Art Nation: Revolution (AOR Heaven)
Something about this album stinks, it's not the music, it's not the vocals or indeed the production, no it's the thick layer of cheese that permeates this record, there is a definte layer of 80's like high gloss that keeps this record shinning like it's 1985, think Journey, Foreigner and indeed Styx with a bit of Leppard thrown in for good measure. So we are talking swathes of all encompassing keys and synths, riding on top of clean guitar phrasing, po-going rhythm section and some sky scraping vocals with as much emotion as a Pixar film. As the percussive opener Need You To Understand gets things started with soaring intro solo, some huge drums and an even bigger chorus that puts the biggest smile on your face from the first time it plays. This Gothenburg band brilliantly fuse European and American AOR, with the twin guitars of Johnan Gustavsson's chunky rhythms and the blistering leads of Christoffer Borg having the same kind of affect as the twin guitars Whitesnake and indeed Def Leppard have always favoured, they bring the hard rock flavour to tracks like I Want Out and the strutting Number One but for as much electricity they give the record they can also turn it down when they need to see All In, although for the most part it's enormous riffs.
The band are not all about the guitars though they have a concrete rhythm section in the shape of Simon Gudmundsson's walking bass (Don't Wait For Salvation) and Carl Tudén's sublime tub thumping, both of these men work like hell to give the songs guts and stoke the fires of the rest of the band giving a backline to die for. No everyone knows that no AOR band is complete with a Keyboard and in Theodor Hedström Art Nation have found an ivory tinkler par excellence, he casts a spell on the the songs with his dazzling, exquisite and just fantastic keys and synths giving tracks like All The Way a pop sheen, a fuzzy 80's synth on Start A Fire, while also providing the heart rendering piano on Look To The Sky. Musically the band are perfect yes they are cheesier than decade old cheddar but that is to be expected and they do it with such class that it makes them exciting and endearing. Art Nation was formed from the ashes of Diamond Dawn with singer Alexander Strandell coming from that band finding the guitarist, keyboardist and bassist in quick succession and he has found the perfect foil for his simply devastating vocals, his on-stage energy transcends into this record and he delivers every song with sincere sentiment and an unmatched intensity. There has been a recent resurgence of AOR and for all the bands that have come out of it Art Nation have leapfrogged their way to the top of the pile, Revolution is the latest in a long line of pop baiting hard rocking albums that enlivens the soul and gets you singing along, get the cheeseboards ready and fire up the wind machine Art Nation are here!! 10/10
Hair Of The Dog: The Siren's Song (Kozmik Artifactz)
Three piece rock and roll from Scotland now with Hair Of The Dog, now if you're thinking Nazareth because of the title, you'd in the wrong ball park, these three men draw their influences from Led Zeppelin, Deep Purple and even Hendrix, in fact they draw from the 1970's style of rock opening up proceedings with Into The Storm which is just that, a track that builds up the intensity and leads straight into You Soft Spoken Thing which gets things rocking excellently while Don't Know My Name has that Hendrix vibe mentioned earlier with some psych passages moving into the big heavyweight riffs of Adam Holt's guitars, his brother Jon's wild drumming and Iain Thomson's pummelling bass. For an idea of Hair Of The Dog's sound think Wolfmother, The Brew or Tracer all of whom have that three piece riff filled rock sound. For all the big rock riffs that permeate this album on My Only Way Home and Wage With The Devil they can also add a light touch on Weary Bones which is a bluesy track that slow burns until the final part where it really fires up showing off Holt's bawling vocals and searing leads. The albums final two part title track is the best on the album focussing everything this band are good at. This is catchy 70's style blues rock played with panache and delivered in style. 7/10
Wolfheart: Shadow World (Spinefarm) [Review By Paul]
We belatedly reviewed Winterborn, the first album (2013) from Toumas Saukkoen’s Wolfheart in February of this year, giving it a six. The second album has arrived, now from a more complete outfit since Saukkoen turned the band into a full time project in 2014. Basically it’s more of the same. Melodic death metal in the vein of Wintersun and the like. As with the first album, the technical ability of the band is not in doubt with some rampaging powerful drumming, excellent guitar work cutting huge gashes with the vicious solo work of Mika Lammassaari and ground moving bass lines. Storm Centre, Aeon Of Cold and Abyss all pound your ass until you beg for mercy, whilst all the while lashing a large serving of melody on top of the brutal thrash onslaught whilst there are some calmer tranquil moments in Last Of All Winters and Nemesis (only snippets mind, no full noodling) which provide a bit of light to contrast the assault. Saukkoen’s vocals remain as marmite as before, with some real guttural growling in parts, sufficient to shake a sleeping dormouse out of its box. Overall Shadow World is an improvement on Winterborn, and a pleasing listen if you like this kinda thing. 7/10
Tuesday, 15 September 2015
Sunday, 13 September 2015
Reviews: Zero Verdict, The Earls Of Mars, The Mojo Sinners
