Reviews: Byzantine, Tribulation, Dopethrone (Review By Paul)

Byzantine: To Release Is To Resolve (PledgeMusic)

Byzantine are a progressive thrash outfit from West Virginia, comprising of Chris “OJ” Ojeda on vocals and rhythm guitar, Brian Henderson on lead guitar and rhythm section Sean Sydnor on bass and Matt Wolfe (drums). Having formed in 2000, very much part of the New Wave of American Heavy Metal, the band split in 2010 only to reform by 2012. To Release Is To Resolve is their fifth album and it is a really solid release. Byzantine combine a number of different styles in their sound which makes them an interesting listen. The guitar work of Henderson is excellent with solos thrown out with almost careless abandon, whilst the compositions contain elements of light and shade; some really heavy parts on a par with Pantera and Lamb Of God segue with some much quieter balanced segments; for example on track two Justinian Code where the tempo changes from all-out assault to a much calmer pace. Ojeda’s vocals cover a wide range, from brutal metal core style through to almost Myles Kennedy in places although I think I’d mention Ivan Moody from 5FDP as a similar peer. The technical aspect of Byzantine has been compared to Meshuggah and I can hear that, although I’d throw Xerath into the mix in terms of quality technical playing as well. Underpinning the whole album which lasts an old school 43 minutes and eight tracks is a massive slab of groove, unsurprising given their heritage but sufficient to get the head moving and the foot tapping. This is a stomping and brutal album which is well worth a listen. 8/10

Tribulation: The Children Of The Night (Century Media)

Another death metal outfit from Sweden, this time Tribulation from Arvika who have released their third long player. Formed in 2005, the band play pretty no-nonsense death metal with a real punk rock feel combined with the faster elements of Dimmu Borgir and the like. The Children Of The Night contains solid playing and a less familiar death metal style; indeed some of the tracks are positively slow by comparison though still retaining a very dark and sinister approach. Tracks such as Melancholia probably don’t need much of a description but suffice to say there is a black atmosphere whilst the vocals of Johannes Andersson who also plays bass are traditional death growls which fit nicely with the rest of the band. The guitar work is haunting at times, with Adam Zaars and Jonathan Hultén giving the tracks some meaty riffage as well as a more balanced and introspective feel. All of the tracks on this generous serving (just under an hour) are well paced following a reasonably standard formula, but if it isn't broken, keep with it. In The Dreams Of The Dead clocks in at just under six minutes and is a killer track, with several time changes and some evil death vocals to support the frantic soloing of the guitarists. Many of the tracks have a rather epic feel about them, with huge build ups ultimately climaxing in a fireball of death metal gloom. This is an album you can put on to listen to when you want to really annoy the neighbours. It’s noisy, it has death growls and a massive feel to it. If you like the doom style vocal work of Shagrath and Satyr then get involved. But be warned, it’s not going to cheer you up! 7/10

Dopethrone: Hochelaga (Totem Cat Records)

Canadian sludge/doom metal outfit Dopethrone’s third album does exactly what you would expect. Dirty, no, change that to filthy crushing riffs, smashing heavy bass and guitar and putrid vocals are all present and correct as this visceral outfit deliver seven tracks of pure slime. Each track has a spoken introduction before the distortion kicks in; Chameleon Witch for example, which possesses some of the darkest riffs since Electric Wizard spewed out the classic stoner/sludge based Dopethrone in 2000. Now I'm not a fan of this grinding heavy onslaught by any means, and I would rarely put the Montreal outfit, or Electric Wizard on for a spot of easy listening. However, I can appreciate that in the stoner/sludge scene this is top drawer. If you like your metal slow, powerful and as mucky as Caroline Street (notable Cardiff tourist era - Ed) at 2am on a Sunday morning, grab yourself a listen to Hochelaga. It’ll burn a hole in your mind. 7/10

Reviews: Moonspell, Apocalyptica, Hasse Froberg & Musical Companion

Moonspell: Extinct (Napalm) (Review By Paul)

Moonspell’s excellent and very heavy 2012’s Alpha Noir and its Gothic twin Omega White saw Portugese gothic metallers pay homage to both the thrash metal world and Gothic heroes Sisters Of Mercy and Type O Negative. Three years later, the quality of their music continues with Extinct. Another storming album comprising light and shade, Extinct once again demonstrates that when you get it right, boy do you get it right. Fernando Ribeiro combines the best of Andrew Eldritch with some almost death metal growls to great effect. Orchestral samples courtesy of Pedro Paixao and the massive guitar riffs of Ricardo Amorim swirl with the rhythm section of Aires Pereir and Miguel Gaspor to produce dark and depressive heavy rock that drives forward at pace. Opener Breathe (Until We Are No More) could have been written for The Mission or The Sisters, whilst Medusalem includes some riffs and hooks that Jaz Coleman would love get hold of. If you don’t like your rock soaked with the introspective, blackened elements of the 1980s then you may not like this. However, I think it’s an absolute stunner which improves on every listen. Tracks like Domina and The Last Of Us capture the very essence of the Gothic metal scene, shades of old school Paradise Lost, My Dying Bride and early Anathema immediately come to mind. Another marmite album I suppose; for me the songs are beautifully crafted and capture the heart and soul of another excellent band who still fly under the radar in the UK. 9/10

Apocalyptica: Shadowmaker (Eleven Seven) (Review By Paul)

I’ve never paid much attention to the Finns. When they first arrived on the scene they were just a bit of a gimmick to me, playing orchestral Metallica covers and trying to establish a niche in the world of metal. They have substantial staying power though and 22 years since they first appeared they release Shadowmaker, album number 8. Interestingly, it is the first album to feature just one singer, who happens to be Scars on Broadway guitarist Franky Perez who was also a member of Slash’s original live band. So, what is Shadowmaker like? Well, the cellos are still very much in evidence, leading the charge on the 7 minute title track, and Perez’s vocals are easy on the ear, very much with an AOR bent although containing a much harder edge at times. The Metallica influence runs deep and the majority of tracks have more than a nod to Hetfield and co. The sound and style of the band varies throughout, some hard rockers weaving in and out softer radio rock ala Sixx AM style softer rock; see Slow Burn for an example. Reign Of Fear has an atmospheric intro, with the cellos supported by the percussion of Mikko Siren and some heavy guitar power chords.

It helps that the band have secured the excellent producer Nick Raskulinecz, who has a list of credits longer than your arm and he has done a super job, capturing the classical elements of the band whilst allowing the heavier side of the band to come to the fore. In fact, it is on the instrumental tracks that you get a real feel as to the true soul of Apocalyptica, with the frenetic yet controlled orchestral elements setting the band apart. Although Perez has done a great job, it’s the classical side of the band that has earned their reputation. It’s not all good stuff mind; Hole In My Soul is just horrible mid-paced soft rock whilst House Of Chains, stomping riffs and all is second rate Soil.

