A View From North Wales: Hard Rock Hell

Hard Rock Hell, Hafan-Y-Mor Park, Pwllheli

The five-ish hour drive to Hafan-Y-Mor is always a good run with friends and stopping at The Sportsman's in Porth Madog for the finest pub sandwich I've ever had along with some locally made ale (which we duly stocked up on at the brewery) was a great idea by Mr H who was driving and using is knowledge of the area to make sure everything went swimmingly. After buying all the bacon and cider we could then we finally set off on the final leg of the journey to the hallowed ground of Haven. Check in was at 4pm and we arrived duly at 3:59, before joining the queue to get our pack and then on to finding our Caravan (yes folks no tents here) and unloading. After this it was time for some drinks before heading into the arena for do what we came to do; watch some fine rock music.

Thursday

Midnight Messiah

First up were Midnight Messiah comprised of former members of NWOBHM also-rans Elixir, these two men were the leather clad, silver fox Paul Taylor, who has the best hair this side of Biff Byford and sunglasses wearing axe slinger Phil Denton. They were the writing team in Elixir and to be honest MM sound like Elixir they are bouncy, competent classic metal with dual guitars, coming from Denton and wunderkid Dave Strange, the bass gallop of Alex Machell and metronomic drumming of Darren Lee. With some good songs getting heads nodding and fists pumping MM were the perfect opening to this festival for the drinking masses gathered there. Nothing special but a band I'd see again due to the entertainment value alone. 8/10

The Earls Of Mars

An now for something completely different with The Earls Of Mars, the mental, madcap jazz/doom metal of The Earls Of Mars, having seen them before I wondered whether they would win my compatriots around and as Poor Whores Petition started things off with frontman Harry Armstong smashing his piano and shouting the lyrics as the band backed him with vaudevillian, jazz fuelled rock full of stomping guitars upright bass and technical percussion, the band are still promoting their debut album with The Swinger (which surprisingly is a swing style song) and the mighty The Astronomer Pigs making up the set, however the band were not all old stuff as they have a new song called Fisticuffs which bodes well for album 2. A great change of pace and one that encourages quaffing beverages. 8/10

Massive Wagons

Massive Wagons are hailed as the greatest new thing but they really...aren't at all. They are very samey, generic modern rock with almost unlistenable vocals, still somehow the crowd were going nuts to the band. Maybe it's just me... 4/10

Lizzy Borden

 Things unfortunately were about to get worse as the man who I've always thought of as a budget Alice Cooper and my thoughts were proven right. The visuals were there with frequent costume changes from frontman Lizzy. However the music was dire American sleaze metal which was made worse by a fucking BASS SOLO!! That was enough for us and we retreated back to the frozen wastes of the caravan for some more warming beer and some rest ready for our full day on Friday. 3/10

Friday

Friday and as the dust of the previous day settled and indeed the minor hangovers subsided (due in part to the lashings of bacon) it was time to put down a couple of drinks and once again heading into the arena.

Piston

First up were Piston who played a solid chunky style of blues rock with a southern swagger and indeed Northern accents. Their songs were good and one even had a element of CCR to it, what really struck me was the voice of singer Steve Nunn he can really belt it out however I was a bit sad to learn that this was going to be his last gig with the band due to other commitments and throat problems, that is a shame but he powered through their set which culminated with a turbocharged version of CCR's Proud Mary. I'll be interested to see where the band go from here but on this showing they have some big shoes to fill. 7/10

SKAM

Next up was Leicester power trio SKAM who bring some riff heavy, radio friendly songs and buckets of attitude to the table. Having seen them at the Steelhouse Festival, I knew what to expect form this trio but the band are now armed with a great second album which has some big tunes on it so I wanted to see how these translated into the live arena, luckily the answer is bloody well indeed with big riffs from Steve Hill's guitar and Matt Gilmore's bass and a rigid backline from Neal Hill. SKAM are a great band who have become a real live draw from their tours with Airborne. Worth seeing if you like your rock big, ballsy and ideal for drinking beer. 7/10

Fire Red Empress

Having recently watched FRE in Bristol it was great to see them again utilising their big stoner riffs to beat the second stage around the head, once again it was the job of enigmatic frontman Nik to bring everyone together with his affable style and his great voice. Fire Red Empress bring some hefty slabs of rock to the table and got the crowd joining heartily, beer in hand, pumping their fists and bobbing their heads. A perfect band for  heavy drinking session. 7/10

Persian Risk

So then to business, nothing (depite my protestations) was going to stop us seeing Persian Risk. The band were from the NWOBHM era and hail from our home town of Cardiff, formed by Phil Campbell, now of Motorhead and John Deverill who went on to join Tygers Of Pan Tang. The band are now lead by vocalist Carl Sentance with bassist Wayne Banks providing the four string attack. The band maintain the classic British NWOBHM style that they started with all those years ago. Because of the emotional attachment we turned up and immediately the party started mixing their last album Once A King and their new album Who Am I. The riffs came thick and fast with Carl's excellent voice bringing everything together. The abnd has as much charisma as they did back in Bogiez and they also have some great metal tunes ripe for shouting along to. Pure leather clad Brit metal supreme!! 9/10

Electric Mary

Over then to the main stage for Aussie hard rockers Electric Mary who play classic Stones-like retro rock, with jangly guitars, a bluesy beat and smoky vocals. I've been waiting for this for a while and the band didn't disappoint, we only caught the final part of their set but they were the perfect come down after the excitement of Persian Risk. Bluesy, rocky and with real charm Electric Mary were worth the wait. 7/10

Buffalo Summer

The summer rock vibe continued with yet more Welshies this time Buffalo Summer who kicked things off with She's All Natural and A Horse Called Freedom the band blend classic Zep style rock with a modern rock twist and they managed to weave their spell over the crowd with their mature hard rock. As the percussive stomp of Down To The River which led into the Into Your Headand ended the set in style, a band that is going places fast. 7/10

A break for food and I must say that the Fish and chips (and of course mushy peas) are very good at HRH better than any of the other fast food places on the site. (7/10) Still on to the next with two of us really looking forward to this one:

The Brew

We have seemed to have a problem with the The Brew, every time we've gone to see them they seemed to have cancelled the performance. So now they were cornered and we had to see them this time. What we got was solid blues rock form a talented  three piece drawing most of their set from their latest album with Repeat, Mute, Pause, Skip, and Shuffle. Their hard rocking music perfectly compliments fish and chips and the band themselves draw elements of Zeppelin, The Who and those classic hard rocking bands. Jason Barwick is a hell of a guitarist channelling Jimmy Page and has a great blues howl as well, bassist Kurtis Smith is completely mental and his son smashes hell out of the drums. Finally Booing is full of screaming guitars with Barwick going full Page using a bow on his guitar, however the band made a small faux pa by ending with a bloody DRUM SOLO!!!! Still it was great to finally see them in the flesh and I can't wait to see them again. 7/10

Y&T (Again)

I'm not going to linger on this one but I will say they were still as good as they had been in Cardiff. A greatest hits set with I Believe In You ending the shorter set to a packed crowd. Overall they were great one punter in the loo put it played all the hits except the famous one (that being fan pleaser Forever) 7/10

