California Breed: S/T (Frontiers)
So what happens when a supergroup implodes? Well they usually go back to their day jobs and the more talented members do better. This seemed to be a problem with Black Country Communion as Joe Bonamassa had a mega successful solo career before the band and indeed still has after and Glenn Hughes is one of the few in rock who can be known as 'The Voice'. So after these two had the age old 'creative differences' off they went with Joey Bones taking Derek Sherinian fleet fingers into his band and Hughes taking is old mucka Bozo's son Jason with him. So what to do? Well they formed another band, this time a power trio, Hughes taking up position with four strings and his velvet tones, Bonham with his four sticks and thunder from the gods and new boy Andrew Watt wielding a six stringer with all the gusto of SRV and Jimi. Watt is sickeningly young and talented and slots right in to the band with the veterans. Make no bones about it this is not a Hughes vanity project, most if not all the tracks were written by the three men in the band. Hughes describes it as 'proper rock' and that it is big, ballsy, riff filled rock that ruled the airwaves in the late 60's and 70's, think Zep, Purple, The Who and The Stones and you'd be on the right track. The album kicks off with four super charged tracks that start things off in good form with rocker The Way, the funk filled Sweet Tea, the trippy Zep-like Chemical Rain and the booty shaking blues of Midnight Oil which has some soul backing vocals from Kirsten Rogers and its on this track where Watt goes for it on the solo front ending the song with a Hendrix style freak out. This leads into the melodic balladry of All Falls Down on which Hughes croons like the master he is. This is killer album and at 13 tracks you get more than your money's worth, this is the amalgamation of Hughes' and Bonham's legacies with a nice nod to the present on it in the presence of Watt who brings a hell of a guitar and indeed a voice to proceedings see Spit You Out on which he sings. So a real rock record indeed and one that could dispel any memories of the Hughes-Bonamassa unpleasantness. 9/10
Absolva: Anthems To The Dead (Rocksector)
British metallers Absolva (formerly Fury UK) return with yet another album filled to the brim with classy British metal that messrs Halford and Dickinson would recognise and approve of. The drums of Martin McNee smash, crash and burst through the speakers driving the rampage along, he is helped by the rumbling bass and roaring backing vocals of Dan Bate and finally the trio is topped off by the virtuoso guitar playing and banshee-like vocals of Chris Appleton. Absolva's first album was metal tour-de-force full of riffs, solos and some great metal songwriting. Absolva have looked to expand on this album with their second and expand they have with Anthems To The Dead having more of the same but also bringing a more aggressive tone to things. Things start off with the thrash riffs of The Devil's Mouth before the rampaging gallop of Victimiser carries on the metal assault and the trifecta is finished with the Maiden-like first single of Never Back Down which features the guitar talents of Saxon's Doug Scarratt and Iced Earth's Luke Appleton, this has the biggest number of guests but it is one of the weaker tracks on the album unless you're a guitar solo fan!! The same cannot be said for the title track which is a rampaging song with a slower chorus. The album continues in strong style from there with nods to thrash, trad and even prog metal but all of it with a virtuosity and keen ear for songwriting as well as knowing nods to their influences. Yes Absolva have created yet another good album full of British metal and as the final one-two of Soul Remains and Silent Sacrifice (a Maiden epic if there ever was one) you have experienced 11 tracks of British metal that reaffirm that we still do it better than most! 8/10
Outloud: Let's Get Serious (AOR Heaven)
Firewind offshoot Outloud return with their third album and they do get better and better, yes it's cheesy, yes it's all been done before but I doubt this kind of AOR/melodic hard rock has ever been performed with as much technical proficiency as it has with Outloud. The band is the brainchild of Bob Katsionis the guitar/keyboard foil for Gus G in Firewind, who shows here why he is no slouch himself bringing some great hard rock riffs that Paul Gilbert, Nuno Bettencourt, Reb Beach and even Neal Schon would be proud of. The guitars rock and roll, the solo's soar (with help from Jim Scordilis) the keys are powerful, furious and melodic. The drums are fast & furious with former Nile man George Kollias showing his mettle on the blast beating opener Death Rock! which ploughs onward backed by some big keys from Katsionis just fleshing out the sound. Chandler Mogel's voice is on form as usual moving between the hard rockers and crooning ballads with ease. As for the songs we have I Was So Blind, the Mr Big style A While To Go, the bouncy One More Time, Bury The Knife has a murderous sub text (and screaming vocals from bassist Sverd) the heavy as hell Toy Soldiers (featuring Mike Orlando of Adrenaline Mob) as well as the acoustic ballad It Really Doesn't Matter all show this band's talent and their cover of OMD's Enola Gay adds a new flavour to their sound. Yes this is AOR but with bands like Brother Firetribe and Reckless Love bringing the genre back it is music not to be sniffed at, the musicianship is top notch and the songwriting is strong and despite the familiarities to Journey et al they have enough of their own ideas to stop them from becoming a pastiche. Well done Mr Katsionis yet another great Outloud album! 8/10
Friday, 6 June 2014
The View From The Back Of The Room: Absolva & Babylon Fire
Absolva & Babylon Fire, Ebbw Vale Institute
Into the valleys and to the lovely Ebbw Vale Institute for a night of British metal. Seriously this venue is excellent, decked out like a church, meaning great acoustics and filled to the brim with a plethora of alcohol (shame I was driving). We were ready for the support band, we waited.....and waited....and waited. They never showed so after and hour of mingling with the limited crowd (a real shame) it was time for Babylon Fire to kick things off:
Babylon Fire
Decked out like the Sons Of Anarchy came from Manchester Babylon Fire proceeded to blow our heads off with some muscular, modern metal with the occasional hint to the past. The bands sound and live performance reminded me of Panic Cell especially the vocals and overall "I'm going to kill you!" demeanour of vocalist Mark D who roared and crooned as much as Luke ever did. This is modern American metal with a British twist, with a set drawn from their latest album it was full of fist pumping, head banging metal with songs like The Clarion Call, Darkness Draws Me In, Blood In Blood Out, the early era thrashing of Freight Train and Rise Through Babylon. despite the small crowd Mark did his best to incite excitement and a few hardcore were banging their heads with glee at the front while Rishi Mehta riffed like Wylde, Ryk Swillo rumbled his bass and Mark Cooper destroyed his drum kit. A band clearly in the wrong country Babylon Fire would be more at home tearing up the boards of America supporting FFDP. Still their chest beating macho metal went down a storm with myself and Mr Hewitt. The boys killed it laying down the gauntlet to Absolva. 8/10
Absolva
Trying to follow that was going to be a big ask but I knew that Absolva were up to the task having seen them at Bloodstock last year and right out of the blocks the band exploded with their Priest-like metal full off killer riffage from Chris Appleton. The band roared through a set made up of old an new with From Beyond The Light, Code Red, Hundred Years and the amazing Flames Of Justice along with a few tracks from the new album Anthems To The Dead. Now again despite the small crowd (there really should be a bigger crowd for a band on a Friday night) Absolva put up a good fight with some seriously great songs and a stage performance similar to the heads down knock their block off delivery of Megadeth. Martin McNee's drums are fierce, Dan Bates bass gallops and rumbles as necessary and Appleton's guitars rip you a new one with his fret melting solo's being a guitar fans dream. Still they didn't play a perfect set, well they would have if they had stopped a song short of the encore. After finishing their set of original material they proceeded to go into a cover of Powerslave now a Maiden cover immediately drops you a point in my marking criteria (there is such a thing) no matter how good, it shouldn't be done, I will admit theirs was good but still rules are rules. I could have accepted this but to then move into Heaven And Hell (possibly the most covered metal song?) to end your set bordered on silliness. For a band with two(!) albums to play two covers to end there set doesn't make any sense to me. I mean I can see if they played a Fury UK song (Appleton and McNee's previous incarnation) but Maiden and Sabbath have been done to death. I'm sorry but guys stick to your own material, you have enough of it and it is all very good you don't need the covers. 7/10
Into the valleys and to the lovely Ebbw Vale Institute for a night of British metal. Seriously this venue is excellent, decked out like a church, meaning great acoustics and filled to the brim with a plethora of alcohol (shame I was driving). We were ready for the support band, we waited.....and waited....and waited. They never showed so after and hour of mingling with the limited crowd (a real shame) it was time for Babylon Fire to kick things off:
Babylon Fire
Decked out like the Sons Of Anarchy came from Manchester Babylon Fire proceeded to blow our heads off with some muscular, modern metal with the occasional hint to the past. The bands sound and live performance reminded me of Panic Cell especially the vocals and overall "I'm going to kill you!" demeanour of vocalist Mark D who roared and crooned as much as Luke ever did. This is modern American metal with a British twist, with a set drawn from their latest album it was full of fist pumping, head banging metal with songs like The Clarion Call, Darkness Draws Me In, Blood In Blood Out, the early era thrashing of Freight Train and Rise Through Babylon. despite the small crowd Mark did his best to incite excitement and a few hardcore were banging their heads with glee at the front while Rishi Mehta riffed like Wylde, Ryk Swillo rumbled his bass and Mark Cooper destroyed his drum kit. A band clearly in the wrong country Babylon Fire would be more at home tearing up the boards of America supporting FFDP. Still their chest beating macho metal went down a storm with myself and Mr Hewitt. The boys killed it laying down the gauntlet to Absolva. 8/10
Absolva
Trying to follow that was going to be a big ask but I knew that Absolva were up to the task having seen them at Bloodstock last year and right out of the blocks the band exploded with their Priest-like metal full off killer riffage from Chris Appleton. The band roared through a set made up of old an new with From Beyond The Light, Code Red, Hundred Years and the amazing Flames Of Justice along with a few tracks from the new album Anthems To The Dead. Now again despite the small crowd (there really should be a bigger crowd for a band on a Friday night) Absolva put up a good fight with some seriously great songs and a stage performance similar to the heads down knock their block off delivery of Megadeth. Martin McNee's drums are fierce, Dan Bates bass gallops and rumbles as necessary and Appleton's guitars rip you a new one with his fret melting solo's being a guitar fans dream. Still they didn't play a perfect set, well they would have if they had stopped a song short of the encore. After finishing their set of original material they proceeded to go into a cover of Powerslave now a Maiden cover immediately drops you a point in my marking criteria (there is such a thing) no matter how good, it shouldn't be done, I will admit theirs was good but still rules are rules. I could have accepted this but to then move into Heaven And Hell (possibly the most covered metal song?) to end your set bordered on silliness. For a band with two(!) albums to play two covers to end there set doesn't make any sense to me. I mean I can see if they played a Fury UK song (Appleton and McNee's previous incarnation) but Maiden and Sabbath have been done to death. I'm sorry but guys stick to your own material, you have enough of it and it is all very good you don't need the covers. 7/10
Monday, 2 June 2014
Another Point Of View: The Eagles (Review By Paul)
Eagles – LG Arena, Birmingham
There are some gigs that you always feel incredibly privileged to have been present at. Thin Lizzy’s last tour in 1983, Metallica on the Puppets tour, Dio on the Holy Diver tour, any Rush gig, Opeth at the Albert Hall and last year seeing ZZ Top and Fleetwood Mac. Well, pretty close to the top of that stellar list you can now add the Eagles. Upon arrival at the LG Arena we had our camera confiscated by the security and initially we were pretty miffed about it. I always like to get a couple of snaps as a memento, although I admit watching bands through the backlight of smart phones and cameras is often incredibly irritating. Moments before the start of the evening’s show information on the big screens and PA system requested that the audience turned off their phones, refrained from taking any kind of photography and ensured that no-one’s view was impeded before standing. It was that kind of audience. But it worked, and to be honest it was incredibly refreshing. For the entire show there was hardly any movement amongst the 10,000+ audience as we were entranced by one of the finest displays of musicianship that I have ever witnessed.