Zero Verdict: Walk Tall (Self Released)
Zero Verdict are a little bit of an enigma, they have a melting pot nature about them as they say themselves: "blend many different styles and combines everything with low tuning and heavy but melodic vocals and catchy melodies" I couldn't have put it better myself as Alive kicks off you have a definite metallic crunch from the guitars but with huge chorus vocals, think Dream Theater mixed with Circus Maximus, the riffs of Alter Bridge in their and even a bit of Journey added for the huge hooks. It is certainly a strange sound but it does work the vocals of Sami Huotari are robust moving from a tough mid to a sky scraping high but as part of the backing choirs they are amazing giving the songs like Release Yourself a life of their own. Behind him Tapio Mattila's guitars, Juha Haipus bass and Pekka Leppäluoto's drums bring riff after crunchy riff moving between, speedy power metal on Live Like No Tomorrow, stomping groove on Lie (In My Own Life)and Train! which has some great keys too and dabbles with Devin Townsend too in parts. As much as they enjoy the big riffing rock songs they are also masters at evoking heartfelt romanticism of ballads like Be On Your Own Way which has a killer key change. With such a jarring musical mix there will be a few that will find it all a bit too much but for the most part Zero Verdict do a good job or merging all their influences together to create this album of interesting progressive music, with a little refinement they could stumble across something very good indeed. 7/10
The Earls Of Mars: EP (Self Released)
The word weird is thrown about a lot but The Earls Of Mars are a very weird band, I first saw them supporting Orange Goblin and was intrigued by their mix of metal, jazz and swing. This intrigue was rewarded on their debut album which superbly blended these genres to create some top draw rock with influences coming from outside the rock world. So the band are now between record labels but their mad genius is still pumping so now we have their EP simply entitled EP which is stopgap before their next album. We go from the Faith No More meets doom laden thrash of Fisticuffs which starts the album and then in a total switch of sound we get the piano powered, gypsy swing of Whodunnit then the doom comes back again on In The Quiet Corner Of A Mad Man's Eye the band thunder along powered by Dave Newman's intricate percussion, Si McCarthy's upright walking bass, at it's finest on the dreamy Mr Peeps Never Sleeps and Dan Hardigan's superb guitar playing. Harry Armstrong once again is the bands barking leader hammering the piano/organ/mellotron while wailing like a frenzied animal with a thorn in it's side (in a good way). The album levels off with the fuzzy finale of H.A.M which is a synth led instrumental which ends things strong;y. EP is a cracking little detour into the spiralling craziness of The Earls Of Mars, one downside is it's not quite enough. With another album on the way just come on in and just let your freak flag fly. 7/10
The Mojo Sinners: The Carnival EP (Self Released)
Hailing from Ystrad Mynach, Rhondda in South Wales Valleys The Mojo Sinners play a heavy style of blues rock. The Carnival is their debut EP and it has four seriously good tracks on it from this three piece that channel ZZ Top, Rory Gallagher, SRV with some soulful blues licks coming from David Williams who plays with style and has a fervent vocal that stirs the soul and angries up the blood, however his rocking riffs would be nothing without the throbbing basslines of Ross McInch and the hammering drum work of Dane Campbell. This is rock with a blues edge with second track The Traveller illuminating this well with it's bayou acoustic intro and outro bookending the thundering rock middle section. These four tracks are all different which shows the talent of the band Carousel is a funky piece with echoed vocals, as I said The Traveller is a hard rocking radio bothering track, Deadroads is smoky swamp blues with a slow burning fist pumping first part that explodes into guitar fireworks for the middle section, finally Nightshade ends the EP with a deftly played ballad that features some reserved percussion from Campbell (who is son of Motorhead's Phil) at the beginning before swaying through quiet and loud dynamics led by McInch's bass all while Williams cries for his 'Belladonna' and delivers yet another searing solo. A strong debut EP from a local band that have all the chops to get a lot bigger (hell they are already on the cover mount CD of the latest Classic Rock) 8/10
Zero Verdict are a little bit of an enigma, they have a melting pot nature about them as they say themselves: "blend many different styles and combines everything with low tuning and heavy but melodic vocals and catchy melodies" I couldn't have put it better myself as Alive kicks off you have a definite metallic crunch from the guitars but with huge chorus vocals, think Dream Theater mixed with Circus Maximus, the riffs of Alter Bridge in their and even a bit of Journey added for the huge hooks. It is certainly a strange sound but it does work the vocals of Sami Huotari are robust moving from a tough mid to a sky scraping high but as part of the backing choirs they are amazing giving the songs like Release Yourself a life of their own. Behind him Tapio Mattila's guitars, Juha Haipus bass and Pekka Leppäluoto's drums bring riff after crunchy riff moving between, speedy power metal on Live Like No Tomorrow, stomping groove on Lie (In My Own Life)and Train! which has some great keys too and dabbles with Devin Townsend too in parts. As much as they enjoy the big riffing rock songs they are also masters at evoking heartfelt romanticism of ballads like Be On Your Own Way which has a killer key change. With such a jarring musical mix there will be a few that will find it all a bit too much but for the most part Zero Verdict do a good job or merging all their influences together to create this album of interesting progressive music, with a little refinement they could stumble across something very good indeed. 7/10