Krokus

Having never seen Krokus I was kind of looking forward to Long Stick Goes Boom and as they kicked off I was appeased. The band are competent but this Swiss band sound so much like AC/DC it hurts something that shocked Mr Hewitt to his core much to our hilarity. The set was full of rockers with LSGB, Hellraiser, Bedside Radio all getting an airing however they killed momentum a bit with ballad Screaming In The Night, but for the most part good solid hard rock that pleased our old school leader Paul. 7/10

Queensrÿche
Last minute headliner replacements Queensrÿche were next and I was hoping they were going to be better than when I saw them with original singer Geoff Tate. New singer Todd LaTorre sounds so much Tate on record I was interested to see how he would fair live and also how they would win over an audience expecting W.A.S.P. They coped brilliantly with a simply flawless delivery of a hit filled set that covered all bases. As opener Nightrider kicked things off LaTorre proved all the doubters wrong with his voice, it is truly spectacular if you close your eyes you couldn't tell the difference between him and Tate. The band worked through the anthemic Walk In My Shadows before going through The Whisper and En Route and into Warning. For a band that had one hell of a trip in, this was their only show in UK and after playing they went straight back to the USA after the show. The band made up for a dual guitar solo set with The Lady Wore Black, Eyes Of A Stranger and the finale of Empire. The band were on fire with original member Michael Wilton shredding up a storm, unfortunately there was a much smaller crowd for Queensrÿche than for Y&T, but their progressive style metal is more of acquired taste. Still we were loving it Mr Hewitt especially was in another place for most of the set and as the triple encore of Queen Of The Reich, Jet City Woman and Take Hold The Flame ended we were all losing our voices shouting along. An amazing set from an amazing band who have risen above the legal shenanigans to readdress what's important. Now who's for a UK headline tour!? 9/10

Saturday

Saturday and again we shook off the night before to head into the arena for Black State Highway

Black State Highway

Black State Highway play earthy rootsy blues rock by a young band with great chops. Formed at the Brighton School of Modern Music they are all accomplished musicians with a worldwide membership, the guitarists Ollie and Yonnis are English and Swedish respectively, bassist Gordon Duncan is Scottish, their drummer is ginger (so his biography says and I can confirm) and singer Liva is from Latvia. The band play 70's style grungy blues rock with big meaty songs bolstered by the bombshell up front as she has both a hell of an attitude and a great set of pipes, she wins ballsiest singer of the weekend hands down. A great set that was let down a little by the muddy sound, still a band full of passion and a real fire for performance, ones to watch for sure. 7/10

Blues Pills

More female vocals but a total change of pace as the bluesy, psychedelic retro rock of The Blues Pills was coming up and they impressed with some superb musicianship the thunderous drums of André Kvarnström were the perfect anchor for the driving finger picked bass of Zack Anderson and it was all topped by the sublime flowing guitar passages from Dorian Sorriaux who plays the guitar deftly providing the songs with their otherworldly quality. Finally the bands ace in the hole are the Joplin-like vocal preach from frontwoman Elin Larsson who is a woman loses herself in the music as she rocks out while the bands play their extensive instrumental sections, drawing much of their set from their debut the songs translate from the record well and the band jam a little on them too allowing them to show off their chops and create a real vibe from the opening double song transfer to finale of Devil Man. The Blues Pills are a genuinely excellent rock band that draw from their influences and bring them bang up to date. 9/10

Vardis

Having morphed from a NWOBHM artists into a blues band, Vardis still don't so much for me so onto the second stage. 5/10

Grifter

This is better!! Solid stoner riff rock with, big songs, big beards and a cover of Fairies Wear Boots? Count me in! Never heard much of Grifter but they won me round with their huge stoner riffs and gruff vocals, I think I may be checking out more of Grifter soon as they sounded very good at HRH. 7/10

Big Elf

Back to the mainstage for prog mentalists Big Elf. Musically the band were excellent but they were (perhaps deliberately) disjointed in terms of delivery. The key to the bands appeal is frontman Damon Fox who is part Lennon, Wood, Bolan mixed with John Lord, singing with vaudeville delivery and handling dual organs, keys and synths. No Mike Portnoy on this show but no matter John Wesley handled the guitars and Duffy Snowhill (like a hippy Sabertooth) handled bass and provided the rock riffs as a counterpoint to Fox's weirdness. However unfortunately for the band they were just too much of an acquired taste for the meat and two veg crowd so with much of the crowd disinterested they looked a little ponderous and a bit to much like hard work. Shame. 6/10

Thunder Mother

Over to the second stage with something a little more immediate with SheCee/DC of Thunder Mother. An all female group with hopping Angus aping guitarist and a set full of Acca Dacca riffs with country decked singer. Rocking and brainless music ruined for the most part by the terrible scratchy vocals. 4/10

Blackwolf

Thankfully things got a lot better with a Musipedia favourite the always very good, Bristol based Blackwolf. Straight out of the blocks their smooth blues based hard rock got the packed audience boogying away merrily with much shaking of hips and nodding of heads. The band always have such great playing and the irrepressible Scott who has great voice. Their brand of funky, hard rock with real swagger is always welcome and it was nice for more people to see how they've grown into a real red hot live act! 8/10

Diamond Head

The NWOBHM legends and Metallica's main influence were debuting a new vocalist who was good at the high stuff but lacked a little in the lower register. Still the band raced through a classic set with Lightning To The Nations and Helpless all getting an airing but still despite all the aggrandising the band are still middle of the road NWOBHM with the crowd really only coming alive for the perennial Am I Evil? 7

Michael Schenker

WOW!! That is really all the review you need but I'm afraid Schenker stole the show. He and his all star band really blew the roof off the place, kicking off with Doctor Doctor the set started as it meant to go on, with classic Scorpions Herman Rarebell and Francis Buchholz as the rhythm section, Wayne Findlay in the Paul Raymond role of guitars and keys and Doogie White on vocals he has assembled a band that could tackle anything. Luckily that is good as he does indeed tackle everything with UFO, MSG, Scorpions and of course their own songs, with Natural Thing, Armed And Ready, Victim Of Illusion, Lovedrive all making an appearance, Schenker showed off his guitar prowess with the instrumental Coast To Coast where he soloed like the legend he is. Lord Of The Lost and Lonely is a real romp and sets up Shoot Shoot very well which in turn exploded into Rock You Like  A Hurricane this got the crowd rocking like hurricanes indeed and allowed Findlay to show his solo chops. The show was spectacular with Schencker saying very little but White is a confident master of ceremonies getting progressively more Scottish as it went on turning into somewhere between David Coverdale and Billy Connelly. Finally it was time for Rock Bottom which once again ruined our voices and blew the guitar freaks mind as Schenker ripped up his fretborad like a demon casting light and shade in the mid section. Schenker rendered me and my colleagues speechless with  all the hits you need packed into one set. 10/10