I've always been keenly aware of how influential the Eagles are to rock history, and of course they have an absolute stack of classic songs which are familiar to everyone. This show, The History of the Eagles (and the DVD released in 2012) is part of a two year rolling tour that catalogues the history of the band and provides a small insight into how the band formed and developed their music. The evening opened in an intimate setting, with two of the founder members, Don Henley and Glenn Frey seated at the front of the stage to perform a beautiful version of Saturday Night from Desperado which produced tears of joy from several members of the audience, Mrs H included. Henley then explained about the very early formation of the band and that he and Frey were part of Linda Ronstadt’s touring band. The stories were delivered with much tongue in cheek humour. They were then joined by one of other original members, Bernie Leadon who led the trio on Train Leaves Here This Morning from their self-titled debut album. Frey makes reference to the other original member Randy Meisner, and linked this to another of Meisner’s bands Poco, which in turn allowed bassist Timothy B Schmidt (who was also in Poco) from 1978 to join the stage as they deliver Peaceful Easy Feeling. After Henley moves to use his guitar as a drum for Witchy Woman, the band were joined by the legendary Joe Walsh and they moved to a full band setting as the curtain was lifted to reveal the full rig and screens. Throughout the first half of the show Frey and Henley appeared on the screen between songs with some amusing and interesting insights into the evolution of the band. A selection of songs from Desperado followed, with some exquisite harmonies as all members of the band and the additional musicians joined in. A stunning Tequila Sunrise was my personal highlight of this part of the show. A double from 1974’s On The Border, Already Gone and a quite breath-taking Best Of My Love set up a trio from 1975’s One Of These Nights. Some deliciously delicate musicianship and quite enchanting harmonies featured here, with Lyin’ Eyes, One Of These Nights and Take It To The Limit delivered with simplicity and pure quality. A perfect end to the first half.
After a short break the second part commenced with Pretty Maids In A Row from Hotel California; although Leadon was now absent. The band focused on their more well-known material but continued to deliver humorous anecdotes and commentary about the songs and their relationship. Given that there was such an acrimonious breakdown, a 14 year gap from 1980 to 1994 where they were not together, and the huge amount of substances that this band consumed, it was, as Henley mentioned at one point, a miracle that we were watching them at all. As the second part developed, classic followed classic and this was supplemented by an impressive lighting show with big screen backdrop. However, what struck home most was just what brilliant musicians the Eagles actually are. In Walsh they possess one of the greatest guitarists to ever grace a stage. Criminally underrated in a similar way to Lindsay Buckingham from Fleetwood Mac. Henley is no slouch on the drums or the guitar, whilst Frey and Schmidt are also phenomenal players. What also sets this band apart is the rare and incredible talent that they hold in the vocal department with all of the band taking turns to deliver the lead and combining with the others to deliver those delicious harmonies I referred to earlier. Highlights from the second section included New Kid In Town, Love Will Keep Us Alive from 1994’s Hell Freezes Over with Schmidt on lead vocals, and two of Joe Walsh’s solo songs, In The City and the excellent Life’s Been Good To Me. Walsh obviously took the lead on both of these with some intricate and subtle lead guitar. Closing the main part of the set, The Long Run, a cover of the James Gang’s Funk#49 and my all-time favourite Eagles track, Life In The Fast Lane, which was quite simply awesome.
The fun didn't stop there, as Frey, Henley and Schmidt introduced the band and the additional musicians. These included the three keyboardists, Michael Thompson, Will Hollis and Richard Davies, Percussionist and drummer Scott Crago and the incredibly talented Steuart Smith, who shared lead duties on several of the tracks with Walsh. Inevitably it was soon time for Hotel California, and Leadon re-joined the band for this, which unsurprisingly had the audience singing along. An undeniably brilliant song, with one of the all-time classic guitar solos (delivered to perfection by Walsh and Smith), it produced a deserved standing ovation as the band left the stage. A final encore produced three more treats, with Take It Easy, the band’s first ever single, written by Jackson Browne and Frey, followed by a stupendous Rocky Mountain Way (another Walsh solo epic) and the beautiful and poignant Desperado closing one of the most incredible night’s music I have ever witnessed. Absolutely superb stuff and an evening that ranks amongst my top five gigs of all time. If I could give 11 I would. 10/10
There are some gigs that you always feel incredibly privileged to have been present at. Thin Lizzy’s last tour in 1983, Metallica on the Puppets tour, Dio on the Holy Diver tour, any Rush gig, Opeth at the Albert Hall and last year seeing ZZ Top and Fleetwood Mac. Well, pretty close to the top of that stellar list you can now add the Eagles. Upon arrival at the LG Arena we had our camera confiscated by the security and initially we were pretty miffed about it. I always like to get a couple of snaps as a memento, although I admit watching bands through the backlight of smart phones and cameras is often incredibly irritating. Moments before the start of the evening’s show information on the big screens and PA system requested that the audience turned off their phones, refrained from taking any kind of photography and ensured that no-one’s view was impeded before standing. It was that kind of audience. But it worked, and to be honest it was incredibly refreshing. For the entire show there was hardly any movement amongst the 10,000+ audience as we were entranced by one of the finest displays of musicianship that I have ever witnessed.
I've always been keenly aware of how influential the Eagles are to rock history, and of course they have an absolute stack of classic songs which are familiar to everyone. This show, The History of the Eagles (and the DVD released in 2012) is part of a two year rolling tour that catalogues the history of the band and provides a small insight into how the band formed and developed their music. The evening opened in an intimate setting, with two of the founder members, Don Henley and Glenn Frey seated at the front of the stage to perform a beautiful version of Saturday Night from Desperado which produced tears of joy from several members of the audience, Mrs H included. Henley then explained about the very early formation of the band and that he and Frey were part of Linda Ronstadt’s touring band. The stories were delivered with much tongue in cheek humour. They were then joined by one of other original members, Bernie Leadon who led the trio on Train Leaves Here This Morning from their self-titled debut album. Frey makes reference to the other original member Randy Meisner, and linked this to another of Meisner’s bands Poco, which in turn allowed bassist Timothy B Schmidt (who was also in Poco) from 1978 to join the stage as they deliver Peaceful Easy Feeling. After Henley moves to use his guitar as a drum for Witchy Woman, the band were joined by the legendary Joe Walsh and they moved to a full band setting as the curtain was lifted to reveal the full rig and screens. Throughout the first half of the show Frey and Henley appeared on the screen between songs with some amusing and interesting insights into the evolution of the band. A selection of songs from Desperado followed, with some exquisite harmonies as all members of the band and the additional musicians joined in. A stunning Tequila Sunrise was my personal highlight of this part of the show. A double from 1974’s On The Border, Already Gone and a quite breath-taking Best Of My Love set up a trio from 1975’s One Of These Nights. Some deliciously delicate musicianship and quite enchanting harmonies featured here, with Lyin’ Eyes, One Of These Nights and Take It To The Limit delivered with simplicity and pure quality. A perfect end to the first half.
After a short break the second part commenced with Pretty Maids In A Row from Hotel California; although Leadon was now absent. The band focused on their more well-known material but continued to deliver humorous anecdotes and commentary about the songs and their relationship. Given that there was such an acrimonious breakdown, a 14 year gap from 1980 to 1994 where they were not together, and the huge amount of substances that this band consumed, it was, as Henley mentioned at one point, a miracle that we were watching them at all. As the second part developed, classic followed classic and this was supplemented by an impressive lighting show with big screen backdrop. However, what struck home most was just what brilliant musicians the Eagles actually are. In Walsh they possess one of the greatest guitarists to ever grace a stage. Criminally underrated in a similar way to Lindsay Buckingham from Fleetwood Mac. Henley is no slouch on the drums or the guitar, whilst Frey and Schmidt are also phenomenal players. What also sets this band apart is the rare and incredible talent that they hold in the vocal department with all of the band taking turns to deliver the lead and combining with the others to deliver those delicious harmonies I referred to earlier. Highlights from the second section included New Kid In Town, Love Will Keep Us Alive from 1994’s Hell Freezes Over with Schmidt on lead vocals, and two of Joe Walsh’s solo songs, In The City and the excellent Life’s Been Good To Me. Walsh obviously took the lead on both of these with some intricate and subtle lead guitar. Closing the main part of the set, The Long Run, a cover of the James Gang’s Funk#49 and my all-time favourite Eagles track, Life In The Fast Lane, which was quite simply awesome.
