eriksson was lost for much of the set. This is an essential component of Katatonia’s sound and whilst others in my party didn’t feel the same, for me it detracted somewhat from the performance. Of course, it could have been that this was the first date of this run, and that some of the songs were being performed for the first time (ever in some cases I’m sure) but overall the band didn’t quite do justice to a very good album. However, I still can’t wait to see them again; hopefully
performing the Dethroned and Uncrowned album in its entirety instead. 7/10

Lacuna Coil

I’d only seen Lacuna Coil once before and that was at Sonisphere in 2010 so it with anticipation that I waited for the Italians to take the stage … and they didn’t disappoint. With more room on stage to move around than Katatonia, and substantially more lighting which was used to the full, they opened up with one of four tracks from the excellent Dark Adrenaline album I Don’t Believe in Tomorrow with the dual vocals of Andrea Ferro and Cristina Scabbia combining superbly. One thing I always forget with this band is how damn heavy they are live. Using synthesised backing when necessary, the twin guitars of Cristiano Migliore and Marco Biazzi cut some serious riffage throughout their set. A second track from the latest album Kill The Light followed before a couple of fan favourites from Karmacode and Comalies, Fragments of Truth and Heaven’s a Lie respectively kept the tempo high. The crowd, which had increased substantially by now, reacted very favourably with massive ovations and much fist pumping. Ferro may not be the best vocalist in the world, especially with Scabbia the main focal point of the band (for reasons that escape me), but he has boundless energy; constantly encouraging the crowd and leaping around the stage to good effect. The band’s driving force is bassist and main songwriter Marco Coti Zelati and drummer Cristiano Mozzati, and they kept the engine room ticking over nicely. Swamped was followed by the stunning Senzafine which was sung in Italian and then Without Fear from Karmacode. By now the audience was singing along and the band was having a great time on stage with broad smiles from all. A superb trio to finish, Intoxicated and the rocking Trip The Darkness led to the finale of Spellbound from Shallow Life, and a deserved ovation from the Black Country crowd. Lacuna Coil confirmed that they have finished work on a new album so hopefully a tour will be forthcoming next year. One not to miss. 9/10
 
Paradise Lost

Time for the headliners. The last time I saw Paradise Lost was in the Great Hall in Cardiff two years ago where their evening was destroyed by the sound gremlins. Vocalist Nick Holmes ended up storming off stage that night after his microphone picked up the transmissions from local cab companies (I kid you not, it was like the scene at the air force base in Spinal Tap). No such problems tonight as the band were on fire and stormed through a ninety minute set which contained a range of classics from their 25 year history and from each of their thirteen albums. Kicking off with Mortals Watch The Day from 1994’s Shades of God, the band were on inspired form throughout. The rhythm section of bassist Steve Edmondson and drummer Adrian Erlandsson anchor the dark and doom laden sound of the band, and stand out particularly with the earlier works when the band were amongst the leading lights of the doom/death genre. They moved straight into So Much Is Lost from Host before Remembrance from Icon gave way to the title track from Gothic, the band’s second album and an all time gothic metal classic. Vocalist Nick Holmes, one of metal’s most underrated front men demonstrated his death metal qualities on this track, which was heavier than an anvil encased in concrete. Holmes has a wickedly dry sense of humour, and used it throughout, generating laughter from the fully engaged crowd. A quick blast from Draconian Times followed with Enchantment, rhythm guitarist Aaron Aedy mouthing the words and generally rocking out, whilst lead guitarist Greg Mackintosh picked out solo after solo. The title tracks from Faith Divides Us and latest release Tragic Idol were followed by Never For The Damned from the underrated In Requiem before a blistering version of Isolate from Symbol Of Life. The first of two tracks from One Second, Say Just Words closed the main set. Throughout the evening Paradise Lost had numerous visual displays on a screen at the rear of the stage, with each track having separate illustrations linked to the relevant album. Clearly a lot of thought had gone into this and it was impressive. The band concluded the evening with a four song encore, all rarities. The encore kicked off with Rotting Misery from 1990’s Lost Paradise, all doom and death growl with possibly the heaviest sound of the night; the floor was shaking. Diehards around the audience beamed with delight as the title track from One Second was followed by The Belief from Icon and the set closer Over The Madness from Paradise Lost. A stunning evening from one of the UK’s most influential yet underrated bands that were on top form. 10/10