As I said at the start of this review, my attention was never focused on Apocalyptica. Although there are some decent enough tracks on Shadowmaker, it isn't going to make me change my mind and seek them out with any great effort any time soon. A reasonable release but there is much more out there more deserving of your hard earned cash. 6/10

Hasse Froberg & Musical Companion: HFMC (Glassville Records)

Hasse Froberg is the vocalist and occasional guitarist of prog rock titans The Flower Kings, that band are one of the top bands in the prog rock sphere and over eleven albums they have consistently developed their sound while retaining the true sound of progressive rock favoured by Yes etc. As well as the numerous Flower Kings albums Hasse Froberg also has a solo career HFMC is his third album he handles his the vocals and rhythm guitars, Anton Lindsjö on lead guitar, Ola Strandberg on drums, Kjell Haraldsson on keys and Thomas Thomsson on bass. Thompson and Strandberg have already collaborated with Froberg in the 80's band Spellbond and were hand picked along with the other members of the band. All of these men are excellent musicians each one adding their own talent to this album that has a huge scope of influences, this album draws more from various genres than sticking rigidly to the prog rock format drawing from blues, folk, jazz, classic rock and yes prog rock. As things kick off with Can't Stop The Clock we are in prime prog territory with huge organs and some big riffs before we get into Everything Can Change which is steeped in jazz, the first real epic is Pages which clocks in a over 15 minutes taking the listener on a musical journey before Genius strips things back with an acoustic based Steven Wilson-like track. In fact this album has a lot of Steven Wilson about it as well as Neal Morse which is mainly due to Froberg's high vocals and the poppier overtones to tracks like the very Morse-like In The Warmth Of This Evening which has swathes of keyboards and a melodic upbeat delivery. Hasse Froberg and his musical companion have crafted an album that has a wide palette of colours and sounds, however there will be few that may be put off by the sheer density of the music here. 7/10   

The View From The Local Scene: Red Sun 2015

Red Sun 2015: The Moon Club, The Full Moon Clwb Ifor Bach & Fuel, Womanby Street Cardiff

A three day festival in Cardiff; featuring the finest in local, national and international talent, all falling under the stoner/doom/heavy category? Well yes please!! Happily this exactly what I was attending on this fine bank holiday weekend, a festival in my own city where I could watch a day of heavy (and I mean heavy) metal before returning to my own house seemed like a godsend. Also it was interesting to me as I only knew a few bands playing so it was a nice way to see some of the new talent in the current 'underground' scene. So post work Friday myself and my old friend Lee packed up and descended, along with most of the Cardiff metal scene, on Womanby street in our fair city to watch as the alcohol-fuelled brutality started in earnest. With three venues to choose from there was enough for everyone, split into genres (for the most part), the three venues served as a guide to what was happening where.

Friday

Firstly we descended on the Moon to witness our first band; Swansea's Attercopus (7) a trio that bring a cool brand of riff filled metal (a running theme for the weekend) however they shook things up in the finale and also proved that there is a lot of room for experimentation in this genre as Guitarist/Vocalist Rob put down his guitar and took up a flute for while the rhythm section pounded away, it was during his freakout flute solo that bassist Lloyd took another drum both men began to rhythmically back the parping flute. The crowd lapped it up before the band took up their instruments again and finished to a roar. First band in and already anything can happen I think I'm going to like this festival I thought to myself. As we waited for the next band the brilliantly named Baron Greenback (7) who I think took the name from the American slang for money rather than the DangerMouse villain although I could be wrong. We waited and waited and finally the band arrived after some travel trouble with a doom, stoner blues sound the band immediately caught the crowds attention, I was particularly impressed with Max's vocals however the band could only play  three song set yet they did enough to impress. Over to Fuel where the more extreme end of the spectrum was opening up we walked in as The Art Of Burning Water (6)were in full flight their breakdown heavy extremity really bludgeoning the assembled throng, not really my cup of tea but my companion and those watching enjoyed them thoroughly.

Back upstairs to the Moon for Vails (8) who were recommended by another couple festival goer, their recommendation was well received as Vails are a two piece with Bass and Drums but they sound like a lot more members, their sprawling bowel rupturing assault shook the walls and caused many pained expression however they played with so much style that it was hard to not like the band, this was a clinic in fusing melody with extremity which left many breathless, almost like they'd been winded to be honest. Back on more familiar territory with Trippy Wicked (7) who do exactly what it says on the tin, low, slow, fuzzy Goblin style stoner riffs that were the perfect antidote for Vails. After calming down with the fuzz we moved over to Clwb to catch the end of Valleys Punk rock anarchists Gung Ho (7) who managed to stir up a frenzy in the downstairs bar. So we came to the end of the day with local boys Lacertilla (10) who once again blew away the competition with their blissed out space rock. Every time I see this band they are still fantastic, with the instrumental part of the band now featuring new bassist Tom they immediately slip into a heavy groove that gets your head nodding. Kicking things off with Do Something! they followed up with a new song which shows the band still on top form, with a set made up of Tryin' To Do A Good Thing and Crashing Into The Future the band were all on top form as the rhythm section of Tom and Carl drove the groove, Lucas riffed like a bastard and Mike's lead playing added that extra edge to things. Once again all eyes were on frontman Fry who is mental dressed like an insane version of Clint Eastwood in a poncho and rubber gloves while acting like a crazy shaman throwing himself around the room as he performs in the packed out room. They are still one of the most entertaining bands on the local scene consistently trippy, brilliant and a perfect end to day one. Smiles all round then as we taxied it home (due to the few shandy's we'd had) awaiting tomorrow.

Saturday

Day two and a 1:40 start was just right for the sore heads that had come from the previous day's festivities and it was straight into Fuel for heavyweight death/doom metal band Conjurer (7) who were a vicious way to start the day and pulled double duty after some bands failed to turn up. Mr Burnell loved this band and I found them to be a tight, powerful young band with some huge songs. Over to the Moon for Anta (8) who had so much stuff on stage they couldn't actually fit on it. They are an Instrumental stoner/doom band that sound similar to Karma To Burn and The Sword albeit with lashings of organ for good measure. Stoner/doom metal/rock is one of the few genres that works equally in instrumental form due to it's worship of the riff. Anta have a huge atmospheric sound with furious percussion, powerful guitars and of course the aforementioned organ all contributing to the bands immense sound. Over to Fuel for Welsh noiseists Tides Of Sulphur (Set 1 7) (Set 2 8) who also played two sets both of which were aggressive, violent and full of fury, part one of their set was fuelled by vitriol and was warm up for their slightly drunker 'greatest hits' set later. With songs like the monolithic Trench Foot and Ypres Tides Of Sulphur never fail to excite and indeed deafen. Back again to The Moon to calm down a little with Vena Cava (7) who are trippy psych rock featuring some haunting vocals from the front woman frequent changes of pace meant that they were a nice change of pace as they had a little bit of alt/psych in their mostly instrumental sound.