The fun didn't stop there, as Frey, Henley and Schmidt introduced the band and the additional musicians. These included the three keyboardists, Michael Thompson, Will Hollis and Richard Davies, Percussionist and drummer Scott Crago and the incredibly talented Steuart Smith, who shared lead duties on several of the tracks with Walsh. Inevitably it was soon time for Hotel California, and Leadon re-joined the band for this, which unsurprisingly had the audience singing along. An undeniably brilliant song, with one of the all-time classic guitar solos (delivered to perfection by Walsh and Smith), it produced a deserved standing ovation as the band left the stage. A final encore produced three more treats, with Take It Easy, the band’s first ever single, written by Jackson Browne and Frey, followed by a stupendous Rocky Mountain Way (another Walsh solo epic) and the beautiful and poignant Desperado closing one of the most incredible night’s music I have ever witnessed. Absolutely superb stuff and an evening that ranks amongst my top five gigs of all time. If I could give 11 I would. 10/10
Sunday, 1 June 2014
Reviews: Sabaton, Gazpacho, Blatant Dissary
Sabaton: Heroes (Nuclear Blast) [Nick Hewitt]
For many years I have been an avid fan of the gents from Falun, Sweden. So needless to say the release of their 7th studio album was very much on my radar. Sabaton are unquestionably a band that appeal to a wide range of fans across many genres. For me this is due to two simple reasons; firstly they sing about fact with no deviation to the otherwise and the second… they're just plain fun! From the outset of Night Witches Sabaton inject the album with power and pace that comes so naturally to them. Filling our speakers with bouncing bass, drums and those ever so slightly repetitive lyrics we come to expect, this song is a brief but solid opener. No Bullets Fly and Smoking Snakes are up next and represent a little more of what Sabaton used to be about in the Primo Victoria days, only with a little less “oomph” if you will? Both tracks are carried with constant fast paced rhythmic backings with the ever-flawless vocals of the mighty Joakim Broden that is always a highlight of any Sabaton album. He is able to emit such a powerful and pure voice that rolls into your ears like treacle off a spoon… Inmate 4859 steps down the pace as it tells us the story of an inmate cast into darkness inside Auschwitz concentration camp. Plodding along at a slow pace the power is still ever present but it’s the lyrics and the story that really save this track from a potential black hole. Next is To Hell and Back and I can see why Sabaton chose this as their first single. This is the strongest track on the album that throws the tried and tested Sabaton formula at you with its usual success; it’s hard to stay still as you let this one into your head. The Ballad of Bull is a bit of a curve ball from Joakim and his men. Slowing down the album to a shuddering halt Sabaton present us with their first ever true ballad. Despite its heartfelt and almost thought provoking message this really isn't Sabaton. Individually this is a great song, but wrap it up in the Sabaton package and it just doesn't feel right, more so it really kills the album in its tracks. Joakim proves here that he can do more with his voice than we are accustom too, but for me they took a risk including this song and it didn’t pay off. For the remainder of the album Resist and Bite till Hearts of Iron Heroes picks up in pace again and offers us more fast paced and free flowing music delivered with care, all easing into each other nicely. Here however lies my problem with this album. Sabaton for me stand out above many bands as they hold up their middle finger to many more. The outright passion, fun and excitement they deliver these somewhat cheesy and at times repetitive songs in the past are what make us love them. Yet Heroes seems to lack all of this. To Hell and Back aside there is no stand out anthem where there used to be four or five. Excluding the ballad the album flows easily, but too easily; yes they are well produced and well delivered but there is nothing unique about these songs, which again, for me is Sabaton 101. It all seems to be a little lazy. Despite these glaring problems the album still has one saving grace… the voice of Joakim Broden. Lets face it, after all there three things in life that are certain; Death, Taxes and a beaming smile forming across your face the second you hear the voice of Joakim Broden. So, do I still love Sabaton? Yes. And will I catch them as many times as possible on their Heroes tour? Hell yes! I'll just be sticking to their first six albums for a while longer. 6/10
Gazpacho: Demon (Kscope)
Norwegian art-rockers Gazpacho are now on their eighth album and they say that Demon is the ‘most complicated and strange album [they have] ever made’. Recorded over the course of two years the album focuses on a manuscript found in an apartment in Prague, written by the mysterious previous owner, the manuscript tells of a Demon that plagued the tenant causing bad things to happen to him, the manuscript was written from several historical points of view, almost as if this man had been chasing the demon throughout history. As with any story like this it seemed too good to be ignored so the band set about deciphering the manuscript and telling the story. The album is split into 4 parts with only one track less than 8 minutes (not including the bonus track The Cage). The things start off slowly and quietly with the deliberate chords on the piano of I've Been Walking (Part 1), before an orchestral swell of Mikael Krømer's violin works the song into its guitar driven beginning before it descends again into melancholic acoustic before the final third of the track rocks things up again imbued by Thomas Andersen's mellotron and Krømer's violin ends the song with the sadness only a violin can. The Wizard Of Altai Mountains is another slow burning Muse-like song that morphs into a folk knees up at the end with lots of accordion. This album shifts through the emotional spectrum, it is dark, eerie and downright emotional, this album is the sound of a man haunted by Demons and the songs reflect that. Jan-Henrik Ohme's voice is soulful and carries a lot of weight in his restrained delivery, but as a whole the band work in superb unison, Jon-Arne Vilbo's guitar playing is staggering, mixing acoustics and electrics seamlessly, the star though are Andersens keys, they drive every song and are a key part of the atmosphere of this album. With bands like Marillion, Porcupine Tree, Anathema and even Katatonia doing this kind of neo-progressive music it's a genre where amazing musicianship is a given and Gazpacho have been doing it for a long time and they have constructed a complex, musically varied album on their eighth release. 8/10
Blatant Disarray: The Harbinger (Dirt Records)
Hailing from Raleigh, North Carolina Blatant Disarray play thrash metal with some speed metal licks that Jeff Waters would be pleased with. Fast, aggressive and full of finger shredding riffs and head banging groove. The band have the hallmarks of the early thrash legends like Megadeth, Metallica and Slayer with some angry vocal delivery from Mike Schaefer and Ryan Johnson whose voices work well together on the choruses, with Mike being the lead vocals and having more than a hint of early Arya or Megadave. These two also provide the riffage and they are firing on all cylinders with solo's galore on everyone of these 10 tracks and they ably backed by the rampaging drums of Trey McLamb. So on to the songs and well everything does sound a bit familiar (although this is the nature of Thrash) If Only could be on South Of Heaven, There Will Be Pain on Rust In Peace and Quench which is Metallica and Trivium in equal parts. Is this album good? Yes. Does it break any new ground? No. None at all, but if you want to disengage your brain and thrash till death, then The Harbinger will give you your fill. 6/10
For many years I have been an avid fan of the gents from Falun, Sweden. So needless to say the release of their 7th studio album was very much on my radar. Sabaton are unquestionably a band that appeal to a wide range of fans across many genres. For me this is due to two simple reasons; firstly they sing about fact with no deviation to the otherwise and the second… they're just plain fun! From the outset of Night Witches Sabaton inject the album with power and pace that comes so naturally to them. Filling our speakers with bouncing bass, drums and those ever so slightly repetitive lyrics we come to expect, this song is a brief but solid opener. No Bullets Fly and Smoking Snakes are up next and represent a little more of what Sabaton used to be about in the Primo Victoria days, only with a little less “oomph” if you will? Both tracks are carried with constant fast paced rhythmic backings with the ever-flawless vocals of the mighty Joakim Broden that is always a highlight of any Sabaton album. He is able to emit such a powerful and pure voice that rolls into your ears like treacle off a spoon… Inmate 4859 steps down the pace as it tells us the story of an inmate cast into darkness inside Auschwitz concentration camp. Plodding along at a slow pace the power is still ever present but it’s the lyrics and the story that really save this track from a potential black hole. Next is To Hell and Back and I can see why Sabaton chose this as their first single. This is the strongest track on the album that throws the tried and tested Sabaton formula at you with its usual success; it’s hard to stay still as you let this one into your head. The Ballad of Bull is a bit of a curve ball from Joakim and his men. Slowing down the album to a shuddering halt Sabaton present us with their first ever true ballad. Despite its heartfelt and almost thought provoking message this really isn't Sabaton. Individually this is a great song, but wrap it up in the Sabaton package and it just doesn't feel right, more so it really kills the album in its tracks. Joakim proves here that he can do more with his voice than we are accustom too, but for me they took a risk including this song and it didn’t pay off. For the remainder of the album Resist and Bite till Hearts of Iron Heroes picks up in pace again and offers us more fast paced and free flowing music delivered with care, all easing into each other nicely. Here however lies my problem with this album. Sabaton for me stand out above many bands as they hold up their middle finger to many more. The outright passion, fun and excitement they deliver these somewhat cheesy and at times repetitive songs in the past are what make us love them. Yet Heroes seems to lack all of this. To Hell and Back aside there is no stand out anthem where there used to be four or five. Excluding the ballad the album flows easily, but too easily; yes they are well produced and well delivered but there is nothing unique about these songs, which again, for me is Sabaton 101. It all seems to be a little lazy. Despite these glaring problems the album still has one saving grace… the voice of Joakim Broden. Lets face it, after all there three things in life that are certain; Death, Taxes and a beaming smile forming across your face the second you hear the voice of Joakim Broden. So, do I still love Sabaton? Yes. And will I catch them as many times as possible on their Heroes tour? Hell yes! I'll just be sticking to their first six albums for a while longer. 6/10
Gazpacho: Demon (Kscope)
Norwegian art-rockers Gazpacho are now on their eighth album and they say that Demon is the ‘most complicated and strange album [they have] ever made’. Recorded over the course of two years the album focuses on a manuscript found in an apartment in Prague, written by the mysterious previous owner, the manuscript tells of a Demon that plagued the tenant causing bad things to happen to him, the manuscript was written from several historical points of view, almost as if this man had been chasing the demon throughout history. As with any story like this it seemed too good to be ignored so the band set about deciphering the manuscript and telling the story. The album is split into 4 parts with only one track less than 8 minutes (not including the bonus track The Cage). The things start off slowly and quietly with the deliberate chords on the piano of I've Been Walking (Part 1), before an orchestral swell of Mikael Krømer's violin works the song into its guitar driven beginning before it descends again into melancholic acoustic before the final third of the track rocks things up again imbued by Thomas Andersen's mellotron and Krømer's violin ends the song with the sadness only a violin can. The Wizard Of Altai Mountains is another slow burning Muse-like song that morphs into a folk knees up at the end with lots of accordion. This album shifts through the emotional spectrum, it is dark, eerie and downright emotional, this album is the sound of a man haunted by Demons and the songs reflect that. Jan-Henrik Ohme's voice is soulful and carries a lot of weight in his restrained delivery, but as a whole the band work in superb unison, Jon-Arne Vilbo's guitar playing is staggering, mixing acoustics and electrics seamlessly, the star though are Andersens keys, they drive every song and are a key part of the atmosphere of this album. With bands like Marillion, Porcupine Tree, Anathema and even Katatonia doing this kind of neo-progressive music it's a genre where amazing musicianship is a given and Gazpacho have been doing it for a long time and they have constructed a complex, musically varied album on their eighth release. 8/10
Blatant Disarray: The Harbinger (Dirt Records)