Another Point Of View: Ozric Tentacles (Review By Paul)

Paul casts his critical eye over Space Rock marvels Ozric Tentacles;

Ozric Tentacles – The Globe 27 October

Several weeks ago my boss, who is partial to a bit of space rock amongst his hugely eclectic musical tastes asked if I fancied going to see Ozric Tentacles. I have to admit that, although I had an idea of who this band was, it was hell of a long time since I could honestly say I’d heard any of their stuff. My hazy recollections were of Hawkind without words. Hey, I love Hawkwind so without hesitation I agreed and the night was suddenly upon us. A quick stop in the Andrew Buchan bar was very pleasant and a must for any real ale fans. I know I’m digressing but I don’t care. Two pints from the Rhymney Brewery for under a fiver. Result!

Forked Tongue

Anyway, we arrived at the Globe in time to catch Forked Tongue giving it a right good go. A cross between Skindred, Rage Against The Machine with massive space rock and reggae influences, they definitely had a hard core groove to their sound. Unfortunately they suffered from being the opening act and had to work hard to impress the hardy souls who had ventured out in ‘the storm’. I’m not particularly familiar with the terminology that describes this type of music; fusion I suppose is the best description. Full of energy, vocalist Pezmo gave his all and by the end of their set, more and more of the audience were starting to cut a shape or two as the groove driven by the drums and bass section of Vinny and Greg became quite infectious. A brave cover of Feur Frei, yes, sung in German, ended their set to a decent ovation. 7/10

I’m going to skip over the next act, as Israeli techno delivered by one man and his apple is just not my thing and move on to the main act.

Ozric Tentacles

Ozric Tentacles for the uninitiated were touring as part of their 30th Formed in Somerset in 1983, the band have released over 25 albums and amassed a hardcore following. The group have sold over a million albums worldwide, and are driven forward by the only constant band member, guitarist and keyboardist Ed Wynne. However, the band is no longer based in Wurzel country, having settled in Colorado many years ago. Now, I have to admit, that I know very few of their songs by name, which is probably unsurprising considering that they are totally instrumental so I won’t try to impress you (or not) by trying. Suffice to say that The Ozrics got straight down to business and proceeded to drive out and hour and a half of space rock combined with funk, jazz fusion, dub and reggae. The band is pushed forward by bassist Brandi Wynne who combined superbly with new recruit Balázs Szende and percussionist Paul Hankin with thumping basslines throughout. For those of you old enough think Gong and you won’t be far away. Swirling keyboards from Silas Wynne, son of Ed (and whose biog on the band’s web page included olives and hummus amongst his favourite foods – you get the picture) all added to the psychedelic mixture. You will not be surprised to learn that The Ozrics music contains more time changes than a Cardiff Bus timetable. This combined with complex arrangements and regular key signature changes made it an interesting gig. As well as the progressive rock influences, the music included many electronic elements and effects with dub and techno influences running throughout. This was supported by a huge visual display behind them; a constant changing kaleidoscope as well as flying creatures of all sorts; a bat and pteranodon amongst them. Floating heads and all manner of other hippy induced bollocks raced across the screen, tied perfectly to the music’s tempo. This was a highly professional and tight performance, by a band clearly at the top of their game. If you fancy listening to them, start with Paper Monkeys from 2012 it will give you a pretty clear idea. Overall, this was a cracking night out with superb musicianship on display. A very healthy crowd provided suitable encouragement and the band responded in kind. All in all an excellent bit of entertainment which could be massively enhanced if it was 2am at a festival and you were completely off your tits. 8/10

Mouths Of Metal

Mouths Of Metal is a new feature that that features am interview with band. First up is Venrez who you may have seen being reviewed on this blog. Here's what the guys had to say:

Please introduce yourself to our readers. Who are Venrez?

The band consists of lead singer Ven, backing vocalist & guitar player Jason Womack, formerly the basses for Julliette Lewis and The Licks, guitarist Alex Kane, formerly of LSD(Life, Sex & Death) front man for Anti Product, Bassist Michael Bradford, childhood friend of Womack, and drummer Ed Davis, formerly of Julliette Lewis and The Licks as well.  Ven writes the lyrics, Jason writes the music and produces the albums.