Any calm was blown away by Leeds scuzz rockers Blind Haze (9), coming down from Leeds (and then proceeding to liberate the venues of beer all weekend) this three piece play old school, dirty biker rock fusing NWOBHM with a bit of Orange Goblin and a shitload of Motorhead to boot with some rapid drumming from Jason Hope, shredding from Joe Clements and a Rickenbacker bass assault from leviathan frontamn Conan who also has a mighty hollar! This was just relentless riff age with Take A Look Around You and The Quick And The Damned causing a pit in the floor and copious amount of beer drinking, this band are amazing and I for one was longing for a longer set. Back down to Fuel for some extreme noise terror with The Air Turned To Acid (7) who brought a thunderous ominous riffs to the bunker stage (that's what I'm calling it now). With all of the venues being less than thirty seconds away it meant we could sample a good number of bands in a very short space of time. More stage hopping back upstairs for Valfader (7) and this young bands final gig together, this is a shame as this three piece had the right chops and some groove for good measure. They definitely went out in style with an impressive set. Next up were the South West's answer to all your riff dreams, I had seen Grifter (9) before at Hammerfest and they impressed but this time they rocked the hell out of The Moon, this was classic stoner rock with nods to Sabbath, hell they even covered Fairies Wear Boots (brilliantly I might add) with Goblin in the vocals, the southern style of Clutch and songs about Princess Leia it means that Grifter are intensely watchable and I for one will be watching them again! Ten Foot Wizard (7) were up next with more of the same with riffs a gogo in the classic style.

Over to Clwb for the heaviest band of the day (so far) with three guitars, two vocalists and a drummer that looks like Willie Nelson this Newport based band encompass colossal doom walls of doom riffage with an experimental bent, imagine if you will The Eagles meet Electric Wizard and you wouldn't be far of. All three guitars in Spider Kitten (8) make a cacophony of noise while both drummer Chris and guitarist Chi provide the sparse vocals (the band focus on their instrumentals rather than vocal work) but their noise was very good heavy metal with some southern swagger played through vintage equipment, add to this to a brave cover of Frank Zappa's Muffin Man and Spider Kitten are a band that I would absolutely watch again! Back upstairs to watch Suns Of Thunder (8) whose style of blissed out retro rock I've seen before and they played the best set I've seen them play which was a great final act of retro riff rock before the nights headliners. Saturday's headliners were a band who I will admit that when I saw them first I was not impressed by their heavy, sludgy audio assault however this time with their added theatrics and almost laser guided precision Hogslayer (10) were one of the bands of the day. As the gong was struck the hooded figures of the band arrived on stage one by one to an apocalyptic atmosphere and as their frontman made his way to the stage the band exploded into life with their sinister sludge/doom that is violent, oprressive and all-consuming. Their mix of one guitar and two bass players backed by volatile drumming and their frontman's guttural screams, the band whose appearance is even auspicious decked in hoodies and black facepaint (something mirrored by the baying mob in the crowd) The audio assault didn't stop for their entire set and the crowd lapped it up. There is a reason why they are on the upward trajectory and pulled the largest crowd of the day. A terrifyingly good way to end the second day!

Sunday

Third day, less booze and more music, with the capital busy as hell it was a nice to have a restbote filled with heavy music. First up is Tradish (7) a three piece who have expansive desert rock sound full of blissed out rhythms and grit and provided a cool opening for the day. Next up were local lads Ak'bal (9) who once again were phenomenal, otherworldly and heavy as hell. The familiar opening of The Ride started things of with their tribal power as Thoby and Rob played frenzied guitars, as Michael provided intricate bass patterns and Mic played double kick drums with ferocity, their unique progressive delivery is always awesome to watch and as they moved through the anthemic Equilibrium showing off their dual vocal delivery. The band finished up after three songs, their finale being  Totally Recalled which brought things to a heavy close. A more stripped back than usual only relying on their wide pedal set up for the changes in sonics a fully charged electric set, that was to be followed by an acoustic set later in the day. Away from the progressive to the downright weird with valleys oddities Dead Shed Jokers (8) the bastard sons of stoner rock, The Doors and Frank Zappa. the jokers are gonzoid hard rock with a trippy edge. Swirling psych meets thumping hard rock. They get better every I see them and since the last time I saw them I feel I understand the band  now they are finally on the right kind of bill, they were perfectly suited for this bill with their hip shaking mind expanding rock n roll.

After the weird and wonderful Dead Shed Jokers it was time for Gulah (9) They ply their trade with proggy, classic Sabbath style doom, huge riffs and some Down style vocals, even if frontman Chong had been caning it a bit hard meaning the vocals were a little raw, along with the Stoner doom they also have a huge chunk of southern groove. This was bud smoking, beer drinking, hard riffing rock music to bang your fucking head to. The band finished their set with a song christened Red Sun which like the rest of the set was a hard rocking solo filled riff-fest. Moving on from the stoner riffs we went into see the hardcore crossover of Grand Collapse (7) who delivered maximum aggression with stabbing guitars super fast punk and buckets of noise. A real wake up call to shake off the evening comedown. followed by yet more aggression with Nomad (7) who were brought their riff based beatdowns, huge noise and harsh vocal delivery to the table and brought to mind Superjoint Ritual with the shouted vocals massive booming bass and guitars and a nod to the more extreme side of doom/stoner. Something quickly washed away by the dreamy hippy psych of Elephant Tree (8) who have a a unique delivery of the traditional instrumentation plus the added effect of a sitar pitching them somewhere between Monster Magnet, Ravi Shankar and Captain BeefHeart especially in Riley Macintyre's vocals, who knew that the sitar would combine so well with stoner rock riffage? Elephant Tree were a worthy addition to the bill with their hippy influenced blues based stoner rock. Back to Fuel with the local Instrumental stoner legends Thorun (8) who showed yet again why they are revered with a solid set of bass driven stoner rock that got heads a-bobbin and fists pumping yet again showing that vocals are optional.