Hailing from Raleigh, North Carolina Blatant Disarray play thrash metal with some speed metal licks that Jeff Waters would be pleased with. Fast, aggressive and full of finger shredding riffs and head banging groove. The band have the hallmarks of the early thrash legends like Megadeth, Metallica and Slayer with some angry vocal delivery from Mike Schaefer and Ryan Johnson whose voices work well together on the choruses, with Mike being the lead vocals and having more than a hint of early Arya or Megadave. These two also provide the riffage and they are firing on all cylinders with solo's galore on everyone of these 10 tracks and they ably backed by the rampaging drums of Trey McLamb. So on to the songs and well everything does sound a bit familiar (although this is the nature of Thrash) If Only could be on South Of Heaven, There Will Be Pain on Rust In Peace and Quench which is Metallica and Trivium in equal parts. Is this album good? Yes. Does it break any new ground? No. None at all, but if you want to disengage your brain and thrash till death, then The Harbinger will give you your fill. 6/10
Tuesday, 27 May 2014
Reviews: Devin Townsend, Timo Tolkki's Avalon, Brother Firetribe
Devin Townsend: Casualties Of Cool (Self Released)
Is Devin Townsend the finest musician (metal or otherwise) of the 20th Century? Debatable but what is true is that he certainly is a musical chameleon with the ability to lend his talent to a variety of styles, see his contrasting careers in SYL and The Devin Townsend Band and his fully integrated psyche in the Devin Townsend Project which was rock, metal, acoustic, trance, electronica all rolled into one. Casualties Of Cool is another feather in his cap, as this is a concept album of bluesy, country and even ambient styled songs and they feature the vocal talents of relatively unknown Ché Aimee Dorval. The album is a essentially an expanded version of Townsend's Ghost II bonus disc with lots of the same themes running through the record. A crowd funded affair Casualties Of Cool is somewhat of a stop gap between Townsend's Epicloud and his next full project Z2 the follow up to his famous ode to coffee Ziltoid: The Omniscient and as such many were not expecting much, however as usual Devin has the Midas touch and Casualties Of Cool is yet another jewel in his expansive crown. Things kick off with Daddy which has a dreamy, ambient style to begin the album and its on this first song we hear Dorval's rootsy countrified voice. She has a strong vocal delivery with authentic soul in every lyric she utters, see Flight as an example. With tracks such as Mountaintop which has a propulsive but dark and brooding atmosphere and Devin's expansive vocal range this time opting for his half whispered delivery. The majority of the album features acoustics over electrics meaning that the album has a very analogue sound at its core but one that is brought into the present by the electronic treatment of the tracks. Yes this fan funded album has all the elements of Ghost and Ki and it is the complete opposite to Epicloud's euphoric, guitar driven rock style. This is more laid back, woozy, dreamy music to escape the modern age with, music to stir the soul and relax the mind. Mr Townsend you have done it once again!! 9/10
Timo Tolkki's Avalon: Angels Of The Apocalypse (Frontiers Records)
The former Stratovarius guitarist returns with the second part in his trio of concept albums. This time things get darker as the titular apocalypse descends on our story. This means that the main character of the last story Amaranthe's Elize Ryd is only on the final two tracks. This means that a new cast of singers have been brought in for this album the most notable of these being Floor Jansen (Nightwish/Revamp) and Fabio Lione (Rhapsody Of Fire), himself no stranger to a concept album. Lione and Jansen provide the vocals for majority of the songs but both David DeFeis of Virgin Steele on the heavyweight The Rise Of The Fourth Reich and Zach Stevens of Circle II Circle/Savatage who lends his pipes to the Maiden-like Neon Sirens. From the vocal only Song Of Eden which shows off Lione's vocals excellently and leads into the massively orchestral and heavy Jerusalem Is Falling which again shows the almost operatic nature of Lione's vocals and also shows how good Tolkki's guitar playing is with an absolutely killer, classically influenced solo to finish the song off. His assembled band is also amazing with two former members of Stratovarius taking up the drums and keys and Tolkki's handling everything else instrument wise. This album is far heavier than the previous effort with lots of searing riffs, fret melting solos and massive keys see Paradise Lost which has a pulsating electronic part to it. The vocalists hold their own with Floor Jansen taking the most of the kudos in the talent stakes especially on the spine tingling You'll Bleed Forever which also has a mountain top guitar solo that Slash would be proud of. The final two tracks are possibly the best with Simone Simons, Elize Ryd, Floor Jansen and Caterina Nix all showing off their pipes on High Above Me and the nine odd minute title track. This is a great album and Tolkki is finally showing why he was the main creative force behind Stratovarius for all those years, after a shaky start with the lacklustre Revolution Renaissance and the under rated and beleaguered Symfonia, it seems Tolkki has rediscovered his mojo with Avalon and on this album particularly it is prime Strato territory. 8/10
Brother Firetribe: Diamond In The Firepit (Spinefarm)
Indulge me for a moment...Imagine if Journey gave up after the Next album, so no Steve Perry, no Evolution, no Escape, no Don't Stop Believing and more importantly no world domination as the worlds best AOR band. What if instead that this all happened in Finland? Well that band would be Brother Firetribe, three albums in and they have avoided the weird jazz-rock stage that Journey went through and came out swinging with some muscular AOR from their debut album, this theme continued through their sophomore effort and yet again Diamond In The Firepit is an album that harks back to those glory days of, big hair, big keyboards and big ballads. Brother Firetribe is the brainchild of Nightwish guitarist Emppu Vuorinen who swaps his symphonic metallic playing for clean guitar lines, melodic leads he is aided by the huge keys of Tomppa Nikulainen meaning that the band have that Schon/Cain feel throughout with the guitars and keys equally important to the bands sound see Far Away From Love which has both a guitar and a keyboard break. The drums and bass are also key to the sound but it's the vocals of Pekka Ansio Heino that also give the Journey references legs, he is pure Perry with a soulful croon and soaring highs. This album is pure cheese yes but it is played with pure heart and belief meaning that you can't help but be drawn in. The album has some speedy melodic rockers and obviously the obligatory busy which comes in the shape of Desperately (Faithfully?), they also have a cover in the shape of Winner Takes It All, which is not ABBA but a Sammy Hagar song from the Sly Stallone-does-arm wrestling movie Over The Top. The album like I said it is aimed at a niche audience but this is an album for fans of Foreigner, Reo Speedwagon and yes Journey. Brother Firetribe are band out of time but they play what they want any way they want it (I am sorry) 7/10
Is Devin Townsend the finest musician (metal or otherwise) of the 20th Century? Debatable but what is true is that he certainly is a musical chameleon with the ability to lend his talent to a variety of styles, see his contrasting careers in SYL and The Devin Townsend Band and his fully integrated psyche in the Devin Townsend Project which was rock, metal, acoustic, trance, electronica all rolled into one. Casualties Of Cool is another feather in his cap, as this is a concept album of bluesy, country and even ambient styled songs and they feature the vocal talents of relatively unknown Ché Aimee Dorval. The album is a essentially an expanded version of Townsend's Ghost II bonus disc with lots of the same themes running through the record. A crowd funded affair Casualties Of Cool is somewhat of a stop gap between Townsend's Epicloud and his next full project Z2 the follow up to his famous ode to coffee Ziltoid: The Omniscient and as such many were not expecting much, however as usual Devin has the Midas touch and Casualties Of Cool is yet another jewel in his expansive crown. Things kick off with Daddy which has a dreamy, ambient style to begin the album and its on this first song we hear Dorval's rootsy countrified voice. She has a strong vocal delivery with authentic soul in every lyric she utters, see Flight as an example. With tracks such as Mountaintop which has a propulsive but dark and brooding atmosphere and Devin's expansive vocal range this time opting for his half whispered delivery. The majority of the album features acoustics over electrics meaning that the album has a very analogue sound at its core but one that is brought into the present by the electronic treatment of the tracks. Yes this fan funded album has all the elements of Ghost and Ki and it is the complete opposite to Epicloud's euphoric, guitar driven rock style. This is more laid back, woozy, dreamy music to escape the modern age with, music to stir the soul and relax the mind. Mr Townsend you have done it once again!! 9/10
Timo Tolkki's Avalon: Angels Of The Apocalypse (Frontiers Records)
The former Stratovarius guitarist returns with the second part in his trio of concept albums. This time things get darker as the titular apocalypse descends on our story. This means that the main character of the last story Amaranthe's Elize Ryd is only on the final two tracks. This means that a new cast of singers have been brought in for this album the most notable of these being Floor Jansen (Nightwish/Revamp) and Fabio Lione (Rhapsody Of Fire), himself no stranger to a concept album. Lione and Jansen provide the vocals for majority of the songs but both David DeFeis of Virgin Steele on the heavyweight The Rise Of The Fourth Reich and Zach Stevens of Circle II Circle/Savatage who lends his pipes to the Maiden-like Neon Sirens. From the vocal only Song Of Eden which shows off Lione's vocals excellently and leads into the massively orchestral and heavy Jerusalem Is Falling which again shows the almost operatic nature of Lione's vocals and also shows how good Tolkki's guitar playing is with an absolutely killer, classically influenced solo to finish the song off. His assembled band is also amazing with two former members of Stratovarius taking up the drums and keys and Tolkki's handling everything else instrument wise. This album is far heavier than the previous effort with lots of searing riffs, fret melting solos and massive keys see Paradise Lost which has a pulsating electronic part to it. The vocalists hold their own with Floor Jansen taking the most of the kudos in the talent stakes especially on the spine tingling You'll Bleed Forever which also has a mountain top guitar solo that Slash would be proud of. The final two tracks are possibly the best with Simone Simons, Elize Ryd, Floor Jansen and Caterina Nix all showing off their pipes on High Above Me and the nine odd minute title track. This is a great album and Tolkki is finally showing why he was the main creative force behind Stratovarius for all those years, after a shaky start with the lacklustre Revolution Renaissance and the under rated and beleaguered Symfonia, it seems Tolkki has rediscovered his mojo with Avalon and on this album particularly it is prime Strato territory. 8/10
Brother Firetribe: Diamond In The Firepit (Spinefarm)
Indulge me for a moment...Imagine if Journey gave up after the Next album, so no Steve Perry, no Evolution, no Escape, no Don't Stop Believing and more importantly no world domination as the worlds best AOR band. What if instead that this all happened in Finland? Well that band would be Brother Firetribe, three albums in and they have avoided the weird jazz-rock stage that Journey went through and came out swinging with some muscular AOR from their debut album, this theme continued through their sophomore effort and yet again Diamond In The Firepit is an album that harks back to those glory days of, big hair, big keyboards and big ballads. Brother Firetribe is the brainchild of Nightwish guitarist Emppu Vuorinen who swaps his symphonic metallic playing for clean guitar lines, melodic leads he is aided by the huge keys of Tomppa Nikulainen meaning that the band have that Schon/Cain feel throughout with the guitars and keys equally important to the bands sound see Far Away From Love which has both a guitar and a keyboard break. The drums and bass are also key to the sound but it's the vocals of Pekka Ansio Heino that also give the Journey references legs, he is pure Perry with a soulful croon and soaring highs. This album is pure cheese yes but it is played with pure heart and belief meaning that you can't help but be drawn in. The album has some speedy melodic rockers and obviously the obligatory busy which comes in the shape of Desperately (Faithfully?), they also have a cover in the shape of Winner Takes It All, which is not ABBA but a Sammy Hagar song from the Sly Stallone-does-arm wrestling movie Over The Top. The album like I said it is aimed at a niche audience but this is an album for fans of Foreigner, Reo Speedwagon and yes Journey. Brother Firetribe are band out of time but they play what they want any way they want it (I am sorry) 7/10
Monday, 26 May 2014
Another Point Of View: Bonded By Blood (Paul Hutchings)
Bonded by Blood – Fuel Cardiff
A six band thrash fest for ten quid? Absofuckinglutely sir! And so it was that the legends that are Mr Rhod Davies, Mr Benjamin Beer and of course Kreator’s bastard love child Nurse Nick and yours truly rendezvoused at our usual pre-gig haunt of The Gatekeeper for a pint of foaming ale, handily placed right next door to Fuel Rock Club where the gig had been moved to. Credit to Fearless Management who are really going balls out to support metal in South Wales and who really deserve more metal heads to get along to gigs like this. In a week when established venues like The Fleece in Bristol are under threat, it really is difficult for promoters and they deserve massive kudos for putting on such a stunning event.