What are you about as a band - what makes you guys tick?

Taking responsibility for delivering a message by lyrics that not only talk about life experience, stories to learn from but taking a shot at government and corporate greed.  We live to be on the road and putting it out there live for the fans.

Please tell us about your latest album 'American Illusion'. It's interesting to read that this is very much a natural, organic album as opposed to thriving on technology. How was the recording process for you as individuals and as a band? Did you enjoy it?

Although we do use Pro Tools HD in our studio, we are a bit of a throw back to the 70's in regards to the fact we record our music live.  There is no copy pasting going on and our live shows will back up our recordings.  American Illusion was the first album we recorded with our own gear.  We recorded it over a 4 month period at our leisure and it was a very relaxed and positive process.

I like the fact that you guys are hard rock but there's subtle grunge and stoner vibes going on.  Was this deliberate or something that happened naturally?

Well Jason writes the music and was born in the late 70's.  So there is a big influence there, along with The Jesus and Mary Chain and the bands where also influenced by them.  The Venrez sound is all natural.  We don't do anything that is not real.  The fans seem to really get that, and I am convinced that is why we have been a band that has had the fortune to be successful in a world where it is next to impossible for a new rock band to make it.

You've recently played shows with Slash featuring Alter Bridge's Myles Kennedy. How did those shows go for Venrez, did you have much time to hang out with Slash and Myles?

The Slash tour was amazing.  The venues were all sold out for every show and we were received the best by his fans of any previous tour we have done.  Slash hung out with us a bit after the Park City, Utah show.  He is a very cool guy and amazed me at how fresh he is after a show when he just kills it up there for 2 hours night after night.  We hung out a bit with Myles before the last show in Las Vegas.  He is also an amazing artist and person.  Before the last song of their set every show, he put a shout out to the opening bands.  I have never seen that before ever. The gig was streamed live all over the world so the bands really took it up a few notches. We just went to another level that show and I just cannot wait to get back up on stage with the boys on this tour in November to continue what began on the last Slash show.

Unforeseen has been released as a music video.  Are there any plans for new videos - Silver and Gold would be an interesting choice perhaps?

Well we did make two music videos from the album. "Sanctity" is the second video and it will release on October 25th.  It was directed by Nicholas Cage's brother, Christopher Coppola. He is a dear friend of mine and when he first heard the record he really identified with the lyrics.  I think our fans will love it.  Silver & Gold is a song I wrote after I saw the film "300".  It's about ancient wars, babies thrown over the cliff upon birth if they do not meet the warrior status and the horror of war in those times.  It's one of the band's favourite songs and a music video of it would be very cool but also it would demand a very high budget to make the right video for the song.

Venrez heads out on a European tour with Buckcherry and Hardcore Superstar in November.  Are there any places you're looking forward to playing and anywhere you haven't played yet?

We always look forward to returning to the UK and Italy where we have been a few times before, and are well received.  We get to play Germany, Switzerland, Austria and N. Ireland for the first time.

Ven.  You're quoted as being the Howard Stern of rock n' roll. How did this come about and have you and Howard met?

I look very similar to him with the curly hair and sunglasses i wear, due to extreme light sensitivity to my eyes.  It's my look and has been my look for many years.  I have never tried to look like him.  But i have been mistaken for him for years now and since the TV show, its really ramped up quite a bit.  I have gotten used to it, but clearly would prefer to be recognized for myself not him.  We have never met but i do admire his talent, and the hard work for years he did to get to where he now is.

What does the future hold for Venrez, are there plans for future releases and new tours in 2014?

 American Illusion just released on July 30th of this year.  So we plan to tour well into 2014 behind the album.  We have recorded several demos of new songs and will record another album sometime next year.

 

Thanks for your time guys, all the best for the upcoming Buckcherry tour.