The Earls Of Mars: EP (Self Released)
The word weird is thrown about a lot but The Earls Of Mars are a very weird band, I first saw them supporting Orange Goblin and was intrigued by their mix of metal, jazz and swing. This intrigue was rewarded on their debut album which superbly blended these genres to create some top draw rock with influences coming from outside the rock world. So the band are now between record labels but their mad genius is still pumping so now we have their EP simply entitled EP which is stopgap before their next album. We go from the Faith No More meets doom laden thrash of Fisticuffs which starts the album and then in a total switch of sound we get the piano powered, gypsy swing of Whodunnit then the doom comes back again on In The Quiet Corner Of A Mad Man's Eye the band thunder along powered by Dave Newman's intricate percussion, Si McCarthy's upright walking bass, at it's finest on the dreamy Mr Peeps Never Sleeps and Dan Hardigan's superb guitar playing. Harry Armstrong once again is the bands barking leader hammering the piano/organ/mellotron while wailing like a frenzied animal with a thorn in it's side (in a good way). The album levels off with the fuzzy finale of H.A.M which is a synth led instrumental which ends things strong;y. EP is a cracking little detour into the spiralling craziness of The Earls Of Mars, one downside is it's not quite enough. With another album on the way just come on in and just let your freak flag fly. 7/10
The Mojo Sinners: The Carnival EP (Self Released)
Hailing from Ystrad Mynach, Rhondda in South Wales Valleys The Mojo Sinners play a heavy style of blues rock. The Carnival is their debut EP and it has four seriously good tracks on it from this three piece that channel ZZ Top, Rory Gallagher, SRV with some soulful blues licks coming from David Williams who plays with style and has a fervent vocal that stirs the soul and angries up the blood, however his rocking riffs would be nothing without the throbbing basslines of Ross McInch and the hammering drum work of Dane Campbell. This is rock with a blues edge with second track The Traveller illuminating this well with it's bayou acoustic intro and outro bookending the thundering rock middle section. These four tracks are all different which shows the talent of the band Carousel is a funky piece with echoed vocals, as I said The Traveller is a hard rocking radio bothering track, Deadroads is smoky swamp blues with a slow burning fist pumping first part that explodes into guitar fireworks for the middle section, finally Nightshade ends the EP with a deftly played ballad that features some reserved percussion from Campbell (who is son of Motorhead's Phil) at the beginning before swaying through quiet and loud dynamics led by McInch's bass all while Williams cries for his 'Belladonna' and delivers yet another searing solo. A strong debut EP from a local band that have all the chops to get a lot bigger (hell they are already on the cover mount CD of the latest Classic Rock) 8/10
Saturday, 12 September 2015
Reviews: Slayer, Soilwork, Karhu (Review By Paul)
Slayer: Repentless (Nuclear Blast)
In recent years, for reasons which I cannot fathom, it appears to have become fashionable on many social media outlets to criticise one of the most influential heavy metal bands of all time. Too old, past it, disrespectful to Jeff Hanneman’s memory; you name it, it’s been posted. Whilst it is just trolling and the proof of the pudding will be in album sales and the attendances during the forthcoming UK tour, it seems to me to be quite astonishing. With the departure of Dave Lombardo and the death of Hanneman, the focus of continuing the band forward sits with Tom Araya and driving force Kerry King. However, the band has had Exodus main man Gary Holt playing with them for a long time now, and the return of Paul Bostaph, a former incumbent of the Slayer drum stool and no stranger to the Slayer sound completes what in essence is as good a line up as you can get.
Opening with the atmospheric Delusions Of Saviour, which creates the requisite build up for the band to crash into the mosh pit inducing title track, the album immediately fires the blood. Repentless contains the essence of Slayer; full throttle drums, visceral riffs and Tom Araya's busy and distinctive vocals. Kerry King’s slicing guitar work combines with Holt to provide the usual two pronged attack that is such a trademark of this legendary outfit. If you are expecting a change from the standard Slayer approach then you’ll be sadly mistaken. It is a classic tour de force of thrash from the absolute godfathers of the genre. Yes, there remains the odd weaker track, Vices for example struggles in comparison to the tracks either side of it, Take Control and the evil eerie Cast The First Stone which provides a slower pace and a monster riff which grabs you right in the guts. Meanwhile Bostaph's playing is off the chart, massive double bass drums with machine gun snare and cymbal attack, you can tell the man is happy to be back in the fold.