Madicide
Unfortunately we missed openers Dread Bolt and arrived in time to catch Madicide, a four piece from Glynneath doing their stuff to a sparse but enthusiastic crowd (which appeared to be the theme for the evening). Madicide are heavily influenced by the usual thrash titans that you would expect for bands on this bill. They battled gamely against a pretty ropey sound system but unfortunately their stuff is instantly forgettable. They weren't helped by some rather disjointed changeovers and endings which suggested that a bit more rehearsal might be helpful. I don't like knocking bands, especially fellow countrymen and there is certainly some potential trapped within the band but on the night they did very little for me. Being named after a brand of disinfectant might not be the best idea either. 5/10
Inferno Ortum
Next up, after a pint of decent but overpriced Trooper was Inferno Ortum, melodic technical death outfit from the Bay area. That’s Cardiff Bay, well, actually Penarth but you can see where I was going with that one can’t you? Their name means Hell, It Will Rise and by the end of the night it probably did. Luckily the sound had picked up quite nicely and the local lads gave a decent 25 minutes which included the intricate instrumental Euhemerism. These lads are all young and provided some decent tunes with plenty of groove and a Lamb Of God type feel about them. Good stuff and worth a second watch. They gig locally quite a lot according to their Facebook page so if you are around give them a watch. 6/10
Seprevation
The evening took a massive turn for the better when Bristol death thrashers Seprevation climbed onto the stage and powered out half an hour of blistering burning groove laden thrash. Led by the incredibly tall Lluc Tupman on bass and vocals, Seprevation, managed by Bloodshot Dawn’s Josh McMorran, delivered a set that belied their obviously youthful years. Tracks from their freshly released album Consumed were absorbed with relish by the assembled throng. Superb shredding from Ian Aston and Joss Farrington and powerhouse drumming from Jamie Wintle combined to provide a sound that crossed Death with Kreator, Bloodshot Dawn themselves and a healthy nod of respect to the big four and other legendary thrash outfits such as Vio-lence and Exodus. All damn fine stuff and I can confirm that Consumed is a storming slab of metal. 8/10
Flayed Disciple
The West Country influence continued with the arrival of Taunton Death metallers Flayed Disciple. I saw these guys at BOA in 2012 in the Sophie Tent where they blew me away with their power and disciplined delivery. Their self-titled EP was in the stereo for a long time after that. Led by Tim ‘Death Chuggin’ Whyte on demonic death growl, FD tore through a selection of tracks from their 2012 release Death Hammer and their other EPs (who doesn't love an EP entitled Ejaculate While Killing) including the brutal The Westboro Massacre. Welshman Paul Williams and drummer Rich Lewis provide a sledgehammer of a rhythm section, and the combined thrash onslaught of Thurston Howe and Jon Whitfield’s guitars combined to make all the heads in the room bang along. Flayed Disciple are vicious but like the best death metal outfits also possess a bit of melody and groove which really enhances their sound. Whyte is the focal point of the band, and his delivery fits the band perfectly. They went down a storm too with the crowd wind milling and demonstrating their appreciation with a massive ovation at the end of the set. Certain members of our party were so impressed that they were calling for an encore. Excellent. 9/10
Bonded By Blood
So the main event of the evening arrived, Bonded By Blood, all the way from California. Unfortunately, a very limited number of the South Wales metal community had demonstrated the same commitment although the pit was enhanced by various members of the evening’s supporting acts kicking seven shades of shit out of each other! The evening was running late and it was a slightly curtailed set. After Josh had patiently organised the sound, it was down to business. Think Death Angel, think Exodus, and you'll get what Bonded by Blood sound like. Frontman Mauro Gonzales, complete with red jeans and a Bloodshot Dawn shirt screams and growls with real venom, while guitarist Juan Juarez lays down riff after riff. This is old school thrash delivered by part of the new school and bloody good it is too. Airing a range of tracks from their three albums including Shepherds Of Rot, Mind Pollution, Prison Planet and The Aftermath, BBB didn’t fuck around and thrashed their way through an hour or so which was well received. Gonzales encouraged the crowd all evening and there were big smiles from the other band members who put on a quality show despite the low numbers and rounded off an excellent evening. 8/10
A six band thrash fest for ten quid? Absofuckinglutely sir! And so it was that the legends that are Mr Rhod Davies, Mr Benjamin Beer and of course Kreator’s bastard love child Nurse Nick and yours truly rendezvoused at our usual pre-gig haunt of The Gatekeeper for a pint of foaming ale, handily placed right next door to Fuel Rock Club where the gig had been moved to. Credit to Fearless Management who are really going balls out to support metal in South Wales and who really deserve more metal heads to get along to gigs like this. In a week when established venues like The Fleece in Bristol are under threat, it really is difficult for promoters and they deserve massive kudos for putting on such a stunning event.
Madicide
Unfortunately we missed openers Dread Bolt and arrived in time to catch Madicide, a four piece from Glynneath doing their stuff to a sparse but enthusiastic crowd (which appeared to be the theme for the evening). Madicide are heavily influenced by the usual thrash titans that you would expect for bands on this bill. They battled gamely against a pretty ropey sound system but unfortunately their stuff is instantly forgettable. They weren't helped by some rather disjointed changeovers and endings which suggested that a bit more rehearsal might be helpful. I don't like knocking bands, especially fellow countrymen and there is certainly some potential trapped within the band but on the night they did very little for me. Being named after a brand of disinfectant might not be the best idea either. 5/10
Inferno Ortum
Next up, after a pint of decent but overpriced Trooper was Inferno Ortum, melodic technical death outfit from the Bay area. That’s Cardiff Bay, well, actually Penarth but you can see where I was going with that one can’t you? Their name means Hell, It Will Rise and by the end of the night it probably did. Luckily the sound had picked up quite nicely and the local lads gave a decent 25 minutes which included the intricate instrumental Euhemerism. These lads are all young and provided some decent tunes with plenty of groove and a Lamb Of God type feel about them. Good stuff and worth a second watch. They gig locally quite a lot according to their Facebook page so if you are around give them a watch. 6/10
Seprevation
The evening took a massive turn for the better when Bristol death thrashers Seprevation climbed onto the stage and powered out half an hour of blistering burning groove laden thrash. Led by the incredibly tall Lluc Tupman on bass and vocals, Seprevation, managed by Bloodshot Dawn’s Josh McMorran, delivered a set that belied their obviously youthful years. Tracks from their freshly released album Consumed were absorbed with relish by the assembled throng. Superb shredding from Ian Aston and Joss Farrington and powerhouse drumming from Jamie Wintle combined to provide a sound that crossed Death with Kreator, Bloodshot Dawn themselves and a healthy nod of respect to the big four and other legendary thrash outfits such as Vio-lence and Exodus. All damn fine stuff and I can confirm that Consumed is a storming slab of metal. 8/10
Flayed Disciple
The West Country influence continued with the arrival of Taunton Death metallers Flayed Disciple. I saw these guys at BOA in 2012 in the Sophie Tent where they blew me away with their power and disciplined delivery. Their self-titled EP was in the stereo for a long time after that. Led by Tim ‘Death Chuggin’ Whyte on demonic death growl, FD tore through a selection of tracks from their 2012 release Death Hammer and their other EPs (who doesn't love an EP entitled Ejaculate While Killing) including the brutal The Westboro Massacre. Welshman Paul Williams and drummer Rich Lewis provide a sledgehammer of a rhythm section, and the combined thrash onslaught of Thurston Howe and Jon Whitfield’s guitars combined to make all the heads in the room bang along. Flayed Disciple are vicious but like the best death metal outfits also possess a bit of melody and groove which really enhances their sound. Whyte is the focal point of the band, and his delivery fits the band perfectly. They went down a storm too with the crowd wind milling and demonstrating their appreciation with a massive ovation at the end of the set. Certain members of our party were so impressed that they were calling for an encore. Excellent. 9/10
Bonded By Blood
So the main event of the evening arrived, Bonded By Blood, all the way from California. Unfortunately, a very limited number of the South Wales metal community had demonstrated the same commitment although the pit was enhanced by various members of the evening’s supporting acts kicking seven shades of shit out of each other! The evening was running late and it was a slightly curtailed set. After Josh had patiently organised the sound, it was down to business. Think Death Angel, think Exodus, and you'll get what Bonded by Blood sound like. Frontman Mauro Gonzales, complete with red jeans and a Bloodshot Dawn shirt screams and growls with real venom, while guitarist Juan Juarez lays down riff after riff. This is old school thrash delivered by part of the new school and bloody good it is too. Airing a range of tracks from their three albums including Shepherds Of Rot, Mind Pollution, Prison Planet and The Aftermath, BBB didn’t fuck around and thrashed their way through an hour or so which was well received. Gonzales encouraged the crowd all evening and there were big smiles from the other band members who put on a quality show despite the low numbers and rounded off an excellent evening. 8/10
Thursday, 22 May 2014
Reviews: Truckfighters, The Birds Of Satan, Monument
Truckfighters: Universe (Fuzzorama)
Sweden does seem to be the home of classic rock and metal now and Örebro natives Truckfighters have been peddling their brand of stoner riff rock since 2001. The band have three albums, numerous E.P's and a film to their name, Universe is their fourth album and from the mono lead in of Mind Control with its fuzzed up riffs, hammering drums and fat low end the band immediately show no signs of changing their trademark sound. The second song shows Ozo's throbbing, rumbling bass in full bowel moving The Chaiman, before the super punk of Convention which melds into the trippy Get Lifted which has a great sprawling fuzzed up delivery bringing to mind Queens Of The Stone Age. The album, The band also have elements of Fu Manchu, Kyuss and also Swedish bands like Spiritual Beggars and Mustasch who they sound a lot of like especially on Dream Sale. As I said Ozo is a great bass player and singer meaning that the album is very bass heavy, Enzo smashes the drums, Dango is a great guitarist with some big guitar lines and understated playing especially on the progressive, 13 minute final track Mastodont which sounds a lot like the band it ribs. Truckfighters are a band that do what they do very well and in the live arena they are probably explosive but as I find a lot with stoner rock, it lacks a little on record, still a great album of riff heavy rock from the Swedes. 7/10
The Birds Of Satan: S/T (Shannabelle Records)
The Birds Of Satan are a progressive rock band formed by The Foo Fighters drummer Taylor Hawkins. No stranger to solo projects Hawkins already has one under his belt with The Coattail Riders record merging the man's love of classic rock and Queen together to create a funky, rocky album. The Birds Of Satan morphed out of a covers band Hawkins was in called Chevy Metal. Yes the album shares similarities with the previous band (due in part to Hawkins' involvement) but has much more of progressive feel to it; as witnessed by the nine minute opening salvo of The Ballad Of The Birds Of Satan which is a long and winding song that brings in all the sounds of Hawkins' youth, it kicks off with percussive drums and staccato riff that wouldn't be out of place on the last Foo's album, before moving into a Sabbath style doom middle that bursts into a David Bowie sounding final third. The rest of the tracks are all confident rockers with proggy flourishes meaning that the thirty odd minutes of this album fly by. Hawkins as usual handles drums and vocals his drums are jazzy, rocky, funky and many other things ending with 'y' and his vocals are as usual smoky as a Scottish Salmon factory. He is aided and abetted by his Chevy Metal cohorts Wiley Hodgen on bass and Mick Murphy on guitar, both of whom are excellent foils for Hawkins' drumming, the album also features guest appearances by Pat Smear, Rami Jaffee and Dave Grohl (naturally). The rest of the songs are the 'tick tock' Bowie-like rhythm of Thanks For The Line and the crazy Queen like Pieces Of The Puzzle which moves from cod-reggae to driving rock anthem in just over 4 minutes, standing out as two of the best. This is a great album that brims with immediacy, you can hear the 'live in the studio' feel of the record in the songs and the production. This is music made without much preparation but a whole lot of heart! 8/10
Monument: Renegades (MGR Music)