 I am a little annoyed that I missed Bast however the allure of an Ak'bal acoustic set was too much as the band collected in the small Full Moon for their second set. Ak'bal (9) they were sans wires this time with acoustic guitars, Mike on tabla drums/bass, extra man Jimmy on cello, drummer Mic on bass and indeed drums, with Rob fixed to the guitar and Thoby moves between guitars on Equlibrium which still retains it's power while getting an Eastern twist, they then played  stripped down acoustic cover of Comfortably Numb before taking everyone on a journey with the Tool like Pacha Mama which saw Thoby on tank drum before moving to violin for the finale, never ones to do what what is obvious they waived a Tool cover in favour of a Puscifier cover to finish which saw Thoby using a unique Bohran/guitar. The band have a problem though which is that really they need to fuse both of their style however this would require a lot more members however this is minor in regards to my other problem; which is that the Full Moon was a free entry venue meaning that their were many there just on a night out and had no interest in the band which destroyed the ambience, still this is a minor gripe in what was an otherwise fantastically organised festival. These small gripes were washed away by the no-nonsense, balls to the wall filth and fury rock and roll of The Admiral Sir Cloudseley Shovell (10) who are style wise a cross between Chas & Dave, Budgie, Motorhead and The Goodies. This is rock n roll with no frills just punch you in the face biker rock. Opening with the immediate Do It Now! which came after the set up, no warm up bollocks just straight into madness. The band are all very professional in their looseness looking as if they don't know what they are doing is a skill. There was a major cockup with a broken string and no back up guitar but time was filled by bad jokes and one note bass solo and it was all gloriously shambolic. with tracks like 2 Tonne Fuckboot, Tired And Wired, Bulletproof, Scratchin And Sniffin' and the final one two of the doomy Red Admiral, Black Sunrise and the chugging The Thicker, The Better (dedicated to the ladies). A fitting final band for this hard rocking, hard drinking, hard living festival! Same time next year guys yeah!?

Another Point Of View: The Blues Pills (Review By Paul)

Blues Pills: The Globe, Cardiff

A sizeable portion of the Musipedia collective gathered at one of our favourite venues, The Globe in Roath for an evening of soulful blues and psychedelic style rock and once again a great night was had by all. There is something quite endearing about this little venue which has hosted many musical greats and some not so great. When it is full to capacity it can be very uncomfortable with views restricted but if you get a decent space on the balcony (with or without comfy sofa) then the evening can be quite magnificent.

A decent sized crowd were already assembled when the female power duo The Pearl Harts (8) hit the stage. And hit it they did. Kirsty and Sarah create an absolutely massive noise, using backing loops sparingly and captivating the audience with their no-nonsense rock and roll approach. As our ears bled due to the ludicrously loud volume, the girls blasted their way through a short but well-paced set including their debut single Skeletons Made Of Diamonds. Elements of Sabbath, The White Stripes and many more infuse their sound. How tiny ladies can make such a noise is a mystery, but then our group’s female contingent are also generally tiny but can also forcibly hold your attention so there you are. The Pearl Harts also have an undercurrent of serious aggression, suggesting that if you cross them serious harm could befall you. All very entertaining and a super opening act.

After a brief interlude we were treated to Oli Brown and his band RavenEye (9). To the uninitiated, Oli Brown is a 25 year old blues guitarist who has already created quite a stir in the music world with a number of studio albums under his belt. Ably supported by Aaron Spiers and Kev Hickman, RavenEye totally entertained the close to capacity crowd with a superb display of blues and dirty rock and roll for 45 minutes. It would be fair to say that this was a generous set, which allowed all members of the band to showcase their undoubted talent and quality. However, Brown is a seasoned performer and he knows it. Displaying an aggressive and also sensitive approach to his guitar playing, Brown is a real star with proper charisma and style. Musically, RavenEye belong in the 60s and 70s, with Hendrix, The Stones and Cream all prominent in the influences on display. As he soloed on top of the bass drum towards the end of the set, you forget how many great entertainers of a similar style there have been. Brown and his band have the potential to join many of the greats. An excellent performance was lapped up by the audience. Rarely has there been such an ovation for a support act at The Globe. Rarely has the support band been of such quality.

Following RavenEye was going to be difficult, but Blues Pills (9) have Elin Larsson’s quite beautiful vocal talent in their arsenal, and that, combined with the virtuoso Gaelic indifference of the massively talented Dorian Sorriaux, ensured that Blues Pills won the night. An understated entry was followed by the huge High Class Woman, which immediately had the place grooving and nodding in appreciation. As the band, completed by American Zach Anderson and maniacal drummer Andre Kvarnstrom delivered some of the quality tracks from the stunning debut album Blues Pills, people were grinning from ear to ear with appreciation about what they were hearing. Sorriaux is given ample time to showcase his soulful, bluesy style lead playing. Larsson remains a focal point throughout, her best Joplin impressions and tambourine playing complimenting her magnificently rich and quite breath-taking voice; none better than during the calmly paced No Hope Left For Me and the track that brought the Blues Pills to major airway prominence, the crashing runaway horse that is Devil Man. As the place went nuts to set closer Black Smoke, complete with extended musical duelling, you realise that this is a band destined for greatness. Larsson has one of the greatest voices in rock at present and this, combined with an absolutely stunning band makes them favourites across a multitude of other genre lovers. Final track, Little Sun brought the evening to a fitting close. With three quality bands providing brilliant value at £13 a ticket, this really was a night to remember. Quite brilliant.

Reviews: Bachman, Steve Hackett, Scott Weiland & The Wildabouts

Bachman: Heavy Blues (Linus Entertainment)

Randy Bachman is a bonafide rock legend having been a part of two of the most successful rock bands of all time The Guess Who and Bachman Turner Overdrive (a band who's song Takin' Care Of Business became Elvis's motto). So after his reunion a few years ago with Fred Turner many in rock circles sat in anticipation of what he would do next. Well Heavy Blues is that project, he has hooked up with bassist Anna Ruddick, drummer Dale Anne Brendan (touring drummer in the Tommy musical) and producer extraordinaire Kevin Shirley, with a bone shattering rhythm section and the king of the retro production on board, Bachman is all set to amaze and this album does so in spades. The project was originally discussed by Bachman with Neil Young and as such Young and a cavalcade of guest soloists play on the album, most are in the rock or blues category with Joe Bonamassa, Scott Holliday (Rival Sons), Jeff Healy and Peter Frampton all contributing their skills to Bachman's knack for writing big tasty riffs. This album is full of those previously mentioned riffs; pitched deep in the mid 60's style of bluesy hard rock with nods to Blue Cheer, Cream, The Guess Who and even The Who (a band that seems to be huge influence for Bachman); this influence is most evident on The Edge which sounds exactly like Won't Get Fooled Again mainly because of the big guitar stabs and Brendan's Moon-like drumming, Ton Of Bricks has the same bombast of Zep, where as Bad Child simmers like a Joey Bones song and features the man himself on the leads. In fact nearly all the songs that feature a guest artist have musical similarities to their guests, see Little Girl Lost which has cacophony of noise Neil Young excels in and the title track which is totally Frampton. In fact if you love any of the guests mentioned, 60's and 70's blues rock or indeed one of the most recognisable voices in rock then Heavy Blues will be right up your alley, check it out and crank it up. 8/10