 

View From The Back Of The Room: Alter Bridge

Alter Bridge, Shinedown, Halestorm Motorpoint Arena Cardiff

Into Cardiff's major venue (apparently) for a night of modern American metal, this was as well attended gig especially by members of the Musipedia who were out in force. After a small wait it was time to get going:

Halestorm

First out were Halestorm who immediately burst into their feminist anthem Love Bites (But So Do I) which is all power riffage and snarled vocals from the very visually appealing Ms Lzzy Hale, (leather hot pants is a look many singers can't pull off) who has a more raw voice live than usual especially on Mz. Hyde and Freak Like Me, next was a drum solo which went into a cover of Priest's Dissident Aggressor which to be honest was not needed but then the set finished strongly with I Miss The Misery and the mega ballad Here's To Us. The set was over quickly with five tracks of the bands greatest hits getting everyone ready for what was to come. 7/10

Shinedown

So Shinedown were up next and things started well with their big rocker Devour which started things off in muscular style and then...a break...the band went off stage and a intro tape played which totally killed any momentum and led into Sound Of Madness which I will admit is a great song and was then followed by...another intro tape...this started to get worrying as it seemed to be a running theme, the next two songs both had long taped intros which did nothing for the set at all, neither by the way did the long rambling speeches about faith and humanity, the only things they did do was annoy me to hell as they took up the space for more (rockier) songs. Still weirdly the crowd seemed to go nuts for every song, maybe it’s just me then. The band came back with Diamond Eyes (Boom Lay Boom Lay Boom) which again is a great song but was followed by too much faffing about and every song was marred by frontman Brent's use of backing tapes to increase the range of his voice, in some places it did sound like listening to a CD rather than a live show. Another two ballads including the massively over played Second Chance came in quick succession and then the part where I physically left the venue, this was during their cover of Skynryd's Simple Man which is awful mainly due to the fact that I've seen the same song done 100 times better by the band that wrote it in the same venue. Finally came Bully which ended the disjointed set, yes the songs are good in places and if they had had a similar set to Halestorm where they just came out and played we could have forgiven the taped vocal help but with the breaks and their reliance on ballads it meant that for me it was a very frustrating set to watch. 4/10

Alter Bridge

After the dejection I had after Shinedown Alter Bridge needed to blow me away, luckily they are fucking Alter Bridge and all doom and gloom disappeared with the opening thrash riffage of Addicted To Pain which was quickly followed by White Knuckles this was one-two punch that managed to stagger the crowd before Come To Life and Before Tomorrow Comes brought the uplifting euphoria. These first four songs show everything that Alter bridge is about with Scott Phillips and Brian Marshall holding down the bottom end, the guitar god Tremonti riffed like hell and soloed like a demon and was backed ably by the rhythm guitar of Myles Kennedy who also shone on the mic with his velvet voice. The set was drawn mainly from the last three albums with Brand New Start, Cry Of Achilles (which is modern classic in the making) and then the haunting Ghost Of Days Gone By which moved into one of my favourites Ties That Bind and then Tremonti took the lead vocals on the heavy Waters Rising which had its live debut tonight. The band have little crowd interaction they just shut up and play something that Shinedown failed to realise. The band took a small break where they told us that the next song was put back in the set due to fan demand and with that the opening blast of Metalingus filled the arena and was met with a roar from the members of the WWE Universe that were in attendance! With the metal blast out of the way next it was time to open up and feel with the majestic Blackbird causing a mass sing along which moved into an acoustic version of Watch Over You which was a duet between Myles and Lzzy and signalled the end of the main set with the euphoric Rise Today and Open Your Eyes. The lights went down and we waited the band arrived again and the trippy Slip Into The Void kicked off the encore which was brought to a close with Isolation which is probably the best track on ABIII. This was a great set filled with the right amount of light and shade and it showed why Alter Bridge are one of the best bands around. It's just a shame so many left after Shinedown's woeful performance; I do sometimes think it may be me...9/10   
      