Much criticism was levelled at the quality of King’s song writing in comparison to the classics penned by Hanneman, and sure, there aren't the Angel Of Death epics through the majority of the album but don’t let that fool you. Just as World Painted Blood and Christ Illusion had some real stompers, so Repentless continues the work. When The Stillness Comes is as creepy and frightening as it was when it was released on Record Store Day, jangling guitar work and Araya’s haunting screams combine with some massive chugging riffs before it explodes into a runaway beast. Similarly Implode, released several months ago retains the old school Slayer feel even if there is a slight Slipknot sounding guitar work (so where did Slipknot get their riffs from then?). If you expected Slayer to release something massively different from their work in the last ten years, then I pity you: what the fuck is wrong with you? Slayer, like most classic metal bands have a tried and trusted song structure which rarely changes. However, that structure remains fresh and Repentless, with the fresh input of Holt and the excellent drumming of Bostaph There is also the bonus of a Hanneman compostion in Piano Wire. Apart from that, King has shouldered all of the writing (sans one assist from Araya) and I think he’s done a damn fine job. To the haters, maybe it is time to get out of the basement of your mom's house and see some sunlight. Repentless demonstrates that there is still much life left in the machine, and come November the metal community in the UK will no doubt show that Slayer remain an important and vital element of the thrash metal genre. Welcome back boys! 9/10
Soilwork: The Ride Majestic (Nuclear Blast)
I have to admit that Soilwork have never really floated my boat. One of the few genres that I struggle with, the melodic death approach similar to fellow Swedes In Flames and the raucous Arch Enemy really does little for me. The Ride Majestic is the 10th release and does not feature Ola Flink on bass (new man Markus Wilbom is credited but did not perform). There is no shortage of power on this long player with the title track and the frantic Alight In The Aftermath really setting the pace; Bjorn Strid’s combination of both clean and growling vocals both enjoyable and slightly irritating. The aggressive machine gunning of drummer Dirk Verbeuren anchors a riff fest from guitarists David Andersson and Sylvain Coudret whilst the key work of Sven Karlsson links and underpins the overall sound of the band. It’s a confusing mix of all out thrash, elements of power metal with harmony backing vocals, for example during Death In General as well as some chunks of nu-metal style at times. And I suppose that is my problem; yes, there is not one defined style or genre in Soilwork's approach and sound but it just comes across as a little bit similar. That’s not to say that this is a bad album by any stretch, with David Castillo’s production pretty slick. However, having given it a couple of spins, I found my attention wandering as every track merges into the previous one. I never got In Flames either mind you, so maybe it’s just me. 6/10
Karhu: Genericist (Self Released)
UK metal band Karhu's second full length release is an interesting listen. Mixing elements of thrash and progressive metal, riffs that vary from Pantera to Opeth, wild time changes and a mix of vocal styles (from Chris Cornell to Randy Blythe to Max Cavalera), this is one intricate album created by just two men. Powerful from start to finish, Genericist has a massive groove flowing throughout and current members Joseph Parry (Nearly everything) and Juani Cummings (Guitars) demonstrate some excellent musicianship. Bone crushing in parts, melodic and more mainstream in others, this album really does give you plenty to think about. Karhu means Bear in Finnish and they certainly contain the power of a massive grizzly motherfucker. Opener Acceptance sets the bar high, full-out assault, with some blistering drumming and riffs so sharp you could cut your hand on them. At times reminiscent of UK progressive techno-metallers Xerath, Karhu mix the tempo to keep the interest high, with Solemn a much calmer, measured piece, full of atmosphere and delicious guitar work before it erupts into a groove laden stomp which hammers away and kicks you in the shins. In Genericist Karhu has delivered a really excellent and interesting album, one that will get a lot of plays for the foreseeable future. 8/10
In recent years, for reasons which I cannot fathom, it appears to have become fashionable on many social media outlets to criticise one of the most influential heavy metal bands of all time. Too old, past it, disrespectful to Jeff Hanneman’s memory; you name it, it’s been posted. Whilst it is just trolling and the proof of the pudding will be in album sales and the attendances during the forthcoming UK tour, it seems to me to be quite astonishing. With the departure of Dave Lombardo and the death of Hanneman, the focus of continuing the band forward sits with Tom Araya and driving force Kerry King. However, the band has had Exodus main man Gary Holt playing with them for a long time now, and the return of Paul Bostaph, a former incumbent of the Slayer drum stool and no stranger to the Slayer sound completes what in essence is as good a line up as you can get.