Steve Hackett: Wolflight (Century Media)

This is Steve Hackett's twenty second (!) album and the former Genesis guitarist once again brings his ethereal style of progressive guitar playing to the masses. This is proper classic prog from the Canterbury scene drawing in folk, jazz and classical guitar playing (Earthshine) to create a renaissance-like sound that features Hackett's fluid guitar playing. Things kick off with the opening ominous instrumental Out Of Body which is just that before the title track blends the classical guitar playing with a more heavyweight clean electric sound that draws the storm, Love Song To A Vampire is a haunting melodic, Gothic track that draws in the dark romanticism of the vampire legends. In fact the whole album is dramatic, stirring and moves through many different phases showing Hackett, his wife and his keyboardist's writing and composition skills, as well the man himself's great voice. King is actually as important as Hackett creating the atmosphere that these songs rely so heavily on, see pop prog of The Wheel's Turning and the Mediterranean influences of Corycian Fire and Black Thunder which could both be the soundtrack to a classical era film, Black Thunder would also work on a Western. This record is a journey through the musical spectrum with sounds drawn from across the world, yet they all fit perfectly on this well crafted album. Hackett shows no signs of slowing down and with 22 albums under his belt he has the most prolific work rate of all the members of Genesis and with this album (his best for a while) he shows that much like that documentary of his old band he is much overlooked. A talented, special and intensely musical release for serious prog heads and fans of great music! 9/10    

Scott Weiland & The Wildabouts: Blaster (earMusic)

Possibly the the most controversial figure in rock music, Scott Weiland's career is a tale of (repeated) tragedy and (eventual) redemption all punctuated with some great music. From Stone Temple Pilots, through Velvet Revolver (where he managed to out Axl - Axel Rose) and now into his solo career (bypassing the Art Of Anarchy another supergroup Weiland recorded with and has now distanced himself from) Weiland has always surrounded himself with consummate musicians and created some great songs. So what of this his 'fifth' solo album? Credited as Scott Weiland & The Wildabouts new are firmly in Weiland territory with fuzzy, guitar heavy songs that are the perfect foil for Weiland's attitude filled but drone-like vocals. He is drawing heavily from his influences with Way She Moves being Weiland 101, Hotel Rio is punchy, Amethyst is a glam-rocker that Ian Anderson would love and White Lightning has whiff of The Black Keys about it. There is problem however as Scott does seem to be in neutral on this record rarely moving out of his comfort zone. It's not as exciting or indeed creative as it could be, maybe this is because of the lack of other known musicians, I don't know but it's only on the grunge of Blue Eyes (which features Smashing Pumpkins James Iha) the surf rock of Youth Quake and Beach Pop and the country of Circles that he strays from his template and gets interesting, for the most part this is Weiland by the numbers with a cover of 20th Century Boy that no-one needs. There is enough here to keep your attention but it is just not enough to keep you enthralled. Solid but nothing more. 7/10              

An Eye To The Local Scene: Maddie Jones, The Luke Doherty Band, Celtic Pride

Maddie Jones: Vita Brevis (Self Released)

So little away from are normal remit here but Cardiff based singer songwriter Maddie Jones has crafted an album that is so musically dextrose and beautiful that it would be a shame to ignore it. Her distinct smouldering vocals are backed by a lush soundscape of music behind her. Drawing influences from everywhere her track Not Made For This is the soundtrack to a movie set in smoky jazz club (possibly featuring Humphrey Bogart), Don't Sit Still is a stripped back affair with just Maddie's acoustic guitar, a cello and a viola setting the scene as Jones uses her stunning vocals to cast a spell on the listener, she has a fragility to her vocal that can move into a deafening roar at a drop of a hat. As I said the album is a myriad of styles and influences with the band backing her ably to create the musical vision, She Was Young features some funk with repetitive guitar driving the song along as the synths simmer under the surface. Jones plays multiple instruments on this album, including the ukulele and the clarinet but Charlie Francis holds his own with bass, keys, guitars, percussion and produces the album expertly to really emphasise the multiple layers of sound, he is aided by Daniel Fitzgerald's guitar playing, Laurence Wickham's drums, which are most effective on the ominous Dirty Little Secret and Richard Jackson's piano and keys topping off the bands multiple instrumentalists. The performances by all involved are amazing and they really flesh out the songs brilliantly taking them above and beyond the normal singer-songwriter faire, with elements of Sara Bareillies, Joni Mitchell, Norah Jones, Carole King and Anna Calvi, Maddie Jones has created a very professional, exciting and eclectic album full of well written, composed and performed songs that just sizzle with expertise of an artist far wiser and well travelled than Ms Jones, this album is a fantastic piece of work from an artist that deserves to be noticed. 9/10     

The Luke Doherty Band: Six Strings And Stetson (Self Release)

Right I'll get this out of the way now, I you don't like Stevie Ray Vaughan (Why wouldn't you?) then The Luke Doherty Band will not be for you; however if you, like me love the smooth Texan guitar tone of SRV and old school honky-tonk blues playing at it's finest then TLDB will be for you. The man himself handles the six strings with some serious chops, 12 bar blues is the name of the game with the same kind of reverbed strutting guitar work as SRV as well as Billy Gibbons and Rory Gallagher and if these comparisons aren't indicators of his talent then I don't know what is. Happily is band are no slouches, from the opening slavo of Solar Flares On The Sun we get cowbell pounding percussion from Simon Parratt and the parping blues harp of frontman Paul Morgan who also has voice that sounds like a soul singer after too much honey whiskey and while he doesn't stand out too much on the first track bassist Ant Biggs is the shuffle behind Hope Some Rain Will Come. The album gives you the full spectrum of blues playing as Caught In This Light has the choo-choo shuffle of Howlin Wolf  or John Lee Hooker while Fantasy Girl and 0834 has the cheeky, sleazy lyrics of ZZ Top although Standing On A Rock is pure Top, while 100 Bricks has a little of Hendrix in it's gospel-like offering and we go back to Rory and SRV on Hey Man and Fish Bone. This is a true blues album from the Newport guitarist, old school blues played with soul and a live-in-the-studio feel, turn it up and let your booty shake! 8/10     