Monument arose from the ashes of the second White Wizzard split. Singer Pete Ellis left the troubled band to forge his own path with Monument and amongst all of the NWOTHM it is Monument that are British meaning that they are one of the few bands that can lay stake to NWOBHM crown. From the opening title track this is all so lovingly familiar, the galloping basslines of Chris Dale, the machine gun drums of Matt C, the dual guitar attack of Lewis Stephens and Dan Baune who switch from razor sharp leads to blistering solos in an instant. All of this leather clad retroism is topped by the air siren vocals of Ellis who evokes the greats of Dickinson and Halford. After you are thoroughly brought in to their retro metal world by the proto-thrash of the title track, Fatal Attack does it all again albeit this time with a song that sounds like it could easily be on Powerslave and it is followed by the fist pumping Manowar-like Crusaders which just cries out to be sung back by the warrior hordes. So so far we've been firmly stuck in the 80's with the spiked armbands and leather waistcoats it's on Runaway that things get a bit more modern with a track that wouldn't seem out of place on Dance Of Death. So yes with bands like Enforcer, Cauldron and Holy Grail all flying the flag for Traditional metal, Monument bring a distinctly British vibe to things, and about time too!! Things go a bit naughty on Midnight Queen before the obligatory mid album instrumental Red Dragon is up there with Transylvania from the Maiden catalogue, things finish with the 6 minute plus Omega. Yes with Monument have shown through their tenacity and more importantly their stability that they can bring back the sound that spawned a genre. All hail the NNWOBHM!! (Sorry Mr Barton). 8/10
Sweden does seem to be the home of classic rock and metal now and Örebro natives Truckfighters have been peddling their brand of stoner riff rock since 2001. The band have three albums, numerous E.P's and a film to their name, Universe is their fourth album and from the mono lead in of Mind Control with its fuzzed up riffs, hammering drums and fat low end the band immediately show no signs of changing their trademark sound. The second song shows Ozo's throbbing, rumbling bass in full bowel moving The Chaiman, before the super punk of Convention which melds into the trippy Get Lifted which has a great sprawling fuzzed up delivery bringing to mind Queens Of The Stone Age. The album, The band also have elements of Fu Manchu, Kyuss and also Swedish bands like Spiritual Beggars and Mustasch who they sound a lot of like especially on Dream Sale. As I said Ozo is a great bass player and singer meaning that the album is very bass heavy, Enzo smashes the drums, Dango is a great guitarist with some big guitar lines and understated playing especially on the progressive, 13 minute final track Mastodont which sounds a lot like the band it ribs. Truckfighters are a band that do what they do very well and in the live arena they are probably explosive but as I find a lot with stoner rock, it lacks a little on record, still a great album of riff heavy rock from the Swedes. 7/10
The Birds Of Satan: S/T (Shannabelle Records)
The Birds Of Satan are a progressive rock band formed by The Foo Fighters drummer Taylor Hawkins. No stranger to solo projects Hawkins already has one under his belt with The Coattail Riders record merging the man's love of classic rock and Queen together to create a funky, rocky album. The Birds Of Satan morphed out of a covers band Hawkins was in called Chevy Metal. Yes the album shares similarities with the previous band (due in part to Hawkins' involvement) but has much more of progressive feel to it; as witnessed by the nine minute opening salvo of The Ballad Of The Birds Of Satan which is a long and winding song that brings in all the sounds of Hawkins' youth, it kicks off with percussive drums and staccato riff that wouldn't be out of place on the last Foo's album, before moving into a Sabbath style doom middle that bursts into a David Bowie sounding final third. The rest of the tracks are all confident rockers with proggy flourishes meaning that the thirty odd minutes of this album fly by. Hawkins as usual handles drums and vocals his drums are jazzy, rocky, funky and many other things ending with 'y' and his vocals are as usual smoky as a Scottish Salmon factory. He is aided and abetted by his Chevy Metal cohorts Wiley Hodgen on bass and Mick Murphy on guitar, both of whom are excellent foils for Hawkins' drumming, the album also features guest appearances by Pat Smear, Rami Jaffee and Dave Grohl (naturally). The rest of the songs are the 'tick tock' Bowie-like rhythm of Thanks For The Line and the crazy Queen like Pieces Of The Puzzle which moves from cod-reggae to driving rock anthem in just over 4 minutes, standing out as two of the best. This is a great album that brims with immediacy, you can hear the 'live in the studio' feel of the record in the songs and the production. This is music made without much preparation but a whole lot of heart! 8/10
Monument: Renegades (MGR Music)
Monument arose from the ashes of the second White Wizzard split. Singer Pete Ellis left the troubled band to forge his own path with Monument and amongst all of the NWOTHM it is Monument that are British meaning that they are one of the few bands that can lay stake to NWOBHM crown. From the opening title track this is all so lovingly familiar, the galloping basslines of Chris Dale, the machine gun drums of Matt C, the dual guitar attack of Lewis Stephens and Dan Baune who switch from razor sharp leads to blistering solos in an instant. All of this leather clad retroism is topped by the air siren vocals of Ellis who evokes the greats of Dickinson and Halford. After you are thoroughly brought in to their retro metal world by the proto-thrash of the title track, Fatal Attack does it all again albeit this time with a song that sounds like it could easily be on Powerslave and it is followed by the fist pumping Manowar-like Crusaders which just cries out to be sung back by the warrior hordes. So so far we've been firmly stuck in the 80's with the spiked armbands and leather waistcoats it's on Runaway that things get a bit more modern with a track that wouldn't seem out of place on Dance Of Death. So yes with bands like Enforcer, Cauldron and Holy Grail all flying the flag for Traditional metal, Monument bring a distinctly British vibe to things, and about time too!! Things go a bit naughty on Midnight Queen before the obligatory mid album instrumental Red Dragon is up there with Transylvania from the Maiden catalogue, things finish with the 6 minute plus Omega. Yes with Monument have shown through their tenacity and more importantly their stability that they can bring back the sound that spawned a genre. All hail the NNWOBHM!! (Sorry Mr Barton). 8/10
Monday, 19 May 2014
Reviews: Arch Enemy, Killer Be Killed, Lionize
Arch Enemy: War Eternal (Century Media)
Losing a lead singer is always hard for a band, they tend to be the most personal part of the band it's the voice that we the public relate too. So when Angela Gossow announced that she was stepping down as front-person of Arch Enemy (she continues to be the band's business manager) the metal world was shaken a little. Here was the defining element relinquishing the reins of the band she made her own. However as the death/thrash riffage of Never Forget kicks in all the worries are dispelled as new girl Alissa White-Gluz, formerly of The Agonist, immediately starts roaring and growling like the great Warrior Queen herself. Gluz's vocals are excellent echoing Gossow's banshee like screams but also bringing her own twist to the album, as in her former band she alternates between clean and harsh vocals, so because of this she has a slightly more melodic approach. It is for these reasons why she was handpicked by her predecessor no doubt. As for the other elements of Arch Enemy they are all present and correct, the drums of Daniel Erlandsson are head crushing, blast beat after blast beat laying down a battery of noise, Sharlee D'Angelo bass holds everything together rhythmically and allows founder member Christopher Amott and new boy Nick Cordle to lay down some neck snapping riffs and face melting solos.
This album is relentless with all the band firing on all cylinders every single song, As Pages Burn and No More Regrets are two such songs that just destroy you with their ferocity before the more melodic You Will Know My Name and the instrumental Graveyard Of Dream gives you a respite before the Stolen Life rips your throat out again and things change up with the black metal influenced Time Is Black which even has some orchestral elements to it which brings another dimension to the song giving it more menace than just the straight up anger of the rest of the album. So is there life in Arch Enemy after their matriarch? The definitive answer is yes, this album is excellent it is far better than it's predecessor Khaos Legions it is simultaneously: aggressive, melodic, catchy and bone breakingly violent to listen too, the production job is crystal clear ensuring maximum volume. If you like your music with a side order of whiplash then check out War Eternal. 8/10
Killer Be Killed – Self Titled (Nuclear Blast) [Review By Paul]
The long awaited result of the super group Killer be Killed is well worth the wait. This is a super group of quality musicians led by the formidable Max Cavalera and Greg Puciato from The Dillinger Escape Plan. The line-up is completed by Mastodon’s Troy Sanders and former The Mars Volta stickman Dave Elitch.
The album kicks off at breakneck speed with Wings of Feather and Wax, which is a real fusion of styles from all of the band. And it continues in this vein throughout, Face Down is much more Soulfly in sound with an aggressive vibe, pounding rhythm and Cavalera taking the lead on vocals for one of the few occasions, but with Sanders calmer delivery providing an excellent foil. Puciato also weighs in throughout the album. The combination of styles really works although for me Sanders vocals are always going to be in the lead. Melting of My Marrow would stand alongside any of Mastodon’s best works; a formidable beast of a track with Puciato and Sanders combining superbly and a sing along chorus that will incite serious action if these guys ever get into the live arena. Snakes of Jehova has a much doomier feel with huge riffs and Puciato duelling with Cavalera before the track kicks into overdrive with Sanders vocals and driving bass lines. Elitch’s drumming is impressive throughout, varying the style on virtually every track. On Snakes of Jehova he delivers a real spread, doom followed by all out thrash with double bass drumming blasting away. Curb Crusher follows, a real driving tour deforce, delivered with a massive hook in the chorus.
The albums features a range of styles from all out thrash, hard core through to punk but all delivered in the way that you would expect from this collaboration. Fire to Your Flag really hits hard, an all-out thrasher which attacks like a drive by shooting whilst IED drips with a combination of hard core, punk and a Sabbath type breakdown with another slab of riff work; Cavalera literally spitting out his delivery. All that is missing is his obligatory AK-47 reference. Album closer Forbidden Fire is a massively trippy doom laden track which builds with Cavalera snarling whilst Sanders provides a more relaxed calming delivery. This is an impressive album which combines the talents of four excellent musicians in a way that really delivers. Well worth a listen. 8/10
Lionize – Jetpack Soundtrack (Weathermaker) [Review By Paul]
Lionize are a three piece outfit from Maryland, the home of Earth Rocker compatriots Clutch. Jetpack Soundtrack, the fifth album by the band, co-produced by Clutch drummer Jean-Paul Gaster and producer Machine (Earth Rocker; Blast Tyrant) is an absolute must for anyone who loves the groove and drive of Neil Fallon’s merry men. Indeed the Clutch links are numerous with Lionize; Jetpack Soundtrack is released on the Weathermaker label and they have just supported Clutch on their recent UK tour. Our resident Clutch expert, Anthony Hutchings was so impressed with them that he even bought this CD!
Well, apart from the obvious Clutch influence, the main thing that hits you is the massive Hammond riffs that are littered throughout. Opener Breather is a funkster style race with Chris Brooks’s keys blasting out. A hugely catchy chorus and infectious rhythm complete the package and give you a taster of what to expect. However, similar to Clutch, this album is a mixture of styles. Evolve allows guitarist and vocalist Nate Bergman to his demonstrate lyrical agility ala Mr Fallon, and also contains the brilliant line “I’ll steal your girlfriend … and I’ll eat your lunch”. Once more the Hammond drives the song forward, and there are obvious comparisons with the style of the late Jon Lord, the ultimate purveyor of the Hammond sound. Jetpack Soundtrack contains some of the album’s most groove laden hooks, and combines some jazz elements with straight forward rock ‘n’ roll and an infectious chorus. Replaced by Machines continues the addictive drive, with another contagious ear worm chorus. This whole album is catchier than impetigo and leaves you nodding along and then suddenly realising that your legs are already cutting some serious shapes. Lazarus Style and Amazing Science Facts have a beautiful amalgamation of some lyrical genius, intricate guitar and keyboards; the latter would snuggle quite comfortably on Blast Tyrant or Robot Hive Exodus. Album closer Sea of Tranquillity is a reggae influenced tune, demonstrating the band’s long standing love for the Jamaican sound. This is a real peach of an album and well worth a listen. Apparently our resident expert says they are absolutely brilliant live; a fact backed up by regular reader Benjamin Brook who was up earlier than me at Temples where Lionize kicked off Day 3. For a band that has been around for 10 years this demonstrates a continuing development and progression which hopefully will continue for many years to come. Awesome stuff. 9/10
Losing a lead singer is always hard for a band, they tend to be the most personal part of the band it's the voice that we the public relate too. So when Angela Gossow announced that she was stepping down as front-person of Arch Enemy (she continues to be the band's business manager) the metal world was shaken a little. Here was the defining element relinquishing the reins of the band she made her own. However as the death/thrash riffage of Never Forget kicks in all the worries are dispelled as new girl Alissa White-Gluz, formerly of The Agonist, immediately starts roaring and growling like the great Warrior Queen herself. Gluz's vocals are excellent echoing Gossow's banshee like screams but also bringing her own twist to the album, as in her former band she alternates between clean and harsh vocals, so because of this she has a slightly more melodic approach. It is for these reasons why she was handpicked by her predecessor no doubt. As for the other elements of Arch Enemy they are all present and correct, the drums of Daniel Erlandsson are head crushing, blast beat after blast beat laying down a battery of noise, Sharlee D'Angelo bass holds everything together rhythmically and allows founder member Christopher Amott and new boy Nick Cordle to lay down some neck snapping riffs and face melting solos.