Blue Oyster Cult

A real American legend of a band Blue Oyster Cult rarely play the UK so I couldn't pass up a chance to see them in the flesh. Playing a greatest hits set what struck me was just how slick the band were every member is a total pro playing their part beautifully and effortlessly, you get the feeling they could play any song from their repertoire at anytime and make it seem like they meant to. Buck Dharma is every inch guitar god with his headless guitar and Eric Bloom is the stoic frontman driving the rhythm with his guitar merging perfectly with Richie Castellano who contributes guitars and keys as well as vocals. In the back room they have Jules Radino on the tubs and Danny Miranda on bass who has served time with both BOC and Meat Loaf and seemed to enjoy playing tricks on Castellano throughout. Despite their aura of complete professionalism they have the aura of a pub band inviting Bikers, Beer Drinkers and Beatlemaniacs all to worship at the altar of the Cult. Starting with The red And The Black kicks things off before Golden Age Of Leather and Burnin' For You. Dharma got ample time to show off in Buck's Boogie and also during the frankly stunning middle eight of Then Came The Last Days Of May which built up and up into a groin moistening crescendo and the reptile stomp of Godzilla brought back the hits before Hot Rails To Hell began to end the set and but took a mis-step with both a Bass and Drum solo consecutively, still if you are going to do something like that then follow it up with your biggest hit and as the cowbell struck Don't Fear The Reaper kicked in to full flight. With the crowd singing along the night was unfortunately over but with their big vocal harmonies and some killer songs the Cult climaxed in a triumphant end to their set. It has been a long wait but well worth it Blue Oyster Cult are a simply amazing live band and I was honoured to see them in their natural habitat. 9/10

So all in all a great weekend of rock, 20 something bands over three days, great friends, good times and a whole lot of awesome music. I love these events as they attract some fantastic bands and they have a much more relaxing atmosphere than most of the camping based festivals. Roll on March and lets do it all again!!

Reviews: Pink Floyd

Pink Floyd: The Endless River (Parlophone Records)

Never a band to rush things legendary prog veterans Pink Floyd finally release a new album, 20 years after their last album Division Bell. Now I say this is a new album when what I should say is that The Endless River is the most recent album as much of it is not entirely new, much of the music was recorded during the Division Bell sessions and latterly David Gilmour has built up the majority of this album from keyboard passages that the late Richard Wright created for their 1994 album. Wright has writer credits for most of the album with Gilmour and Mason taking up the other parts.

Things start off in the age old fashion of an atmospheric introductory piece to set the mood Things Left Unsaid is possibly one of the most emotive pieces on the record with Gilmour's guitar building and simmering before Wright's organs kick in on It's What We Do which shows this similar in style to Shine On... and the opening salvo from Division Bell; Cluster One. It's here we finally get the guitar flourishes Gilmour is known for as Wright's keys become the backing they have always been, he truly was the master of atmosphere, the concrete that the rest of the band can build on, Mason's drums too are jazzy and lucid keeping the beat as again we are transported into Ebb And Flow on which Gilmour matches Wright's piano with an E-Bow. This brings to an end the first part of this four part record, each 'side' is linked but distinctly different.

Side 2 starts with Sum which builds on a repetitive synth riff with Mason bringing a more tribal style of drumming, all toms, and once again the guitars touch the sky, Skins continues the theme with more toms and even a gong with Youth adding effects to the track, Unsung is a bridge between things transitioning into Anisia is a piano Gilmour-only track based track mainly which has some soulful sax added for good measure and indeed posterity (what is Floyd without the addition of Sax). The album is mostly instrumental with the occasional choral chant adding to the songs but for the most part their are no words, it is Floyd at it's purest taking you on a journey through the bands varying style and also indeed their emotions for their lost friend.

Side 3 is the shortest made up of a few just over a minute track and one longer one. It starts with the plaintive The Lost Art Of Conversation starting things off with a solitary piano, before the jazz of On Noodle Street does exactly that, noodle, before Night Light shines (sorry) on Cluster One with it's atmospheric E-Bow, the oldies will be pleased with Allons-Y (1) and Allons-Y (2) as they have the staccato guitar of Run Like Hell, they bookend the the dreamy Autumn '68 which features Wright on the Royal Albert Hall's organ, the final part to this side features the first 'vocal' with Professor Stephen Hawking once again contributing on Talkin' Hawkin' which is a sequel too and outtakes from Keep Talking on Division Bell.

Side 4 is the finale of all that has come before the haunting sadness of Calling does it's best to break your heart as it manoeuvres into the acoustically led Eyes To Pearls, which has throbbing bass behind it as well as effects to layer it, again we get the stunning guitar work of Gilmour on Surfacing as the emotion ramps up for this final part, the 'oohs' in the background are the fore runner for the final track Louder Than Words which repeats the outright emotion of the first track while adding a string section and finally vocals from Gilmour who hasn't changed vocally at all, the song is a romantic paean to days gone by and also to Wright who is indeed the soul of Floyd and is the final notes you hear as the track fades.

So is the record a masterpiece or is it just a hodge-podge of Floydisms that much of the media and indeed the recording notes suggest? Well in truth no it isn't either of these things Pink Floyd don't need another masterpiece and there are many will just see this as a over indulgent piece of work that draws to heavily from the bands history without really trying to improve anything, but these people miss the point, what this record actually is, is a glowing tribute to a fallen friend and the last compositions in an incredible career of of one of the most influential bands in music history. The story for Floyd is over (if you believe the members) and I for one think that there really isn't another way to end their career than with a record like The Endless River as the band have tied up all the loose ends and finally put the beast to sleep, not with a bang but by lulling it into a blissful retirement. 8/10        

Reviews: At The Gates, Warrant, Enemy Of Reality

At The Gates: At War With Reality (Century Media) [Review By Paul]

It has been 19 years since At the Gates released Slaughter of the Soul, widely regarded as a classic in the world of melodic death metal. At War with Reality continues with the driving no-nonsense attack that SOTS left back in 1995. A concept album based on the literary genre of magic realism (Okay!), At War with Reality showcases the vocal prowess of Tomas Lindberg, whose screaming strained delivery launched many a Swedish and Scandinavian death metal outfit. The drumming of Adrian Erlandsson combines with Jonas Björler’s soaring bass lines whilst the twin guitar attack of Anders Björler and Martin Larsson supply heavy riffs, driving melodies and subtle movement. Opening with Death and the Labyrinth, it is full of the melody and groove that compatriots such as In Flames possess in spades. As befits the concept, many of the tracks are laced with haunting atmospheric almost operatic style breakdowns; case in point being Heroes and Tombs. As the album builds the songs increase in intensity and speed; The Conspiracy Of The Blind for example; all thrash attack with the rhythm section propelling the band forward. It certainly doesn't feel like these guys have been out of the studio for nearly two decades and tracks such as Order And Chaos and The Book of Sand is complex in their construction. A welcome return to a band that was so influential first time around. 8/10

Warrant: Metal Bridge (Pure Steel Records)

Firstly this is not the american Glam metal band, whose singer Jani Lane tragically died recently, no this is the German Warrant a band who released their first album in 1985 and split shortly after, still they worked through it and have finally reformed and have finally released their second album called Metal Bridge. Strangely enough it's not a tribute to Victorian bridge builder Isambard Kingdom Brunel, which was disappointing but still it is an album filled with the kind of Teutonic speed metal the Germans do so well. After the intro comes Asylum which is atypical of German heavy metal with rampaging riffage from Dirk Preylowski, driving drums from Thomas Rosemann and a hearty gallop from bassist Jörg Juraschek who also provides the gruff vocals that are slightly Udo-like. Yes sorry folks we've arrived at that juncture where I have to make a comparison and the comparison is with Accept, Warrant do sound a lot like Accept and after 15 tracks it does get a bit wearing. This is just relentless metallic assault that simmers but never really boils over. This could in fact be a contributing reason why Warrant are only on their second album since 1985! They are competent but not a lot more, Metal Bridge is not a particularly inspiring record, well played but as I have said it is a bit over long with one too many filler tracks, meaning that it becomes a test of patience towards the end. For die hard Teutonic metal fans this will appeal but like I said for everyone else it is competent but nothing more. 6/10