Celtic Pride: Light Up The Sky (Self Released)

Celtic Pride made their name in the late 90's relying on a very classic hard rock/metal sound forged in the mid 80's. Celtic Pride were formed by ex-Man and multiple session man Bob Richards on drums and Don and Rob Williams providing the dual axe attack, these men remain to this day and Light Up The Sky is their second album after numerous line up changes between this album and their last they have settled on their 'classic' or in their words legendary line up with Dom Hill on bass and Justin Matthews on vocals. The album is full of muscular hard rock and melodic metal with touches of AOR on the slower tracks like Shine On the World which features some great fret melting from Don Williams and impassioned vocals from Matthews. With nods to the classics Celtic Pride have elements of Lizzy especially on the celtic flourishes of the title track, some AC/DC like chest beating on Bar Room Brawl a healthy dose of Y&T and of course some Maiden especially on The Patriot which features special guest (and Bob Richards' former bandmate) Adrian Smith on guitar. Celtic Pride have produced a great effort with some hard rocking tracks that emulate the golden years of British (or in this case Welsh) hard rock. 7/10 

Reviews: Michael Schenker's Temple Of Rock, 4ARM, Danny Cavanagh (By Paul)

Michael Schenker's Temple Of Rock: Spirit On A Mission (Inakustik)

The latest release from German guitar legend Michael Schenker and his Temple of Rock outfit is a decent if unspectacular slab of hard rock. Schenker is in top form, frantic fretwork laced with his traditional bluesy feel. Opener Live and Let Live races along at top speed and whets the appetite with a pounding rhythm section from ex-Scorpions duo Herman Rarebell and Francis Buchholz. Communication is a slower track with Doogie White given ample opportunity to show his vocal skills. However, from here on, the tracks become a little bit repetitive and I’m afraid some of the lyrics are just typical mid-tempo heavy metal rubbish. Sure, the traditional format of verse, chorus, verse, chorus, solo, chorus are all present and the tunes are decent enough with Schenker’s playing his usual high quality; it just seems a little stale and dare I say it, dated. Vigilante Man plods along tediously, and although Rock City is faster, the lyrics are just drivel. Maybe I'm being a little hard on the band, as it’s not dreadful by any level, it just does so little for me. Saviour Machine at least has the traits of MSG from the 1980s when the star was really in the ascendency, a stomping beat and wailing guitar work, combined with Wayne Finlay's solid keys and rhythm guitar work. I wonder as I listened if it was just White’s vocal style that irritated me about this album but I've seen the guy live with this band several times and he’s always been excellent. The guitar work at the beginning of Something Of The Night mimic Flight Of The Bumblebee, whilst the song itself is classic 1970s rock, suitable for Deep Purple or Rainbow, which of course is where these guys influences are based. Let The Devil Scream has a quality riff which provides the basis for a Dio-style tune, complete with religious history in the lyrics, before the album draws to a close with three routine songs, including the ridiculous Good Times. So overall, a bit of a disappointing jumble of songs, with a definite old school hard rock feel to them. It may be the quality of the song writing that persuades Schenker to fill his live sets with tracks from his past, the classics from UFO, MSG and the Scorpions always receiving astonishing responses. As I said, the guitar work on Spirit On A Mission is as top drawer as always, it maybe just that the sum of the parts can’t consistently meet that quality. 6/10

4ARM: Survivalist (Self Released)

When Aussie thrashers 4Arm’s third album, Submission To Liberty landed on my mat in 2012 I was blown away by the sheer quality of it. Yes, it was a hybrid of Machine Head, Slayer and Metallica but it was fresh and kicked hard. Three years later, and their latest release Survivalist has finally arrived. Refreshed by two line-up changes, namely vocalist and lead guitarist Marcus Johansson and guitarist Evan K, remaining members Andy Hinterrieter (bass) and drummer Michael Vafiotis have delivered a raging beast of an album. Produced by Matt Hyde (Trivium, Machine Head, Kreator, Slipknot), Survivalist is a classic all-out thrash assault, opening with Eyes Of The Slain and finishing with the album’s title track, an epic eight minute slow burner which culminates in some astonishing fretwork. 4Arm follow the trash blueprint throughout, shredding guitars, more hooks than a Saturday meat market (Lets hope PETA don't read this - Ed), riffs dripping from its open pores and a powerful and at times quite stunningly aggressive rhythm section. Sure, Hyde’s production influence is clear here; at times the Trivium and Machine Head influences are very apparent but then so is the Metallica and what thrash band post 1984 doesn't have that? Overall, the latest release from the Melbourne outfit is excellent and if you like high quality thrash metal then this will be right up your street. Hopefully we will get to see them back on our shores again before too long. 9/10

Daniel Cavanagh: Memory and Meaning (Pledge Music)

The main writer for Liverpool’s Anathema, Daniel Cavanagh embarked on a pledge music campaign in order to fund and produce an album of his take on some of his influences and favourite artists. The result is well worth the pledge, with ten tracks of the highest quality and some interesting choices too. An all-acoustic set, Cavanagh’s sublime guitar work combined with his uplifting vocal performance adds fresh dimensions to some older classics. Highlights for me include the timeless Song To The Siren (Tim Buckley), a beautiful version of Dire Straits’ Romeo And Juliet and a very refreshing Wasted Years (Iron Maiden). What makes this album so special is the heartfelt effort which you can feel Cavanagh has put into it; each track having something a little different to make it stand out from the original. Album closer High Hopes (Pink Floyd) is an ideal example of this. If you fancy something a little different, then give this a go. 10/10

Reviews: Ascendia, Night, Abrahma

Ascendia: The Lion And The Jester (Self Released)

I hadn't heard much about Canadians Ascendia but Jesus Christ on a stick I wish I lived in Canada so I could see this band live. They play modern progressive power metal of the highest quality, with an album that blends modern thrash, with keyboard driven prog metal, a sprinkling of djent on At The End Of It All all topped by the phenomenal vocals of Nick Sakal who is part Russell Allen, part Howard Jones part Matt Barlow all wrapped up in one man, with his dulcet booming vocals fitting the stirring musical backing that is heavy and dramatic in equal effect. Remember Me is modern metal at it's finest harking to Killswitch Engage with it's metalcore rhythm underscored by the keys and orchestrations of Maestro who is key to the bands sound adding the cinematic and classical elements that imbue the bands sound with a proffessional feel, see No More Tales To Tell as the perfect example to this merging a film score, with a fist pumping power metal track.