The View From The Back Of The Room: Steven Wilson

Steven Wilson, Colston Hall, Bristol

After a pre gig steak dinner (and of course a couple of pints) we made our way tot he still visually striking Colston Hall for a night that promised to be interesting. I've followed Wilson since he was in Porcupine Tree and I genuinely believe that The Raven That Refused To Sing is probably his finest work and I'm sure he thinks that too. As we entered the hall, we were told that show will begin at 8 and finish promptly at 10:10, a nice 2 hour set from Wilson and his all-star band. As we took our seat we were greeted by the projected footage of a street, with cars moving around people walking back and forth that as the time went on all got a bit eerie as a busker appeared and proceeded to smoke and stand around before finally tuning the guitar and setting up just as Wilson himself came onto the stage with an acoustic guitar and proceed join in with the man in the video as part of a string rendition of PT's Trains which is one of my favourite tracks so a good start, then as the band came on stage they moved into Luminol which was the first excuse for the band to show off their chops, they are truly a stunning group of musicians, the drums of Chad Wackerman are amazing, merging power and technique (what else would you expect from a Zappa alumni), the keys of Adam Holzman added jazz, blues, prog and massive Hammond driven atmosphere to every track and were a major part of the sound, as was the bass of Nick Beggs (yes him from Kajagoogoo) who's meticulous bass playing was a marvel especially his Chapman stick slap playing on Holy Drinker. Guthrie Govan as usual was mesmerising on the guitar, he is one of the best guitarists not only in Britain but possibly in the world, his solos were jaw dropping and he worked well as tandem with Wilson. Last but not least was the sax and flutes of Theo Travis added a new dimension to the sound which harks back to King Crimson and even Jethro Tull in places. Wilson himself was bag of energy jumping around in the instrumental breaks, moving between guitar, bass and his keyboard set up, I was quite surprised how many times Wilson didn't have an instrument considering how solo his records have been in the past.

After the 15 minute opening the shorter Postcard followed introduced by Wilson's self-depreciating humour where he mentioned that we would be hearing some new material later in the night, however first was The Holy Drinker and the dreamy but ominous Drive Home. More Wilson banter followed this near 20 minutes of music as he introduced the new song which we were told was 15 minutes long and not finished but it was pretty good and bodes well for the new album (expected this year). This was the end of part one of the set, as the audience caught their breath a sheet fell in front of the stage and onto it was the intro video for The Watchmaker (cue an exodus for the toilets, for most of the audience your hardened reviewer excluded) The band then came back and plunged straight into song itself which brings me to my only criticism, during this song the lights and video footage was used to great effect, however when the screen was down the video was obscured by the retina scorching lights which for me was major downer as I wanted to see the visuals and the light show but I found that the one was more prominent than the other. Ok so mini moan over and back to the show we had Index and Sectarian and the curtain fell again for the final furlong. Harmony Korine followed (Steven Wilson's hipster moment) before an edited (to 15 minutes) version of Raider II and The Raven That Refused To Sing brought the main set to a melancholic but strangely euphoric end. 

 Another break another chance to regroup and then the final return, the end came with one of his earliest solo tracks and the closest thing he has to a hit in the PT classic Radioactive Toy which brought the house down. That was it, it was over an amazing ride through the multi-faceted sound of one of the most talented performers in British music and this was a musical experience that left you in awe of what was unfolding in front of you. Half way through the set Wilson encouraged the crowd to cheer a bit louder, Steven this wasn't because we weren't enjoying the show it was because you and your band managed to silence an audience with your music. Well done you sir! 10/10   
     

Reviews: Motorhead, Fleshgod Apocalypse, Red Fang

Motorhead: Aftershock (UDR)

21 albums into their career and you know kind of what to expect with Motorhead and that is hyper-speed rock and roll and that is what you get on Aftershock from the opening bars of Heartbreaker through the heavy blues of Lost Woman Blues and End Of Time which does a good job of ripping off the Ace Of Spades! As usual Mikkey Dee continually smashes the hell out of his drums on every track as Phil riffs and solo's like a man possessed and Lemmy himself beats up his bass and sounds in fine fettle as he growls every line, now as I said most of the album is your normal Motorhead fireworks but the band do mix I up a bit on this album with the almost psychedelic Dust And Glass which features Lemmy singing (!?) and has a hell of a guitar solo from Phil but as you relax your head is again smashed by Going To Mexico (which conjures up images of Lemmy in a sombrero). After 21 albums and nearly 50 years Motorhead are still one of the most distinguishable bands in rock and metal, yes they have had a few duff albums (Lemmy will admit that) but since 2004's Inferno the band have hit somewhat of a purple patch, yes they will always sound like Motorhead but that's part of the appeal, no nonsense rock n roll played with more gusto than bands a third of their age! Aftershock is yet another quality addition to the Motorhead catalogue. 8/10     

Fleshgod Apocalypse: Labyrinth (Nuclear Blast)