Enemy Of Reality: Rejected Gods (FYB Records)

Enemy Of Reality are a Greek symphonic metal super group featuring members from a few other Greek bands, they are traditional symphonic metal with the vocals coming from Soprano Iliana Tsakiraki who has an astounding voice, similar in power and style to Tarja, she soars above the crunchy metallic backing of Steelianos' great guitar playing, Marianthi's keyboard flourishes, Thanos' bass and Phillip Stones drums. Opening track My Own Master is a speed metal track that has elements of Symphony X on it due to a driving bassline from Mike LePond who aides the speedy riff, next up is the slower more orchestral Lifeless Eyes which is a real anthem and features Marianthi's keys prominently, Needle Bites is a progressive track with shifting backing a hell of a solo and features Iliana duetting with Sirena's Ailyn Giménez their two voices interplaying excellently. The songs on this record are brilliantly delivered with all of the musicians working well together, the rhythm section is heavy and technical, the guitars shred and solo with aplomb, the keys are melodic and epic and the vocals are astounding. In what is a very congested genre Enemy Of Reality stand out as they give much heavier and indeed progressive style of music than many of their peers and to this writers ears they sound a lot like American band Echoes Of Eden who have the same style of progressive/symphonic metal, they are their most progressive on Her Descending Ghost and their most rousing on the heavyweight choral/classical crossover The Bargaining which has heaps of power behind it. Rejected Gods is a real treat for symphonic metal fans but it will also bring in others with it's progressive tendencies. 8/10   

A View From the Back Of The Room: Robert Plant

Robert Plant & Last Internationale, Newport Centre

To see the mighty Percy in such a small venue is a rare treat and our number lapped it up as we walked into the venue nice and early, the security still waiting outside, as one of our number was not at all well we had negotiated early access, however as we sat in the bar we were suddenly ushered out, in what was starting to turn into a clusterfuck, as the minutes wore on the cluster exploded into a supernova of stupidity, with no one, especially the security knowing what the hell was going on. So apparently we all had to be searched in, even though 10 minutes previously we had strolled in nonchalantly. So our poorly member was allowed to stay with one 'helper' and the other two in our party (including me) had to leave and queue, in what seemed to be a never-ending line.

Still after this rampant fuckwittery, we managed to get in and the rest of our party had secured a seat near the back of the room (as is the norm of course). With the room filling and the electricity building it was time for the support band The Last Internationale.

Last Internationale

As Gil Scott Heron's vitriolic anthem The Revolution Will Not Be Televised came over the P.A many guessed that The Last Internationale may have a message and as frontwoman Deilia Paz arrived on stage she slung on an acoustic and started to play, the song was Worker's Of The World Unite (based on Karl Marx's Communist Manifesto) and Deilia began to roar, her voice supremely powerful and her resolve unwavering, this indeed was a band with a meaasge and indeed chops as when the rest of the band arrived guitarist Edgey Pires began to peel off riffs and solos like a certain Mr Page merged with a certain Mr Morello (who himself is a fan of the band). Paz took the bass and began to stalk the stage providing the funky bottom end and her primal shout, part Krissy Hynde, part Suzi Quatro she is a fire cracker frontwoman, the band moved through Killing Fields, Life, Liberty And Pursuit Of Indian Blood, Fire and We Will Reign from their latest album of the same name (available on the merch stand for £15 folks!!). These New Yorkers have a lot of fire and fury delivering their agenda with passion and power, the set concluded with Paz adopting the acoustic guitar again, along with a harmonica to play a note perfect cover of Neil Young's Hey Hey, My My. You don't have to agree with the ideology but you can't fault the music, sledgehammer riffs, reverbed solos and a siren with a banshee's voice. Perfect opening fodder for Zep/Plant fans. 8/10

Robert Plant

Seeing the set lists that Percy had been playing it was a solid mix of his new stuff, old solo stuff and obviously some Zep classics (albeit slightly re-imagined). The throbbing electronic beat of No Quarter opened the evening sticking to the original for the most part before his multi instrmental band the switched instruments to bayou banjos and mandolins for the swamp stomp of Poor Howard. This would be a theme for the night as the much of Plant's set and indeed the songs on Lullaby.... And The Ceaseless Roar are all influenced by or indeed drawn from the Mississippi Delta. Bassist Billy Fuller and drummer Dave Smith left the stage leaving just the leonine Plant, Mountain man Skin Tyson on banjo, rockabilly madman Justin Adams on acoustic guitar and John Baggott who was bedecked in a leather shirt on keys,, loops etc for a run through of All The Kings Horses from the Mighty ReArranger album (these three men were all part of the Strange Sensation group, that performed on this album). So far so awesome, Percy can still sing like a man a third of his age, he is still every inch a rock god strutting and prowling the stage, he is also affable making jokes and putting everyone in the audience at ease (and thereby resisting the urge to shout "We're Not Worthy!!" at the the top of your lungs). Next up was Thank You which is still as emotive as it ever was before they worked their way through more songs from the latest album all of which brought together world music and especially the amazing Ritti from Juldeh Camara who is this bands secret weapon, he adds his flourishes to both the originals and the blues covers, as far as the original songs go Embrace Another Fall is majestic and features the Welsh language vocals of Julie Murphy and Rainbow is a percussive clap along with a drum for everyone and a hand full of joy, Plant crooning like it was the old days. After building throughout the set came to it's conclusion with the Adams playing the 12 bar boogie of Hoochie Coochie Man, which shifted into Etta James' I Just Wanna Make Love To You (possibly a 50+ Diet Coke moment?) but as the shuffle continued Plant uttered those immortal words "You need coolin', Baby I'm not foolin'" which in turn led to THAT riff and the evergreen Whole Lotta Love to finish the main set. With the crowd in his hands Plant could have read the dictionary for the encore but he didn't a short break and he was back with a lounge jazz version of Nobody's Fault But Mine which warped the original brilliantly before the folk/trance of Little Maggie ending things on a fantastic high. Seeing Percy in his natural habitat is always a treat but he does seem to be enjoying himself thoroughly on stage every night, with Page concentrating on remastering the past, Plant looks to the future and steadfastly refuses to look back. Still he will always be in the shadow of Zeppelin something highlighted by iconic feather symbol on the drumkit of Smith showing that it will always be there in the background as Plant and his Space Shifters progress on their cosmic journey. Simply stunning!! 10/10                

Reviews: Devilment, The BossHoss, Giant Squid

Devilment: The Great And Secret Show (Nuclear Blast)