That's not the say the rest of the band are slouches the guitars of Jon Lov drive the riffage like Adam D but he also solos like Michael Romeo burning up the fret board with his fleet fingered guitar playing on Moonchild (not a Maiden cover) as well as every other song on the album. All this lead melody is backed by John Abanador's technical bass playing and the furious and dynamic equally adept to the faster tracks such as My Last Song but also the dramatic ballads Last Forever and The Song That You Deserved. The songs on this album are fantastic, fans of the power/prog genre will lap up, the title track has pathos, power and indeed is the most progressive track, Faded Away has the same emotional gravitas as an Evergrey track and the album ends with the acoustic bonus track Starlit Eyes. This is a fantastic debut by the Canadians who have knack for this kind of music, find the album an let it blow you away! 10/10  

Night: Soldiers Of Time (Gaphals)

Another week another retro/trad metal group from Sweden, they do seem to have more of them than I've had hot dinners. Well with a handful of bass gallop, a waist lined with a bullet belt and a dual guitar assault Night are knee deep in 80's metal riding the wave of Enforcer, In Solitude etc. Night do it very well with gritty guitars coming from Midnight Proppen and Burning Fire who also shrieks and screeches over the classic sounding tracks like We're Not Born To Walk Away, the gutsy Above The Ground while Highway Flip masters the bass working with session drummer Martin Hjerstedt. Despite their genre tag they aren't afraid to mix it up a little as Towards The Sky is an acoustic break in proceedings and Secret War does sound a little like a Danger Zone by Kenny Loggins with a bit of country thrown in. They can still rock like a bastard though with the Kings & Queens having the same style as Mercyful Fate a band they sound a lot like as well as the normal influences. Night have released a great second album here and fans of the genre will love it especially Ride On which is a track that can be blasted at full volume out of a muscle car on the sunset strip. A good album that is yet another inclusion into the retro metal scene. 7/10      

Abrahma: Reflections In The Bowels Of A Bird (Small Stone Records)

Parsisian mob Abrahma play psychedelic heavy rock that incorporates a heaving slab of doom on tracks like Omens Pt 1 and Weary Statues. With the four men in perfect sync, the tracks all complement each other to take you on a kaleidoscopic journey through mind-expanding music with every single guitar riff and melody from Seb Bismuth and Nicholas Heller floating in the dreamy passages like Omens Pt 2 and smashing you in the guts like a sledgehammer on A Shepherd's Grief  while Gillaume and Benjamin Collin provide the booming bottom end see An Offspring To Werewolves. Bismuth also hollers over the wall of noise and provides the electronics and general audio madness. This is a good addition to the genre but is very much of the genre; a trip of an album with some low, slow, psych rock but one that doesn't cove any new ground. Psych/doom fanboys will lap this up and it's best enjoyed with a large doob. 6/10

Reviews: Von Hertzen Brothers, JettBlack, Turbowolf

Von Hertzen Bros: New Day Rising (Spinefarm)

Fourth album and Finland's trio of brothers plus their hearty band mates once again bring their intelligent but catchy brand of rock music to the masses, after their breakthrough of Stars Aligned and the defining Nine Lives the band have all but abandoned the progressive leanings from their music in as far as the songs are more concise and immediate but still contain the same kind of virtuostic musicality the band have always plied their trade with, so less progressive rock and more progressive music that owes as much to 30 Seconds To Mars as it does to Pink Floyd or Rush. The album gets things going with the punchy, punky title track before Juha Kuoppala's keyboards are all over You Know My Name, which moves through several different styles in it's five minutes. So far so 'prog' in it's truest sense then relying on their musical integrity and creativity than the showing off that prog bands employ, as Aerosmith says; they do indeed let the music do the talking.

Once again the brothers provide the the basis of all of the songs with the three guitars working in unison as Mikko Kaakkuriniemi's drumming keeps incredible pace and moves them through the various time signatures on the album. They are still not adversed to a ballad with the emotive and atmospheric Black Rain showing off Mikko VH's superb vocals as does Love Burns which is a slower paced but involving track that builds into a crescendo. Again another mix of genres here, see the folksy Dreams, with the same great song writing they have always had but this album will alienate the prog rock hardcore who love long songs and technical wankery, however for the most part it is yet another splendid album from the brothers filled with excellent 'progressive' songwriting and songs that enchant and delight but never outstay their welcome while the album itself grows in stature with every listen. 8/10    

JettBlack: Disguises (Cherry Red)

I like JettBlack, I have since their inception, I loved their debut, I still play it to this day and their live show is top notch filled with excitement and a passion that burns red hot. Unfortunately the same cannot be said for this; their third album, in total there are four good songs on it the best being Kick In The Teeth which harks back to their sleazy debut, the rest is pop-rock filler with a bit too much chart bothering, preening and smaltz especially on the absolutely dire Black & White. Much like the new Halestorm album this is the sound of Jettblack trying to break out with a more broad sound, however to my ears they have become bland with an album of mid-paced, lacklustre tracks that have no spark or indeed the kind of fist pumping sing along quality the band are known for coupled with too many love ballads that are just the pits really. Will Stapleton is a good singer but he seems too tame on this record, staying in his lower register throughout with no real passion, the band still play well but the songs really let this record down. I've stood by JettBlack when people called them masochistic (one major music magazine in particular) because of their tongue-in-cheek 80's inspired lyrics but it almost seems that by trying to appeal to a bigger audience they have lost that edge that drew me too them initially. Let's hope their set at Bloodstock focusses on their first two albums and the few OK songs on this record. Very disappointing. 4/10    

Turbowolf: Two Hands (Spinefarm)

Bristolities Turbowolf are the maddest band I have heard for a while fusing garage punk with 60's Zappa-like psychedelia and classic hard rock but as well as being nutcases they are also one of the most interesting young bands around. Two Hands is their second album and this one distils their sound into just over 30 minutes of anarchic, mind bending rock and roll. Invisble Hand starts things off slowly with its guitar strummed intro which turns into a thumping opener that builds up slamming straight into the funky Rabbits Foot which does indeed bring the voodoo mentioned in the chorus, this is killer track which is anchored by Andy Ghosh's fuzzy guitar and Lianna Lee Davies' bass, Solid Gold is a crazy disco song drenched in back masking, samples and various weirdness which shows off the synths of Chris Georgiadis as does Toy Memaha. His vocals too are brilliantly erratic fitting the music perfectly with their unique soulful but fierce delivery that works as well on the rocking Nine Lives as they do on the trippy, reverb drenched MK Ultra. Nine Lives also features some relentless drumming AND cowbell from Blake Davies, who also shines on Rich Gift.  The dreamy psychedelia is washed away with the metallic Twelve Houses. This album is gloriously unhinged and delivers a mighty punch that leaves you breathless as Pale Horse ends this fantastic album in fine style, a little piece of madness that just takes you away to another astral plain. I need to catch these guys live!!! 9/10  