This album is relentless with all the band firing on all cylinders every single song, As Pages Burn and No More Regrets are two such songs that just destroy you with their ferocity before the more melodic You Will Know My Name and the instrumental Graveyard Of Dream gives you a respite before the Stolen Life rips your throat out again and things change up with the black metal influenced Time Is Black which even has some orchestral elements to it which brings another dimension to the song giving it more menace than just the straight up anger of the rest of the album. So is there life in Arch Enemy after their matriarch? The definitive answer is yes, this album is excellent it is far better than it's predecessor Khaos Legions it is simultaneously: aggressive, melodic, catchy and bone breakingly violent to listen too, the production job is crystal clear ensuring maximum volume. If you like your music with a side order of whiplash then check out War Eternal. 8/10
Killer Be Killed – Self Titled (Nuclear Blast) [Review By Paul]
The long awaited result of the super group Killer be Killed is well worth the wait. This is a super group of quality musicians led by the formidable Max Cavalera and Greg Puciato from The Dillinger Escape Plan. The line-up is completed by Mastodon’s Troy Sanders and former The Mars Volta stickman Dave Elitch.
The album kicks off at breakneck speed with Wings of Feather and Wax, which is a real fusion of styles from all of the band. And it continues in this vein throughout, Face Down is much more Soulfly in sound with an aggressive vibe, pounding rhythm and Cavalera taking the lead on vocals for one of the few occasions, but with Sanders calmer delivery providing an excellent foil. Puciato also weighs in throughout the album. The combination of styles really works although for me Sanders vocals are always going to be in the lead. Melting of My Marrow would stand alongside any of Mastodon’s best works; a formidable beast of a track with Puciato and Sanders combining superbly and a sing along chorus that will incite serious action if these guys ever get into the live arena. Snakes of Jehova has a much doomier feel with huge riffs and Puciato duelling with Cavalera before the track kicks into overdrive with Sanders vocals and driving bass lines. Elitch’s drumming is impressive throughout, varying the style on virtually every track. On Snakes of Jehova he delivers a real spread, doom followed by all out thrash with double bass drumming blasting away. Curb Crusher follows, a real driving tour deforce, delivered with a massive hook in the chorus.
The albums features a range of styles from all out thrash, hard core through to punk but all delivered in the way that you would expect from this collaboration. Fire to Your Flag really hits hard, an all-out thrasher which attacks like a drive by shooting whilst IED drips with a combination of hard core, punk and a Sabbath type breakdown with another slab of riff work; Cavalera literally spitting out his delivery. All that is missing is his obligatory AK-47 reference. Album closer Forbidden Fire is a massively trippy doom laden track which builds with Cavalera snarling whilst Sanders provides a more relaxed calming delivery. This is an impressive album which combines the talents of four excellent musicians in a way that really delivers. Well worth a listen. 8/10
Lionize – Jetpack Soundtrack (Weathermaker) [Review By Paul]
Lionize are a three piece outfit from Maryland, the home of Earth Rocker compatriots Clutch. Jetpack Soundtrack, the fifth album by the band, co-produced by Clutch drummer Jean-Paul Gaster and producer Machine (Earth Rocker; Blast Tyrant) is an absolute must for anyone who loves the groove and drive of Neil Fallon’s merry men. Indeed the Clutch links are numerous with Lionize; Jetpack Soundtrack is released on the Weathermaker label and they have just supported Clutch on their recent UK tour. Our resident Clutch expert, Anthony Hutchings was so impressed with them that he even bought this CD!
Well, apart from the obvious Clutch influence, the main thing that hits you is the massive Hammond riffs that are littered throughout. Opener Breather is a funkster style race with Chris Brooks’s keys blasting out. A hugely catchy chorus and infectious rhythm complete the package and give you a taster of what to expect. However, similar to Clutch, this album is a mixture of styles. Evolve allows guitarist and vocalist Nate Bergman to his demonstrate lyrical agility ala Mr Fallon, and also contains the brilliant line “I’ll steal your girlfriend … and I’ll eat your lunch”. Once more the Hammond drives the song forward, and there are obvious comparisons with the style of the late Jon Lord, the ultimate purveyor of the Hammond sound. Jetpack Soundtrack contains some of the album’s most groove laden hooks, and combines some jazz elements with straight forward rock ‘n’ roll and an infectious chorus. Replaced by Machines continues the addictive drive, with another contagious ear worm chorus. This whole album is catchier than impetigo and leaves you nodding along and then suddenly realising that your legs are already cutting some serious shapes. Lazarus Style and Amazing Science Facts have a beautiful amalgamation of some lyrical genius, intricate guitar and keyboards; the latter would snuggle quite comfortably on Blast Tyrant or Robot Hive Exodus. Album closer Sea of Tranquillity is a reggae influenced tune, demonstrating the band’s long standing love for the Jamaican sound. This is a real peach of an album and well worth a listen. Apparently our resident expert says they are absolutely brilliant live; a fact backed up by regular reader Benjamin Brook who was up earlier than me at Temples where Lionize kicked off Day 3. For a band that has been around for 10 years this demonstrates a continuing development and progression which hopefully will continue for many years to come. Awesome stuff. 9/10
Saturday, 17 May 2014
World Of Metal 9: Hanggai, Crimson Blue, Seneron, Slavedom
Hanggai: Baifang (Harlem Recordings)
Hanggai hail from China via Mongolia and they play in a loose term folk music however they also dabble in rock, folk, punk and indie. They mix them all together to create an album of great songs with a myriad of styles. Things kick off with a Mongolian chant and straight into the driving Oriental instrumentation of the title track which has some massive percussion lots of morin khuur (a kind of one string bow) and tobshuur (a two stringed large guitar), authentic Chinese instruments that lend the band a very appealing sound on top of the pulsing bass and the rocking guitars. The vocals come from Ilchi and Ileta and they are very sonorous and melodic from both men, as well as the normal vocals they both use Mongolian throat singing to great effect, this is seen on both Hershut Hero and the Pink Floyd-like Tavan Hasag. This album takes you back to a simpler time, this is Hanggai's idea, they long for the pastoral folk of their past and this album achieves it along with some modern rock and punk stylings. At 18 tracks album may seem a little long but many of the tracks filter into one and other and with some real show stoppers like the title track, the rocky Hong Galou, the plantative Ulanbator Nights, the reggae style My Mother and the simply awesome Western themed Beautiful Mongolian Horse. A hell of an album from the Chinese band which is rich in scope and full of strong songs, no it's not metal but in parts its as heavy as!! 7/10
Crimson Blue: Innocence (Molot Records)
Russians Crimson Blue are a Gothic metal band with some progressive and nu-metal touches. Singer/Keyboardist Dominica has a bewitching voice, which is both poppy and dark. The heavyweight guitars and bass of Iceland are a counterpoint to Dominica's keys. This is followed by the slap (5-string) bass filled L.M.A which is straight off a Korn album. Yes there is that killer word the band have a lot in common with the Nu-metal masters, as well as Tool and Evanescence, mainly due to Dominica's soprano vocals. Clouds is a driving rocker which has some amazing guitars from Iggy Hans and Stan Lee (not the comic empresario). This is a band that could easily support bands like Korn, FFDP, Deftones, Tool but also more traditional female fronted fare like Within Temptation especially on Ave Sensorium. The down tuned Flax comes next replete with of head banging break down. This is an album full of some excellent songs that are equally heavy, melodic and hark back to the early 2000's with nods to the early dark prog rock scene with some electronica thrown in on the djenty 7 minute H. U. Lab Experiment I - The 6th Sense. This is a great album from Dominica, Iggy, Stan, Andrew and Alex who all work together to create some strong, technical but melodic modern metal. 8/10
Seneron: Order Restored (Self Release)
Seneron are a power-trio that hail from Derry in Ireland and they play balls to the wall hard rock in the style of Attica Rage and Viking Skull, this is leather clad, alcohol fuelled biker rock full of big hooks, massive guitar riffs and some grizzled vocals from John Shields. Please Me, Stand Your Ground, Dead Stare and Just A Kid all have similar sound relying on big drums from John Hamilton, powerhouse bass rhythms from Ivor Ferris and lots of distorted riffage to get you pumping your fist and reaching for the cans!! These Irish boys could quite well be my replacement for the sadly now defunct Trucker Diablo as they have the same qualities as their countrymen, they too beat around you the head with their songs and with just the four songs on this EP they really do impress on their first time out. A band that will be a definite live attraction with their heavy riffage and feel good factor, get your denim, polish your leather and get ready to bang your head because Seneron play back to basics heavy fucking metal!! 8/10
Hanggai hail from China via Mongolia and they play in a loose term folk music however they also dabble in rock, folk, punk and indie. They mix them all together to create an album of great songs with a myriad of styles. Things kick off with a Mongolian chant and straight into the driving Oriental instrumentation of the title track which has some massive percussion lots of morin khuur (a kind of one string bow) and tobshuur (a two stringed large guitar), authentic Chinese instruments that lend the band a very appealing sound on top of the pulsing bass and the rocking guitars. The vocals come from Ilchi and Ileta and they are very sonorous and melodic from both men, as well as the normal vocals they both use Mongolian throat singing to great effect, this is seen on both Hershut Hero and the Pink Floyd-like Tavan Hasag. This album takes you back to a simpler time, this is Hanggai's idea, they long for the pastoral folk of their past and this album achieves it along with some modern rock and punk stylings. At 18 tracks album may seem a little long but many of the tracks filter into one and other and with some real show stoppers like the title track, the rocky Hong Galou, the plantative Ulanbator Nights, the reggae style My Mother and the simply awesome Western themed Beautiful Mongolian Horse. A hell of an album from the Chinese band which is rich in scope and full of strong songs, no it's not metal but in parts its as heavy as!! 7/10
Crimson Blue: Innocence (Molot Records)
Russians Crimson Blue are a Gothic metal band with some progressive and nu-metal touches. Singer/Keyboardist Dominica has a bewitching voice, which is both poppy and dark. The heavyweight guitars and bass of Iceland are a counterpoint to Dominica's keys. This is followed by the slap (5-string) bass filled L.M.A which is straight off a Korn album. Yes there is that killer word the band have a lot in common with the Nu-metal masters, as well as Tool and Evanescence, mainly due to Dominica's soprano vocals. Clouds is a driving rocker which has some amazing guitars from Iggy Hans and Stan Lee (not the comic empresario). This is a band that could easily support bands like Korn, FFDP, Deftones, Tool but also more traditional female fronted fare like Within Temptation especially on Ave Sensorium. The down tuned Flax comes next replete with of head banging break down. This is an album full of some excellent songs that are equally heavy, melodic and hark back to the early 2000's with nods to the early dark prog rock scene with some electronica thrown in on the djenty 7 minute H. U. Lab Experiment I - The 6th Sense. This is a great album from Dominica, Iggy, Stan, Andrew and Alex who all work together to create some strong, technical but melodic modern metal. 8/10
Seneron: Order Restored (Self Release)