Devilment was formed by guitarist Daniel Finch in 2011, but with ever changing line up Daniel reached out to his friend Dani Filth (he of Cradle Of Filth fame) to help out on a few songs, the two worked together on demos before acquiring a stable line-up of Nick Johnson bass, Colin Parks on lead guitar, Lauren Francis on vocals and keyboards and Aaron Boast on drums and percussion. The album is not what you expect this is more of a classic metal record than the black metal you'd expect from Filth with only Stake In My Heart sounding more like Cradle than the others. Yes even the tongue in cheek aspect of the Lovecraftian, horror theme lyrics remains from his Cradle project with titles like Even Your Blood Group Rejects Me which is almost Vaudevillian in it's sound but also bringing in elements of Type O Negative and southern groove swagger. But for the most part this is more straight up metal as I've said, with Summer Arteries having a groove based delivery backed with electronics, the twin guitars are excellent, the drums still blast beat away with aplomb, the keys and samples add an extra dimension to all of the songs with the jazz piano and violins on Staring At The Werewolf Corps. Filth giving his best vocal throughout his guttural roar and screech is still present but he sings a lot more on this record than on any Cradle release, his vocals too work well with Laura Francis who has a more ethereal quality of vocal. I don't really know what I was expecting from this album but I actually enjoyed it a lot, the music is good with lashings of groove, elements of thrash, a dollop of classic metal, Filth's vocals are enjoyable for the most part (his voice is one of the bugbears of Cradle for me), as a project this is great little distraction from Filth's day job with some very strong songs and perfect modern production from Scott Atkins, more of this please! 8/10    

The BossHoss: God Loves Cowboys (Independent)

God Loves Cowboys is a compilation album from German, Country rock and rollers The BossHoss, now if you've never heard of The BossHoss then they are a German band that dress as cowboys, adopt Southern mannerisms and play covers and originals in a country rock style along with other styles to boot. As I've said this is the seven strong band's UK only compilation released to coincide with their support of Motorhead on their UK tour. Now the band have called this a compilation album not a greatest hits or a best of because it is a collection of their most well known songs, live staples and two covers. The band mix rock, country, blues and as well as hip hop, funk and disco actually have a lot in common with Danes Volbeat. From the outset of Bullpower the scene is set for rampaging, cattle rustling rock and roll, that moves straight into Whatever which is percussive and off-kilter with some crazy brass and a stylophone (yes a stylophone). This song shows what a seven piece band can do with two guitars, drums, bass (upright and electric) as well as washboard, mouth harp, keytar and mandolin as well as some howling rockabilly vocals on top from vocalist Boss Burns and guitarist Hoss Power. God Loves Cowboy's is hip hop with processed beats and even a bit of rapping thrown in showing this bands scope as they drive straight into the funk of Do It which has the bassline from Superstitious driving it along. Stallion Battalion is an acoustic cowboy punk and Backdoor Man has swamp blues all the way through it and a party atmosphere. With this unique mix of sounds The BossHoss are a truly unique band and it means that this album never gets boring, with irreverent songs, a good time atmosphere and some top drawer musicanship the album has 14 excellent originals and two clever covers; a rockabilly, mandolin driven cover of Killers by their tour mates Motorhead and a cover of Word Up by Cameo (recently featured on a VO5 advert). God Loves Cowboys is a great album for people who are unfamiliar with The BossHoss and gives you a great incite into this unique band. 8/10   

Giant Squid: Minoans (Translation Lost Records)

Giant Squid are a post metal/progressive rock band from Sacramento California, Minoans is a concept album with a historically accurate perspective on the ancient culture of the Minoans who originated from Crete, so this is high concept territory folks meaning that many will be lose their way a bit with the lyrical content unless they read along with the liner notes. So then the band have to impress with the music, which is something they really do, encompassing doom riffs Thera and Palace Of Knossos, lots of instrumental passages, elements of jazz in The Pearl And The Parthanon, some modern prog metal lots of atmosphere see slow burning opener Minoans. Nothing about this band is simple, the songs are complex as is the bands line up with three vocalist working in unison one hollering lead, one higher cleaner lead and one female harmony which means the songs have an almost choral feel vocally. They also use the traditional instruments of a guitar from Aaron Gregory, the bass of Bryan Beeson and drums from Zack Farwell but also have keys from Andy Southward and a full time cello player on board in the shape of Jackie Perez Gratz which adds an extra dimension to this album. As is the norm with bands of this ilk this a record that needs to be taken in one sitting, not a flash in the pan instant gratification album, it is one that slowly releases its charms over many listens, for some that may not appeal but for others it will make them salivate at the thought. 7/10

Reviews: Machine Head, (Review By Paul)

Machine Head: Bloodstone And Diamonds (Nuclear Blast)

When Adam Duce left Machine Head in somewhat acrimonious circumstances at the turn of the year, questions about the future of MFH were asked by many. For a band that had released THE album of the 2000s in The Blackening, this seemed a little bizarre. Okay, we all know that Robb Flynn controls the band pretty intensely, but was there ever a doubt that MFH would return with a decent slab of metal? I don’t think so. The pressure that the band was under after The Blackening was immense. They toured their asses off on that album, hitting the UK a number of times and possibly suffered from over-exposure although I will state here that I have never seen a bad Machine Head show and indeed in the last ten years have spent more time pitting to this band than any other. The follow up release Unto The Locust in the autumn of 2011 was a decent offering with some great songs on it. However, there appeared to be a bit of a backlash to the band, possibly due to the decision to offer them the 2012 Saturday night headline slot at BOA, something which wasn't well received by some of the more extreme patrons of the festival. I have to admit I had my doubts and although I watched the show, it didn't grasp me by the bollocks like before. However, word from the front that night was that MFH were back on form. The last time we saw them on these shores was their arena tour later that year with the desperately awful Bring Me The Horizon in support, a choice that certainly impacted on ticket sales and led to the NIA where I saw them far from capacity. Still, they put on a decent show, and it is in the live arena where MFH live or die.

So what about Bloodstone And Diamonds? Well, it is a very good record, no doubt about it. Filled with the usual angst that fuels Flynn’s inner rage, the album has a greater number of songs on it than a normal MFH release; 12 in total. Is there a format to a Machine Head record? I suppose there is. A few fast thrashers, for example Killers & Kings, a lengthy epic that builds in the middle of the album, this time it is Sail Into The Black and a few weighty slabs of metal that get the head moving. Opener Now We Die is a stomping tune, huge hooks, string sections, catchy chorus and the obvious opener for their forthcoming UK shows. Flynn’s vocals are unmistakable, snarly and aggressive, spitting the words out with real venom and feeling. Killers & Kings is possibly the most instantly accessible track on the album, Dave McClain’s powerful drumming combining with new boy Jared MacEachern to form as cohesive a unit as McClain and Duce did. Ghosts That Haunt My Bones has a riff and a half in it, Flynn’s vocal calm and measured to start before it descends into classic Machine Head fare, elements of Descend The Shades Of Night combining with the power of Bulldozer, Phil Demmel and Flynn using their excellent guitar work to full effect. Night Of The Long Knives climbs from an atmospheric start into an absolute balls out gallop with McClain’s drumming quite incredible. This will cause some carnage in the pit. (Lucky I’ve got a sick note!) Sail Into The Black combines the intro tapes of Grand Magus and Dimmu Borgir, acoustic guitar and some piano dripping through whilst Flynn eulogises in the way only he can. The track stands alongside classics such as Descend The Shades Of Night and Darkness Within and will no doubt be the pacer track in the middle of their set. It then builds with MacEachern’s bass pounding before McClain uses blast beats as the track charges towards a massive crescendo.