Opening with the atmospheric Delusions Of Saviour, which creates the requisite build up for the band to crash into the mosh pit inducing title track, the album immediately fires the blood. Repentless contains the essence of Slayer; full throttle drums, visceral riffs and Tom Araya's busy and distinctive vocals. Kerry King’s slicing guitar work combines with Holt to provide the usual two pronged attack that is such a trademark of this legendary outfit. If you are expecting a change from the standard Slayer approach then you’ll be sadly mistaken. It is a classic tour de force of thrash from the absolute godfathers of the genre. Yes, there remains the odd weaker track, Vices for example struggles in comparison to the tracks either side of it, Take Control and the evil eerie Cast The First Stone which provides a slower pace and a monster riff which grabs you right in the guts. Meanwhile Bostaph's playing is off the chart, massive double bass drums with machine gun snare and cymbal attack, you can tell the man is happy to be back in the fold.
Much criticism was levelled at the quality of King’s song writing in comparison to the classics penned by Hanneman, and sure, there aren't the Angel Of Death epics through the majority of the album but don’t let that fool you. Just as World Painted Blood and Christ Illusion had some real stompers, so Repentless continues the work. When The Stillness Comes is as creepy and frightening as it was when it was released on Record Store Day, jangling guitar work and Araya’s haunting screams combine with some massive chugging riffs before it explodes into a runaway beast. Similarly Implode, released several months ago retains the old school Slayer feel even if there is a slight Slipknot sounding guitar work (so where did Slipknot get their riffs from then?). If you expected Slayer to release something massively different from their work in the last ten years, then I pity you: what the fuck is wrong with you? Slayer, like most classic metal bands have a tried and trusted song structure which rarely changes. However, that structure remains fresh and Repentless, with the fresh input of Holt and the excellent drumming of Bostaph There is also the bonus of a Hanneman compostion in Piano Wire. Apart from that, King has shouldered all of the writing (sans one assist from Araya) and I think he’s done a damn fine job. To the haters, maybe it is time to get out of the basement of your mom's house and see some sunlight. Repentless demonstrates that there is still much life left in the machine, and come November the metal community in the UK will no doubt show that Slayer remain an important and vital element of the thrash metal genre. Welcome back boys! 9/10
Soilwork: The Ride Majestic (Nuclear Blast)
I have to admit that Soilwork have never really floated my boat. One of the few genres that I struggle with, the melodic death approach similar to fellow Swedes In Flames and the raucous Arch Enemy really does little for me. The Ride Majestic is the 10th release and does not feature Ola Flink on bass (new man Markus Wilbom is credited but did not perform). There is no shortage of power on this long player with the title track and the frantic Alight In The Aftermath really setting the pace; Bjorn Strid’s combination of both clean and growling vocals both enjoyable and slightly irritating. The aggressive machine gunning of drummer Dirk Verbeuren anchors a riff fest from guitarists David Andersson and Sylvain Coudret whilst the key work of Sven Karlsson links and underpins the overall sound of the band. It’s a confusing mix of all out thrash, elements of power metal with harmony backing vocals, for example during Death In General as well as some chunks of nu-metal style at times. And I suppose that is my problem; yes, there is not one defined style or genre in Soilwork's approach and sound but it just comes across as a little bit similar. That’s not to say that this is a bad album by any stretch, with David Castillo’s production pretty slick. However, having given it a couple of spins, I found my attention wandering as every track merges into the previous one. I never got In Flames either mind you, so maybe it’s just me. 6/10
Karhu: Genericist (Self Released)
UK metal band Karhu's second full length release is an interesting listen. Mixing elements of thrash and progressive metal, riffs that vary from Pantera to Opeth, wild time changes and a mix of vocal styles (from Chris Cornell to Randy Blythe to Max Cavalera), this is one intricate album created by just two men. Powerful from start to finish, Genericist has a massive groove flowing throughout and current members Joseph Parry (Nearly everything) and Juani Cummings (Guitars) demonstrate some excellent musicianship. Bone crushing in parts, melodic and more mainstream in others, this album really does give you plenty to think about. Karhu means Bear in Finnish and they certainly contain the power of a massive grizzly motherfucker. Opener Acceptance sets the bar high, full-out assault, with some blistering drumming and riffs so sharp you could cut your hand on them. At times reminiscent of UK progressive techno-metallers Xerath, Karhu mix the tempo to keep the interest high, with Solemn a much calmer, measured piece, full of atmosphere and delicious guitar work before it erupts into a groove laden stomp which hammers away and kicks you in the shins. In Genericist Karhu has delivered a really excellent and interesting album, one that will get a lot of plays for the foreseeable future. 8/10