Italian's Fleshgod Apocalypse are now onto their third album and from the opening track Kingborn you can see why the band are being hailed as one of the leaders in their genre. The band have some massive classical piano runs, operatic backing vocals from soprano Veronica Bordacchini that wouldn't seem out of place in a Puccini opera but they counteract this with light-speed wall of sound riffage, some chain gun blast beating, face melting soloing and growls that come straight from the bowels of hell! The album is based on the legend of the labyrinth of  Knossos and is conceptually played out like and opera, could this be the first tech-metal opera? Anyway as I said the playing is simply amazing, the drums of Francesco Paoli could level a building and are up their Mario Duplantier in terms of pure gut churning brutality, the dual guitar attack of Christiano Trionfera and Tommaso Riccardi is breath taking in places full of laser guided ferocity and precision, enhanced by Riccardi's vocals demonic vocals, which he shares with bassist Paolo Rossi. The band's real power comes from their orchestral backing which is present throughout and swells the band’s sound to something more than your normal technical death metal fodder, they are a musical tour-de-force and through the 11 tracks on this album you are taken on a journey with no let-up that leaves you gasping for air at the end and that's exactly what an album should do. There is a lot to absorb on first listen but after you have been aurally abused a few times you realise that this album is nothing short of amazing. 10/10 

Red Fang: Whales And Leeches (Relapse)

Red Fang are now on their third album and they still are treading the same down and dirty stoner furrow they have been in since their debut. They are very reminiscent of touring buddies Mastodon with some heavy down tuned bass from Aaron Beam, fuzzy guitars from Bryan Giles and David Sullivan as well as some powerhouse drumming from John Sherman who tries to rattle your brain cells. The band have the great line between shit kicking punk-metal on Blood Like Cream and No Hope and head melting stoner rock on Dawn Rising and Failure the band are very like Mastodon in terms of presentation they even have the dual vocal with both Beam and Giles contributing shouts and howls to the album, however the band also have elements of The Sword on tracks like Behind The Light. This is yet another good album from Red Fang who have really stepped up their came in terms of song-writing the arrangements are in places complex and in others straight to the point jugular, a good album. 7/10

The View From The Back Of The Room: Persian Risk

The NWOBHM was a time the revolutionised British metal as well as the springboard for Iron Maiden, Judas Priest and Def Leppard, however for every band that 'made it' there were many that didn't, however nostalgia is a powerful thing and Cardiff NWOBHM legends Persian Risk have come back with not only a new album but also a date in the town where they were formed. We also got a special treat with a special guest appearance by founding Guitarist Phil Campbell who is currently Lemmy's axeman. But more on that later:

Switchblade Overdrive

As we descended into the bowels of Bogiez we were introduced to Switchblade Overdrive who stormed the stage with some heavy metal fury. The ploughed through some heavy Metallica style metal with lots of grit but not really a lot of power. Yes they played very well, and the singer had a strong voice but their sound didn't really have enough oomph. Still they were a good warm up for the main event and any band that has the balls to cover Maiden must know how good they are (only really Triaxis can get away with it) with a little bit more power to their sound Switchblade Overdrive will go far. 7/10

Persian Risk

So this was it, as Bogiez filled out with those that have been there since the beginning, some of whom were ex-roadies and 'true' fans. So those of us that have never seen the band were waiting with anticipation. After the band came on stage to a hero’s welcome we knew we had nothing to fear as from the opening track Hang On the band proceeded to blow Bogiez away, the guitar of Howie G brought that classic sounding NWOBHM riffs, throughout and the bass and drums of Wayne Banks and Tim Brown brought the thunder with their galloping rhythms and even a solo for both respectively. The band stormed through their set with aplomb led ably by frontman Carl Sentence who has an amazing voice and is the brainchild of the reunion due to his long-term residency as the bands singer, he has very powerful voice that is up there with Biff, Rob and Bruce. Taking most of their tracks from their second album released last year they have written some hard rocking material that got the big crowd pumping their fists and shouting along with every line! The set came to a close with a killer cover of Dio's Stand Up And Shout and Persian Risk left the admittedly partisan audience wanting more, and they weren't left waiting too long. After a brief confab at the side of the stage Mr Campbell came back on with the band and they kicked into two of the tracks that he wrote in his time with the band which got the faithful full of beans and rocking like it was 1980! A great end to a great set, this was a triumphant return from the band that will forever be part of Welsh rock history, come back soon guys! 9/10