Halfway point in the album and not a dud so far. Eyes Of The Dead continues where Sail Into The Black left off, an overture of doom before the dual soloing of Flynn and Demmel rip your eyes out. I think that Demmel in particular is a massively underrated guitarist and his work here is exceptional, peeling off the licks for fun, ripping through the track and cutting the listener across the throat. Although it is almost old school thrash, this track, like most on the album have numerous changes of direction and enormous dollops of old school MFH groove. Halfway through, and Flynn briefly turns into Dave Mustaine, all guttural and grimace before it kicks off again with rampaging solos and 100mph drumming. Beneath The Silt has a slower feel to it, with even bigger riffs and a true heavy metal feel. Andy Sneap’s mixing is of the usual high quality throughout the album. Another seven minute plus track follows in the shape of In Comes The Flood, string section and choral vocals layering the introduction before the slicing guitar work synonymous with MFH cuts across. The weakest track on the album follows, with Damage Inside a cathartic rambling construct which adds little. Indeed, it’s about here that the album starts to slow in pace and direction. Sure, it’s been a tough time for MFH of late and Flynn in particular carries spectacular amounts of baggage but there are times when you can’t help thinking that he brings some of the shit on himself. Game Over gets the show back on the road with some blistering thrash before instrumental Imaginal Cells leads to final track Take Me Through The Fire, an anthemic roller coaster of a track which combines some classic MFH thrashing to bring the album to a slightly overdue end.

Machine Head are still a vital part of today’s metal scene. Whether this album will put them back into The Blackening territory is questionable; they've public ally stated they are avoiding festivals next year to focus on their own gigs which I think is a good move. An intense Machine Head gig is one of the most incredible sights in metal, and for a band who have 20 years + under the belt, still damn fine going. Machine Fucking Head. Indeed. 8/10

Reviews: Obituary, Winterfyllth, Xerath (Reviews By Paul)

Obituary: Inked In Blood (Relapse Records)

The ninth studio release from Florida death metal titans Obituary, Inked In Blood pulls no punches. Colossal riffs destroy from the start, pounding bass lines and skull pounding drumming leave your innards contorted whilst the vocals of the legend John Tardy snarl and fight their way into your brain. This is one aggressively heavy album but don’t let that put you off. Although rightly masters of the Death Metal scene, Obituary deliver on a different level to their peers Cannibal Corpse, and whilst the pace is there in spades they also deliver some tracks with less speed and more power. Within A Dying Breed, for example, is as heavy as they come, but levels you with the most enormous riffs and groove. The double prong guitar of new guitarist Kenny Andrews and rhythm guitar man Trevor Peres provide both groove and frenetic fret board action. On Minds Of The World the all-out death metal assault morphs into a more evenly paced and totally crushing tune. What interested me with this release is how catchy and memorable the riffs are. Even when the band are going full out, with the battery of Donald Tardy’s drumming hitting you solidly in the abdomen, the songs are excellently crafted with Andrews solos peeling off at regular intervals. Frank Tardy’s voice is an acquired taste, plenty of roaring, growling and guttural snarls but fits the band’s sound perfectly. Opener Centuries Of Lies demonstrates this, allowing him to extend the full repertoire in two and a bit minutes. Thirty years since Obituary first started making their mark in the world of heavy metal, Inked In Blood is a blistering release, proving that the old school still deliver and do it better than any of the young pretenders. In a year of excellent releases, this stands comfortably amongst the leaders. Powerful, pulverising and pounding, Inked in Blood is a release you really need to listen to. 9/10


Winterfyllth: The Divination Of Antiquity (Candlelight Records)

I have to admit that the underground black metal that these Mancunians bring has passed me by for several years. However, a 40 minute set at BOA, ironically as the heavens opened, changed all that and their fourth release is a thunderous affair. Now I'm not the world’s biggest black metal fan, finding much of it a little too similar and the unintelligible vocals often just amuse me. However, what I do appreciate is the technical talent of some of the top purveyors of the genre, and Winterfyllth are right up there. The title track opens the album, six and half minutes of blistering speed and blasting drumming complete with Chris Naughton’s death growls. The track does change tempo throughout, although rarely dropping below the speed limit until half way where a quick breather is taken before the band plunge headlong back into the powerful driving delivery. Simon Lucas’ drumming is phenomenal, blistering hand and foot work propelling the track towards the crescendo. For a band that look like a gathering of dentists, Winterfyllth make a quite awesome noise, once again proving that you should never go by appearances. Whisper Of The Elements provides even more evidence that these guys are a cut above the average black metal band with changes of tempo and mood throughout whilst regularly returning to the blasting delivery that you expect. How Simon Lucas drums at this speed throughout the album is beyond me but I've seen him do it live so I know it isn't fabricated. Naughton and Mark Wood provide delicate and subtle edits to each track along with the pounding riffs whilst bassist Nick Wallwork combines with Lucas to man the engine room that allows the guitars to do their thing. Whilst the album remains very true to expectations, each track contains little nuances that deviate from each other. Warrior Herd for example has them pounding rhythm section but huge melody and hooks, whilst The World Ahead, at a mere 3:26 starts with some fragile acoustic work, calm and atmospheric amongst the chaos around it. A beautiful track and a completely different piece of work. Another quite brilliant piece of work from one of England’s most underrated bands. 9/10

Xerath: III (Candlelight Records)

Another album, yet more superlatives. The third full release by British extreme metallers Xerath. Apparently named after some video game character (is this right? I’m an old man. I don’t do this stuff) [Mr H is correct League Of Legends fans - Matt], the band were formed in 2007 and have won a number of accolades for their music. I've got their first two releases, but III is a much more complete work. Opener 2053 contains elements of thrash, progressive and extreme metal, with the influence of Devin Townsend, Meshuggah, Opeth and Dream Theater all evident. Indeed, the Hevy Devy influence flows throughout the album which in my book is no bad thing. III also has lashings of symphonic metal, which combines with the other influences to produce a real fusion. Autonomous has huge riffs, string sections and keyboards combining with Richard Thompson’s excellent vocal delivery, at times Howard Jones, at times oh so Devin. This is a real groove ridden head banger of a track. As the album ebbs and flows, I found myself reflecting on the quality of the compositions. It’s a bit like someone has done the most perverse mash up of many of my favourite bands. Bleed This Body Clean would convince all but the most hardened DT fan that it wasn't the master on the vocals, such is Thompson’s combined melodic and growling vocal delivery. Huge symphonic riffs splatter all over the track, and combine with the powerhouse duo of drummer Michael Pitman and bassist Christopher Clark. Demigod Doctrine has a quite delicious collaboration of strings, power chords and blast beats with massive Devin sounding vocals merging into the complexity of the overall track. I Hunt For The Weak builds into a massive head banger of track, combining many of the previous elements with a pounding rhythm section, soaring strings and growling vocals which fit perfectly. The Chaos Reign swirls and dips, with the division of death growls and clean vocals supported by close harmonies working perfectly. Throughout the album there is some excellent guitar work from Conor McGouran. Veil Part 1 is soaring metal track that would be excellent for the soundtrack to a movie set in space as it climbs and builds. This is an album crafted to the highest quality, heavy enough to keep the extreme metal fans happy whilst the relatively unique combination of symphonic and almost standard metal really works. A work of absolute quality and well worth a listen when you can. 9/10