Friday, 11 September 2015
Reviews: Nile, Kirisun, Kadavar (Review By Paul)
Nile: What Should Not Be Unearthed (Nuclear Blast)
South Carolina’s finest Egyptian themed Death Metal outfit Nile return with another absolutely hammering with their eight album What Should Not Be Unearthed. Following on from the skull crushingly heavy At The Gates Of Sethu in 2012, Nile follow their blueprint of all-out assault. Opener Call To Destruction allays any fears that anything has changed with Karl Sanders writing, for it is he who has penned everything on this album. Catchy titles abound, such as the memorable and not to mention aural assaulting Negating The Abominable Coils Of Apep, the embodiment of Chaos who appears as a giant serpent in Egyptian art. In The Name Of Amun actually has a bit of Egyptian tinged atmosphere before Sanders, Dallas Toler-Wade and drummer George Kollias once again lay waste to all around. If you like your death metal as heavy as a pyramid on your head, then this release is one for you. If you want your Egyptian themed music to be more like The Bangles, you may want to steer well clear. 7/10
South Carolina’s finest Egyptian themed Death Metal outfit Nile return with another absolutely hammering with their eight album What Should Not Be Unearthed. Following on from the skull crushingly heavy At The Gates Of Sethu in 2012, Nile follow their blueprint of all-out assault. Opener Call To Destruction allays any fears that anything has changed with Karl Sanders writing, for it is he who has penned everything on this album. Catchy titles abound, such as the memorable and not to mention aural assaulting Negating The Abominable Coils Of Apep, the embodiment of Chaos who appears as a giant serpent in Egyptian art. In The Name Of Amun actually has a bit of Egyptian tinged atmosphere before Sanders, Dallas Toler-Wade and drummer George Kollias once again lay waste to all around. If you like your death metal as heavy as a pyramid on your head, then this release is one for you. If you want your Egyptian themed music to be more like The Bangles, you may want to steer well clear. 7/10
Kirsiun: Forged In Fury (Century Media)
If you like Brazilian death metal, and let’s be fair who doesn't, you will be fully aware of the brutality of Kirsiun, who has been delivering the death since 1990. An absolute blistering tour de force, Forged In Fury is their ninth release and takes no prisoners. Full of massive hooks and face slashing riffage, powerhouse drumming and a vocal delivery from vocalist/bassist Alex Camargo to die by, this album is a death metal masterpiece. Dogma Of Submission is possibly the killer track if I had to name a mere one, with guitarist Moyses Kolesne and drummer Max Kolesne destroying all around. However, picking out one track on an album of such death metal quality is an impossible task, with massive tracks like Soulless Impaler, the frightening opener Scars Of The Hatred and the furious assault of Burning Of The Heretic all stunning. Taking the best of the old school thrash of Sodom, Kreator, Morbid Angel and the like, Forged In Fury is nearly an hour of aggression which will leave you wanting to punch a hole through the wall. The only down side is a pretty uninspiring cover of Sabbath’s Electric Funeral which really doesn't suit the gravel growl of Carmago. Otherwise, I'm with it all the way. 8/10
Kadavar: Berlin (Nuclear Blast)
In a year where quality albums are simply falling from the trees, Berlin, the third album from German Stoner/psychedelic rockers Kadavar is yet another of those juicy apples. From the groove of opener Lord Of The Sky with its 70s feel through to one of the tracks of the year, the hook laden riff heavy Stolen Dreams which has one of the most infectious hooks I've heard for years, this is top dollar retro-rock. Their sound reeks of a power trio who kick out the jams as often as possible. Christoph "Lupus" Lindemann (vocals and guitar), Simon "Dragon" Bouteloup (bass) and drummer Christoph "Tiger" Bartelt cram the hard edge of Sabbath with the bluesy feel of Zeppelin amongst a raft of others (for example, there is essence of Groundhogs on Last Living Dinosaur) into 45 minutes of top quality hard rock. Berlin is a real grower and really benefits from repeated plays. Another stunning release and one you really should not miss. 9/10
If you like Brazilian death metal, and let’s be fair who doesn't, you will be fully aware of the brutality of Kirsiun, who has been delivering the death since 1990. An absolute blistering tour de force, Forged In Fury is their ninth release and takes no prisoners. Full of massive hooks and face slashing riffage, powerhouse drumming and a vocal delivery from vocalist/bassist Alex Camargo to die by, this album is a death metal masterpiece. Dogma Of Submission is possibly the killer track if I had to name a mere one, with guitarist Moyses Kolesne and drummer Max Kolesne destroying all around. However, picking out one track on an album of such death metal quality is an impossible task, with massive tracks like Soulless Impaler, the frightening opener Scars Of The Hatred and the furious assault of Burning Of The Heretic all stunning. Taking the best of the old school thrash of Sodom, Kreator, Morbid Angel and the like, Forged In Fury is nearly an hour of aggression which will leave you wanting to punch a hole through the wall. The only down side is a pretty uninspiring cover of Sabbath’s Electric Funeral which really doesn't suit the gravel growl of Carmago. Otherwise, I'm with it all the way. 8/10