Reviews: The Prodigy, Katatonia, Nightwish (Reviews By Paul & Stief)

The Prodigy: The Day Is My Enemy (Take Me To The Hospital)

It’s been six years since their last offering but the sixth release by the metal world’s favourite electro dance outfit is well worth the wait. I'm going to nail my colours to the mast here. I've always had admiration for the Essex outfit who have delivered some absolute monster tunes since their first album Experience landed in 1992. Their music dominates my work out mixes and when it comes to the top track in my spin classes, well, they destroy all who attempt to get close.
The Day Is My Enemy is possibly The Prodigy’s most brutal and heavy release of all time. The title track kicks off proceedings big time, with loops and pounding bass hammering away. Nasty, the first single follows with Keith Flint’s snarling Essex tones combining with Maxim to accompany the huge synths and vicious drum beats. The whole album is laced with aggression, massive bass and drum and enough of an edge to transport you back to a time when this music was fresh and raw.

Highlights on an album packed with killer tracks? Well Destroy is going to do just that with an absolutely destructive back line as it builds slowly and then explodes to smash your head on the floor. Wild Frontier, the second release from the album will provoke carnage amongst the mosh pits and also contains some of the most addictive hooks The Prodigy have ever come up with; Beyond The Deathray has a real old school feel to it whilst Get Your Fight On, well, yeah! That! I just can’t fault the album; it’s relentless; ideal for barrelling along the motorway to, it pumps you in the gym and generally picks you up when you fall. It’s no calming influence, and the urge to punch a defenceless farmyard animal was strong, especially after Rok-Weiler had given me a clip ‘round the ear but then, what do actually expect from this lot? Overall, this is a much more consistent release than Invaders Must Die, and a glorious return for a band who still lead from the front with Liam Howlett and co. providing an album bursting with meaty hooks and riffs. An album with 14 tracks is always going to have a couple of weaker moments, but there are few stragglers on here and even those at the back of the herd will prove a mighty challenge for any predators wishing to pick them off. Roll on 8 May at the MIA. It’s going to be messy. 9/10

Katatonia: Sanctitude (Kscope)

Like Anathema, Katatonia have transformed from the chrysalis of their death metal origins into a quite sensational, beautiful outfit, totally comfortable with their evolving sound and direction. Sanctitude is a recording of their sold out acoustic show at the Union Chapel in London in May 2014 as part of the Dethroned and Uncrowned European Tour. I was fortunate enough to see Casualties of Cool at this venue last year and it is perfect for the type of acoustic performance that Katatonia delivered. The acoustics are captured spectacularly and really help to enhance the quality of the songs. The production is sensitive and top quality. The audience are respectful but hugely appreciative and the set list is nothing short of amazing. Old favourites such as Teargas and Sleeper mingle with tracks from Dead End Kings (The Racing Heart, Lethean) and rarities such as the never before played live Gone (Discouraged Ones), Day from Brave Murder Day and Unfurl from the July EP. The atmosphere of the evening is captured on the album, something that is rare in a live recording. The acoustic re-workings provide completely fresh versions of many of the tracks; One Year From Now being a super example. 

The band lost two members not long before the start of the tour, and Jonas Renkse makes sure that there is ample acknowledgement for Bruce Soord who delivers some beautiful guitar, keyboards and backing vocals and fantastic percussion from JP Aslund. They are ably supported by Renkse on vocals and guitar as well as Anders Nystrom and Niklas Sandin on acoustic bass. The album maintains your interest due to the quality of the performance and the variation in the set list as well as the genuine quality in the delivery. The percussion and guitar work are magnificent and Renkse’s vocals are ideally suited to the echoing venue. Although there are some rarities contained within the setlist, Katatonia ensured they finished with three of their more well-known tracks; the stunning Omerta, Evidence and conclude with The One You Are Looking For with guest vocals from Silje Wergeland. Sanctitude is a quite beautiful piece of work; captivating in its delivery and a clear demonstration of the power of quality composition. Katatonia have long been one of my favourite bands and this release further strengthens that bond. A work of sheer excellence from one of the best bands around today. 10/10

Nightwish: Endless Forms Most Beautiful (Nuclear Blast)

The first album in 3 years from Nightwish, and the first full length with new frontwoman Floor Jansen, Endless Forms... is a return to form, albeit a slight one, from the (mostly) Finnish band. Following on from album-cum-film score, Imaginaerum, album opener Shudder Before The Beautiful rings out with echoes of older songs, such Dark Chest Of Wonders, symphonic guitars, keyboards and strings adding the bombastic sound that we've come to know and love from the band. Jansen's voice fits perfectly with the rest of the band; whereas original frontwoman Tarja Turunen could hit the high notes, and Annete Ozlon had her clean vocals, Floor's vast vocal range allows her to take up the roles of both of her predecessors and it is this realisation that makes it slightly disappointing that we do not get a sample of Floor's operatic talents until very late in the album. Having heard her work with her own band, Revamp, as well as seeing her live, it feels as if Floor's voice is not being as utilised as it could be, the breakdown of Yours Is An Empty Hope being the only time we hear her using harsh vocals and growling.

This does however give the album more of an open feel than previous ones, the band allowing themselves to spread out a bit more creatively. Our Decades In The Sun had a very power ballad-esque sound, with Troy Donockley's pipes adding a folky touch without feeling too forced. Elan feels like a callback to The Last Of The Wilds and it's obvious that the band are constantly adding strings to their bow, Imaginaerum's film-score sound an obvious inspiration behind The Eyes Of Sharbat Gula, a slow build up with chanting from both band and the children, giving it a film credit feel. It wouldn't be a Nightwish album without an epic song, and The Greatest Show On Earth is just that, coming in at shy of 24 minutes, it gives us a taste of every facet of Nightwish's repertoire, from Tuomas Holopainen's keyboards, Jansen's aforementioned operatic voice (along with plenty of mid-range stuff too), the heavy drumming of Jukka Nevalainen paired with the thumping bass of Marco Hietala, who also supports Floor with his baritone vocals and some great solos from Emppu Vuorinen as well as Troy's pipes. There's even some narration from Richard Dawkins, along with a full chorus and orchestra. The song seems to drag in places, animal sounds being used as filler, obviously supporting the story being told, but feeling as if they go on a bit too long at times. Overall, Endless Forms... is a great album, but as mentioned before, doesn't seem to fully utilise the talent of the band, particularly their new frontwoman. Here's hoping the band realise this come the next album. 7/10