*Unfortunately I missed these guys at Damnation due to the confusion over the Bolt Thrower merchandise. I would really love to see how this works live*

Another Point Of View: Damnation Festival (Review By Paul, contributions by Rhod)

Damnation Festival – Leeds University

A first trip to the Damnation Festival, brought to you in association with Terrorizer, Jagermeister and Eyesore Merch. A few musings before we get onto the bands. This is an excellent venue, with four stages and a host of bands mainly towards the heavier end of the metal spectrum. If you want your AOR or Black Stone Cherry this probably isn't your bag. If you want mind crushing riffage, indecipherable lyrics and beards that would have Amon Amarth retreating then get the fuck in. The organisation was decent, bands ran to time and the security and staff generally friendly. A few gripes have been raised on social media about the clashes and lack of space, but there is a balance that is needed and for me it worked a treat. Sure, the queuing for Bolt Thrower merchandise was a bit shambolic (although tee-shirts at £10 was very welcome) and the bar prices weren't great, but overall it ticked nearly every box.

Kicking off proceedings on the Terrorizer stage, Bristol death metal outfit Amputated (7) got the day off to a fine start with a solid 30 minutes of impressive extreme death metal. Amputated take no prisoners, inciting the day’s first pit action with some pile driving and quite terrifying riffage. The UK’s Cannibal Corpse, Amputated are similar in delivery and theme to their West Country cousins Flayed Disciple. Song title of the day was already secured with Repugnant Genital Deformity. If you can’t work out what they sound like you clearly need a subscription to Terrorizer for the next decade.

A packed PHD stage greeted locally based outfit Black Moth (7) with a very warm welcome and they soon got into their stride with opener Tumbleweave from recent release Condemned To Hope dark, doomy and atmospheric. Unfortunately a muddy sound masked the excellent vocals of Harriet Bevan and whilst the doom element of their music benefited the cutting edge of their more gothic and indie style got a little lost.

Meanwhile back on the Terrorizer stage Rhod was sampling the sounds of Aeon (8) from Osterund, Sweden. More death metal was the order of the day, with a startlingly good performance full of top quality crushing technical power. Our intrepid reporter was noted to enthuse “Pure death metal on an epic scale. I was this close to jumping into the pit”. No higher praise can be heaped onto a band than that.

First visit of the day to the smaller Eyesore stage for Glasgow’s Falloch (8) who delivered a stunning set full of introspection and melancholy, post-rock, black metal and rock. A large crowd reacted very favourably to Falloch’s 35 minute set, and their delivery was spot on, benefiting from a decent sound. Complex and intricate progressive tones combine with powerful riffs and breakdowns with Alcest amongst the obvious influences. Well worth checking out.

Whilst Rhod worked his magic at the Bolt Thrower merchandise stall, the unmistakable clatter of Raging Speedhorn (5) filled the Jagermeister stage and area. I'm afraid that I don’t get the ‘horn (sorry!) and their aggressive hard-core sound, with the dual vocals of John Loughlin and Frank Regan fail to inspire. A quick exit was called for.

Back in the PHD stage Icelandic outfit Solstafir (9) provided one of the weekend’s highlights with a 50 minute set which captivated the capacity crowd. A mesmerising delivery included two tracks from their rather bloody good Otta album. Front man Aðalbjörn "Addi" Tryggvason is enchanting, every inch the rock star in leather jacket, weaving a spell of light and shade around the audience, capturing your attention with his mere presence, vocals and guitar work. He is ably supported by æþór Maríus "Pjúddi" Sæþórsson who adds plenty of reverb, intricate fretwork and powerful riffs. Concluding the set of five songs with Goddess Of The Ages, Solstafir’s first UK festival performance was a true I was there moment. Beautiful stuff.

Racing back to the Jager stage in time to catch the final strains of Scorpionica, the mighty Orange Goblin (9) hit the stage at 100mph and absolutely destroyed the venue with a blistering set stuffed with more goodies than a Christmas stocking. A mixed set with old favourites like Saruman's Wish nestled comfortably alongside Sabbath Hex and The Devil's Whip from this year’s Back From The Abyss. Man Mountain Ben Ward stop grinning such is the rabid frenzy that greets each track. The guitar work of Joe Hoare sounds incredible, riffs and hooks raining everywhere whilst the driving rhythm section of bassist Martyn Millard and drummer Chris Turner propel all of the songs along at breakneck speed. By the time that Red Tide Rising closes the set, Goblin have the crowd eating from their palms whilst Ward is probably still grinning today. A triumphant performance from one of the best UK bands.

Amongst the legends that are gracing the Leeds halls are American Doom Merchants Saint Vitus (7), who are performing Born Too Late in full. A strong turnout saw the band open with Living Backwards before I Bleed Black demonstrated why these guys are icons of the doom metal scene. However, even with the constant urging of guitarist Dave Chandler and Scott “Wino” Weinrich, it all appears a little dull and attention starts to wander. Saint Vitus went on to play Born Too Late in the second half of their set but by then the dulcet tones of Sunderland’s Wodensthrone had lured us back to the Earache Stage. Arriving half way through their set, this made up for our inability to get to Winterfyllth’s earlier set. Wodensthrone (8) deliver an infectious brand of melodic black metal and they capture the attention of those who weren't attracted to the main arena. We are rewarded with a powerful set mixing tracks from both Loss and 2012’s Curse.

German funeral doom merchants Ahab (8) deliver one of the heaviest sets of the day back in the PHD stage where huge guitar and crushing chords combine with Daniel Droste's evil and guttural vocals which sound like Satan if he’d stepped on a plug. Meanwhile Cannibal Corpse (9) demonstrate their billing as death metal kings with a steam roller of a set in front of a packed out Terrorizer stage, with hundreds queuing to get in throughout their turn. Opener Fucked With A Knife sets the tone for Corpsegrinder and colleagues to lay waste to all around them. Sadistic Embodiment and Icepick Lobotomy from the latest release A Skeletal Domain stands comfortably alongside old school classics such as Hammer Smashed Face.

Due to the capacity of the venue, not everyone can get into see Coventry’s finest Bolt Thrower (10) in their first UK Festival headline set. Those who don’t miss an absolute master class in death metal. Opening with War/Remembrance Karl Willetts and co are in stunning form, laying waste to all in the hall. There is little time to draw breath as the band grind out classic after classic, Anti-Tank, This Time It’s War and an absolutely pulverising No Guts … No Glory with Barry Thomson and Gavin Ward powering on the crushing riffs whilst Jo Bench adds a third guitar such is the thunderous delivery of her bass which welds with the blistering drumming of Martin Kearns. And then it arrived; The Killchain sets everyone in the arena bat-shit crazy, heads banging and pits galore. Willetts grins and leave the stage before the band return for a double salvo of At First Light and When Cannons Fade before a final hammer to the head with Silent Demise which leaves the audience battered, bruised and enjoyably damaged. Incredible stuff and as the crowd leaves, the smiles are everywhere. The stuff of legends. Roll on next year.