Kadavar: Berlin (Nuclear Blast)
In a year where quality albums are simply falling from the trees, Berlin, the third album from German Stoner/psychedelic rockers Kadavar is yet another of those juicy apples. From the groove of opener Lord Of The Sky with its 70s feel through to one of the tracks of the year, the hook laden riff heavy Stolen Dreams which has one of the most infectious hooks I've heard for years, this is top dollar retro-rock. Their sound reeks of a power trio who kick out the jams as often as possible. Christoph "Lupus" Lindemann (vocals and guitar), Simon "Dragon" Bouteloup (bass) and drummer Christoph "Tiger" Bartelt cram the hard edge of Sabbath with the bluesy feel of Zeppelin amongst a raft of others (for example, there is essence of Groundhogs on Last Living Dinosaur) into 45 minutes of top quality hard rock. Berlin is a real grower and really benefits from repeated plays. Another stunning release and one you really should not miss. 9/10
Thursday, 10 September 2015
A View From Satan's Layby: Foo Fighters
The Foo Fighters, Iggy Pop & Royal Blood, Milton Keynes Bowl
As Foo Fighters frontman, the perennially upbeat Dave Grohl put it we all knew why this show happened they way it happened and why he insisted that we have something special. But enough about that for now back to the beginning. The Foos were due to play in London earlier this year however while on tour in Sweden Grohl fell off the stage and broke his leg, this put the tour in doubt but with some good doctors and fantastic self designed throne Grohl was able to continue the tour with the UK dates now rescheduled to two nights at Milton Keynes Bowl and one in at Murrayfield in Scotland. Tickets went on sale and on the second round of ticketing I managed to bag one to see the band that I had never seen live. So as the day arrived, I set out at around 12:30, picking up my gigging companions Anthony and Elle on the way. As the quaffed beer and ate rolls we set out on the long journey to Milton Keynes, the excitement in the car was palpable (as was the beer) as we chatted and mused upon all manner of things while we made our way. We stopped just outside Milton Keynes at a nice little pub for refreshment of both kinds, albeit forgoing a meal due to the extortionate prices. Back in the car it was to the venue and finding somewhere to park was turning into a one in one out affair, abandoning the idea of the 'official' car park we settled for a street near the venue and took the short walk to it.
However due to the Foo's need to play for three hours at 5:30 we heard Royal Blood (8) come on the stage to Jay Z's 99 Problems before moving rapidly into Come On Over, from what we heard they sounded in fine form and they grew louder as we neared. Into the bowls of the arena, it was cursory search and then a walk around the outside of the field as Royal Blood rocked out with You Can Be So Cruel. Up to the stairs and into the bowl itself, the size of the venue takes your breath away, 125,000 people all in one place, we worked our way through the crowds and took a seat on the hill as Royal Blood then played their most well known songs Figure It Out, Little Monster and Ten Tonne Skeleton, they are very loud for a two piece (just bass and drums) and their songs receive a lot of airplay on FM radio so it was no wonder why the crowd lapped them up like cream. They are both great players and despite their only being two of them they do have a sense of drama about their performance. With only two songs left we ate our provisions as my companions found more lubrication. They ended with Out Of The Black which was a heavyweight final song where they segued into Black Sabbath at the end with a nod and a wink to the metal fans in the audience. This was to become a bit of a theme actually as you do tend to get a lot of people at gigs of this magnitude that go for the event and aren't really interested in the music other than the 'hits' they know.
Iggy Pop's (7) set suffered due to this, a punk rock legend is known for his riotous live shows and his laissez-faire attitude towards his personal safety however he is now a man of advancing years (and indeed a insurance salesman) so the self harm was kept to a minimum although within one song he was shirtless. Iggy came straight out the gates with No Fun, I Wanna Be Your Dog, The Passenger and Lust For Life all in rapid succession, now the crowd grooved to these well known tracks but on the other hand as soon as Skull Ring started there was a noticeable lull in the enthusiasm this continued through the majority of the set with only really the hardcore getting stuck in. Iggy swivelled and shook throughout the set and his performance and that of his bands was tight and structured however it was the crowd that let him down with only 1969 and Wild One getting any reaction for the mid part of the set. For an hour the set was a bit of hard work for the most part due to Iggy blowing his load early, consequently by the time he played the doom laden slow moving final track many had completely lost interest and were waiting for the headline act. So after Pop had finished it was time for another drink at £5.00 per bottle alcohol was consumed sparingly from my companions, we waited as the stage turned over the works hidden by a huge FF banner.