Seneron are a power-trio that hail from Derry in Ireland and they play balls to the wall hard rock in the style of Attica Rage and Viking Skull, this is leather clad, alcohol fuelled biker rock full of big hooks, massive guitar riffs and some grizzled vocals from John Shields. Please Me, Stand Your Ground, Dead Stare and Just A Kid all have similar sound relying on big drums from John Hamilton, powerhouse bass rhythms from Ivor Ferris and lots of distorted riffage to get you pumping your fist and reaching for the cans!! These Irish boys could quite well be my replacement for the sadly now defunct Trucker Diablo as they have the same qualities as their countrymen, they too beat around you the head with their songs and with just the four songs on this EP they really do impress on their first time out. A band that will be a definite live attraction with their heavy riffage and feel good factor, get your denim, polish your leather and get ready to bang your head because Seneron play back to basics heavy fucking metal!! 8/10
Slavedom: Against The Fire (Self Released)
Slavedom play traditional heavy metal, with elements of Metallica, Maiden and a big heaving leap Iced Earth thrown in as they merge some thrash elements with the classic gallop of NWOBHM. Coming from Kastoria in Greece, the band definitely have the riffs with some dual guitar riffery coming from George Stavridis and George Apostolakis, the galloping bass of Sakis Sarafas and the heavyweight drumming of Christos Polyzos, this three song E.P is very well produced and kicks off with the fist pumping title track which brings to mind Iced Earth with Apostolakis' voice ranging between growls and high pitched shrieks much like Matt Barlow's. Apostolakis' voice one of the deciding factors on this EP you will either love it or hate it, I started out not liking it but it has grown on me after repeated listens, on Follow The Sun the he has a uncanny knack of emulating Geoff Tate's emotion filled cry before things finish in fine style with No Tolerance which again has a lot of Iced Earth about it as well as a Steve Harris-like bass break in the middle. This is a very well executed debut EP from these Greek boys, lots of traditional/power metal influences, filled with some face melting solos and big songs. A great debut!! 8/10
Thursday, 15 May 2014
Reviews: Down, The Black Keys, John Wesley
Down: IV-Part II (Down Records)
The NOLA legends are back with their second of four EP's and as is the norm with Phil, Pepper and co this is riff city!! Set your riff counters to unlimited as they just keep on coming in true, stoner, doom, southern metal style. This is the first Down release not to feature Kirk Windstein however unless you knew you wouldn't notice as replacement Bobby Landgraf does a great job as Pepper Keenan's sideman bringing the riffage and solos to the six tracks that are boosted by the rumbling heaviness of Patrick Bruders and long time sticksman Jimmy Bower who smashes his kit with aplomb. Phil Anselmo as usual does his usual southern snarl and banshee scream. The emphasis of these 6 tracks is on the doom metal style, from the opening dirge of Steeple which then evolves into a fist pounding rocker that wouldn't seem out of place on an Orange Goblin album, a serious riff fest to kick things off and the pace rarely lets up from there, sliding straight into the classic Down stomp of We Knew Him Well which also has a reverbed almost voodoo vibe with it's repeated refrain of "Rise Up!!". Hogshead/Dogshead is a sprawling guitar filled track that changes time signatures throughout. Then we get onto Conjure which is prime Sabbath down to the Iommi-like riffage and Geezer-like bass, this slow moving vocoder filled, ode to the white stuff (not snow) is so like the Birmingham Iron Men, it's practically a lawsuit waiting to happen, still it is just another element of Down's expansive repertoire, the album ends with the heavyweight Bacchanalia which smashes along heavily until the final part which is an acoustic comedown. This is another great EP in this coming quadrilogy a true riff monster of a record and one that will kill in the live arena! Roll on Bloodstock!! 9/10
The Black Keys: Turn Blue (Nonesuch)
Dan Auerbach and Patrick Carney return with their eighth album, their previous release 2011's El Camino was very upbeat and catchy, however due to much excess the two men have taken all this time to release their follow up because of their fried-mental state this album is a sprawling, mind bending trip of an album. The songs are longer, slower and more expansive in sound, yes there are still some awesome R&B rockers with the funk fuelled 10 Lovers and Gotta Get Away which ends the album in an upbeat style. However for the most part these tracks are in stark contrast to the sparse, trippy, hippy haze of the Weight Of Love which is part Hendrix, part french electronic rockers Air. The electronic backing of the title track drives it along Carney's drumming coming to the front here, the synth filled Fever has a bit of New Order or INXS about it. All of these electronic and sampled elements are probably the continuing influence of producer Dangermouse who is much apart of The Black Keys sound as Carney's excellent drumming and Auerbach's guitar stabs, blues howls, along with everything else these men do. The result is an album that comes straight out of the vinyl Stax records era, through the 90's trip hop scene and right up into modern era. The band have always been talented and have been able to mix their styles but their albums have always had a theme of sophisticated modern blues rock however with Brothers, El Camino and Turn Blue they have crafted three unique and equally excellent albums that have a wide musical scope show exactly how good these two men are. Another great record in The Black Key's purple (blue?) patch 9/10
John Wesley: Disconnect (InsideOut)
John Wesley is the touring guitarist of Porcupine Tree and as such he is the guitar foil for Steven Wilson, this inevitably means he has to be good and he is very damn good. His guitar playing is simply staggering, technical, precise yet understated. He solos amazingly but he also has some serious songwriting chops as well, yes there is a lot in common with his day job (as there has been on all of his solo albums) with a melodic, slightly alternative metal with lots of progressive elements.Wesley manages to be progressive without having to rely on noodling, most of the songs are four to five minutes long but feature time, pace and stylistic changes with Any Old Saint being the longest song on the album at 7 minutes. The album mixes some touching melancholic acoustic tracks with some modern progressive rock replete with some sterling guitar work (another feature of his early work. Wesley's voice too is excellent very gravelly to carry emotion but also melodic enough to be listenable. Obviously with a man of Wesley's talents he will attract talent and Disconnect is no exception as he has assembled a great studio band to play with him, the guitar of Dean Tidley is the perfect foil for Wesley's freakouts and he even provides some killer solos of his own, the rhythm section of Patrick Bettison's bass and the drums of ex-Iced Earth Mark Prator also keep things solidly locked in tight leading the time changes. He has also got a few great guests with Geri X providing some welcome female vocals to the proceedings and most notably Rush axeman Alex Lifeson provides his six string magic on Once A Warrior. If you have never heard John Wesley before and you are a fan of Porcupine Tree, Fish or even Sound Of Contact then pick up Disconnect as you will not be disappointed, then download the man's discography for free from his website (what a nice chap he is!) 8/10
The NOLA legends are back with their second of four EP's and as is the norm with Phil, Pepper and co this is riff city!! Set your riff counters to unlimited as they just keep on coming in true, stoner, doom, southern metal style. This is the first Down release not to feature Kirk Windstein however unless you knew you wouldn't notice as replacement Bobby Landgraf does a great job as Pepper Keenan's sideman bringing the riffage and solos to the six tracks that are boosted by the rumbling heaviness of Patrick Bruders and long time sticksman Jimmy Bower who smashes his kit with aplomb. Phil Anselmo as usual does his usual southern snarl and banshee scream. The emphasis of these 6 tracks is on the doom metal style, from the opening dirge of Steeple which then evolves into a fist pounding rocker that wouldn't seem out of place on an Orange Goblin album, a serious riff fest to kick things off and the pace rarely lets up from there, sliding straight into the classic Down stomp of We Knew Him Well which also has a reverbed almost voodoo vibe with it's repeated refrain of "Rise Up!!". Hogshead/Dogshead is a sprawling guitar filled track that changes time signatures throughout. Then we get onto Conjure which is prime Sabbath down to the Iommi-like riffage and Geezer-like bass, this slow moving vocoder filled, ode to the white stuff (not snow) is so like the Birmingham Iron Men, it's practically a lawsuit waiting to happen, still it is just another element of Down's expansive repertoire, the album ends with the heavyweight Bacchanalia which smashes along heavily until the final part which is an acoustic comedown. This is another great EP in this coming quadrilogy a true riff monster of a record and one that will kill in the live arena! Roll on Bloodstock!! 9/10
The Black Keys: Turn Blue (Nonesuch)
Dan Auerbach and Patrick Carney return with their eighth album, their previous release 2011's El Camino was very upbeat and catchy, however due to much excess the two men have taken all this time to release their follow up because of their fried-mental state this album is a sprawling, mind bending trip of an album. The songs are longer, slower and more expansive in sound, yes there are still some awesome R&B rockers with the funk fuelled 10 Lovers and Gotta Get Away which ends the album in an upbeat style. However for the most part these tracks are in stark contrast to the sparse, trippy, hippy haze of the Weight Of Love which is part Hendrix, part french electronic rockers Air. The electronic backing of the title track drives it along Carney's drumming coming to the front here, the synth filled Fever has a bit of New Order or INXS about it. All of these electronic and sampled elements are probably the continuing influence of producer Dangermouse who is much apart of The Black Keys sound as Carney's excellent drumming and Auerbach's guitar stabs, blues howls, along with everything else these men do. The result is an album that comes straight out of the vinyl Stax records era, through the 90's trip hop scene and right up into modern era. The band have always been talented and have been able to mix their styles but their albums have always had a theme of sophisticated modern blues rock however with Brothers, El Camino and Turn Blue they have crafted three unique and equally excellent albums that have a wide musical scope show exactly how good these two men are. Another great record in The Black Key's purple (blue?) patch 9/10
John Wesley: Disconnect (InsideOut)
John Wesley is the touring guitarist of Porcupine Tree and as such he is the guitar foil for Steven Wilson, this inevitably means he has to be good and he is very damn good. His guitar playing is simply staggering, technical, precise yet understated. He solos amazingly but he also has some serious songwriting chops as well, yes there is a lot in common with his day job (as there has been on all of his solo albums) with a melodic, slightly alternative metal with lots of progressive elements.Wesley manages to be progressive without having to rely on noodling, most of the songs are four to five minutes long but feature time, pace and stylistic changes with Any Old Saint being the longest song on the album at 7 minutes. The album mixes some touching melancholic acoustic tracks with some modern progressive rock replete with some sterling guitar work (another feature of his early work. Wesley's voice too is excellent very gravelly to carry emotion but also melodic enough to be listenable. Obviously with a man of Wesley's talents he will attract talent and Disconnect is no exception as he has assembled a great studio band to play with him, the guitar of Dean Tidley is the perfect foil for Wesley's freakouts and he even provides some killer solos of his own, the rhythm section of Patrick Bettison's bass and the drums of ex-Iced Earth Mark Prator also keep things solidly locked in tight leading the time changes. He has also got a few great guests with Geri X providing some welcome female vocals to the proceedings and most notably Rush axeman Alex Lifeson provides his six string magic on Once A Warrior. If you have never heard John Wesley before and you are a fan of Porcupine Tree, Fish or even Sound Of Contact then pick up Disconnect as you will not be disappointed, then download the man's discography for free from his website (what a nice chap he is!) 8/10
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