A View From The Back Of The Room: Y&T

Y&T, The Globe, Cardiff

American rockers Y&T are now in their 40th year of touring and as such they have embarked on an anniversary tour, thankfully hitting Cardiff's diminutive The Globe venue. Now myself and my compatriots opted for the pub instead of the supports (sorry) but part of me wished we had gone in earlier as when we arrived we were literally on the bar, which is at the back of the room, but still the beauty of The Globe is that the stage is high enough for a band to be seen, added to this is that Y&T are not the most visual band letting their music do the talking. The exception is guitarist John Nymann who is well up for it, but more about him later. We squeezed in next to the Y&T megafan next to us, who's love for the band was only beaten by his love for Rush, something one of number despaired at. Still the band took to the stage 15 minutes before the official start time and kicked things off with the awesome opening one two of Hurricane and Black Tiger which is Ron Burgundy distilled in a song. Because the band have been doing this for so long they have twelve albums they can draw from and they did so with L.A Rocks coming from Contagious, Lucy from Ten before the more Burgundy with Lipstick And Leather. I do kid as Y&T are from the late 70's and 80's so of course their songs will always have a hint of misogyny but this is more tongue in cheek now. What has always separated Y&T from their 80's brethren is the musicanship with a real blues rock edge coming through in the guitars of Dave Meniketti, who also happens to have a flawless voice too, his band are not to shabby either with the the rhythm section of Mike Vanderhule's drums, Brad Lang's bass (still feels weird without Phil Kennemore though) and the guitar dervish of John Nymann who ended up in the crowd at one point during a solo spot. Again we went back to Ten with Don't Be Afraid Of The Dark which Meniketti claimed many disliked, I can see that as both Ten and Contagoius are a bit poppy, not that this put off superfan who continued to sing back the lyrics to his wife during every song (I know one current Mrs that would have given him a swift kick to the gonads) Back to the old school with Dirty Girl and Mean Streak before the slightly cheesy All American Boy changed the tone again, the proto speed metal of Midnight In Tokyo gave Meniketti a chance to show his amazing guitar playing. We got one from Musically Incorrect with Cold Day In Hell before the middle of the set brought some album tracks, I'm Coming Home from 2010's Facemelter along with I Want Your Money also from their 2010 album towards the end of the set. I between the songs from the latter albums we got Rescue Me the evergreen cheese of Summertime Girls and the finale of I Believe In You which is still as anthemic as ever! 20 songs in the main set and 1 hour and 45 minutes gone by, with only 15 minutes left we got an encore of the supreme riff-fest of Forever which is very hard to follow and as the final song, Sail On By, kicked off this laid back ballad seemed to be a little bit of an anti-climax so we left. Y&T are always consistently good but they showed how strong most of their career has been on their anniversary tour. Roll on Hard Rock Hell for a second bite!! 9/10 

Reviews: Rammstein, Lordi, Sorrow's Path

Rammstein: Dem Regen (??)

So this has appeared from out of nowhere, there is no information about the album but it seems to be a bootleg containing new/unreleased songs as well as some remixes. With the previously released songs like the still epic Mein Hertz Brennt and Mein Land (featured on their compilation album). As far as the new stuff goes we start off with Schatten Grim which does sound a lot like Sonne, Exzenter has the metallic/electro stomp Rammstein excel at with marching drums, big riffs and Till's huge vocal delivery, the title track is very electronic and harks back to the early albums, in fact the newer tracks all have that classic Rammstein sound, the anthemic Fried Eis is pounding techno metal with Till sparring with a female singer and Blunt Vaults is evil with Adios having an almost power metal riff. With Rammstein there is also an element of fun in all Rammstein songs as they give us a cover of Das Model by Germany's other premier band Kraftwerk, which they rock up in true Stein style. So with the 'normal' songs covered we are taken into the remixes part of the record first is a slower sparse electro 'funeral version' of Mein Land then we get two 'live' tracks which I'm assuming are demos as the production on them is not great but both songs are pretty cool, then there is the funky metal/trance version of Stripped as well as the remix of Mein Hertz Brennt which makes it even more unsettling. So without any information this is about all I can say about Dem Regen if this album is looking forward to the new full length album then I can say the new songs sound great, if it is an album of unreleased stuff then this stuff is very strong and if it's a bit of both it serves as a tasty little stopgap for fans. 7/10

Lordi: Scare Force One (AFM)

Finn's Lordi have always had a lot to live up too; their Monster Show album was a strong album full of schlock horror hard rock songs harking back to Twisted Sister, Kiss and even Alice Cooper, their profile was raised with their Eurovision win and their Arockolypse album which in my opinion is their finest hour. However since then they have really struggled to reach the heights of these to albums, Deadache was a bit too serious, Babez For Breakfast was far too 80's echoing the sleaze and AOR scene a bit too much for my liking putting more focus on keys than on riffs on the other hand their previous album To Beast Or Not To Beast was a little more rocking but still had a bit too much keyboard, thank fully though the very well named Scare Force One brings back the riffs in droves, this for me is a very good thing as guitarist Amen has always been very good, no he isn't flashy but he knows his riffs. The title track kicks things off with some very cool riffs, Mana's speedy drums and the occasional organ and synth flare from Hell, this has always been what Lordi have been about and it sounds like they are retuning to it, How To Slice A Whore too has some great guitars, the horror theme and shows off Mr Lordi's unique vocals brilliantly, Hell Sent In The Clowns is the only truly scary song for me but I digress. As the album progresses the riffs continue with Monster Is My Name Nailed By The Hammer Of Frankenstein and Sir, Mr Presideath, Sir. Still despite the riffs coming back in force, Lordi still rely a little heavily on the keys and they do seem to treading the same old ground lyrically. Lordi have always been more of a visual live act and this album gives them a few good tracks to add to their live set, but still bands have to keep their act fresh and give their fans new music. Scare Force One is a good album but it's nothing they haven't done before, still it will appeal to fans. 7/10

Sorrow's Path: Doom Philosophy (Iron Shield)

Sorrow's Path hail from the shores of Greece and they play a strange mix of melodic and crushing doom metal. An intro and then straight into Tragedy (no a Bee Gee's cover thankfully) but it sets the pace for the rest of the album, big slabs of doom metal riffage from the guitars of Kostas Salomidis and Giannis Tziligkakis bolstered by sledgehammer drums from Fotis Mountouris and rumbling bass from Stavros Giannakos. The band are based in doom metal but they are not the slow lumbering doom you associate with a lot of bands in this genre, yes they do have the occasional slow, brain frying doom passage but much of album is made up of faster, distortion heavy guitar passages and melodic solos giving many of the songs like A Dance With The Dead having a more classic metal feel so think Maiden meets Candlemass and you won't be far off. Much of the lyrical content is drawn from the occult as you would imagine but it is delivered by the strong European vocals of Angelos Ioannidis who has a unique voice that suits the music well, his mid range is slightly Halford-esque and he can also add a few growls too. Yes this is more than just doom, there is a lot of it present see the final few tracks of Epoasis, Clouds Inside Of Me and Darkness these are the doomiest tracks on the album with rumbling riffs galore and even some synths and organ on Darkness, which is actually a little off putting in places. The band do tend to swing more towards the classic metal style on most of the tracks with lots of galloping rhythms and melodic solos. If the thought of Candlemass mixed with Maiden or Priest excites you then Sorrow's Path will be right up your street, the mix of doom and classic metal is just right and these Greek metal warriors pull it off in style! 7/10