So this was the time (and indeed a call) and as the banner dropped The Foo Fighters (10) exploded with the sublime Everlong, the band were spot on nailing every lick brilliantly, Grohl rocked himself silly atop his throne stabbing at his guitar and delivering every line with passion, his voice is faultless going from croon to scarred grunge roar with ease, he is a man that clearly enjoys his work and happily the crowd reciprocated this and were duly rewarded for their loyalty. The Foo's opening gambit was better than many bands encores with Everlong starting things off it was Monkey Wrench, Learn To Fly, Something For Nothing and The Pretender all following having the crowd shouting along with every line as the fans got their breath back I took in just how heavy The Foos are live, not metallic but just loud and professional the triple guitars of Grohl, Chris Schiflett and Pat Smear give the band a wide breath of sound with Nate Mendel's bass holding it all together as Taylor Hawkins drums for his life. With The Pretender still ringing in our collective ears, Grohl slowed everything down for an almost acoustic and solo rendition of Big Me which yet again saw the crowd in fine voice. The set was mixed beautifully with the new punctuating the old and slotting in perfectly two newies came in the shape of the gospel-like Congregation and Walk which ended the first part of the set with power and guts.
This was the break and time for the band introductions, allowing every member to show off a bit Schiflett played Van Halen's Eruption before they ploughed into the snippet of I'm The One. Nate was next and he paid tribute to perhaps the UK's best bassist Chris Squire of the band Yes by bursting forth with Roundabout which led into a keyboard solo from Rami Jaffee and Pat blasting a bit of God Save The Queen, it was the slightly under rehearsed nature of these introductions that made them endearing rather than a chore, finally it was time for Hawkins' solo but he instead did a rendition of Cold Day In The Sun (one of the few songs Taylor Hawkins sings on) this was great and showed that Hawkins is not just a great drummer but a good singer too. So back to the start of our story and Grohl mentions the leg but forgoes the slideshow as we all knew what it was about but he promises something special and my god does he deliver. After an introduction his 'friends' came on stage, these friends as many of you may have seen on-line were Roger Taylor of Queen and John Paul Jones of Led Zeppelin, Jones stood behind the keyboard and Taylor behind the drums while Hawkins went to front of stage (as is only right). Then with a little tap of the hi-hat we were treated to Under Pressure with Grohl and Hawkins sharing lead vocals as a tribute to both the first band to headline Milton Keynes Bowl (Queen) and to the bands legendary frontman Freddie Mercury who would have been 69 on the day of this concert. We were witnessing something very special indeed, but as the cheer filled the arena we where quickly reminded that this was the Foo's night.
They once again blew away the competition by revving back off with All My Life and Time Like These which moved into These Days, the thrashy White Limo, Alandria and Breakout. This was the rock section of the programme and myself and my hard rocking amigos banged our heads liberally during this section. We were reaching the 2 and a half hours mark but The Foos showed no sign of slowing down Outside moved into This Is A Call and then they played a fan request, luckily this was no obscure b-side the band let loose DOA a song that they haven't played since 2012, They played the song with some hesitation but managed to pull it off, as the light dimmed and we were left in darkness Grohl proclaimed that they don't do encores so they started their final three songs with For All The Cows then Aurora which gave Grohl another chance to play at rock God by playing a searing solo atop his throne that moved out onto the end of the ramp. As he ended his rock star moment the band played their last gasp with the excellent Best Of You (no My Hero which bemused myself and Ant) and it was as Best Of You finished we made our way through the surrounding forest and found ourselves where we came in so we strolled out of the arena and back to the car having seen some of the finest three hours of music I've witnessed. The band were all on fire and with such a wealth of songs there was never a dull moment, so the wait was worth it, £75 quid to see three hours of amazing music in a huge venue with quite a respectful crowd, yeah I'd say that was a win. All in all a fabulous night with good friends enjoying a band at the top of their game.
As Foo Fighters frontman, the perennially upbeat Dave Grohl put it we all knew why this show happened they way it happened and why he insisted that we have something special. But enough about that for now back to the beginning. The Foos were due to play in London earlier this year however while on tour in Sweden Grohl fell off the stage and broke his leg, this put the tour in doubt but with some good doctors and fantastic self designed throne Grohl was able to continue the tour with the UK dates now rescheduled to two nights at Milton Keynes Bowl and one in at Murrayfield in Scotland. Tickets went on sale and on the second round of ticketing I managed to bag one to see the band that I had never seen live. So as the day arrived, I set out at around 12:30, picking up my gigging companions Anthony and Elle on the way. As the quaffed beer and ate rolls we set out on the long journey to Milton Keynes, the excitement in the car was palpable (as was the beer) as we chatted and mused upon all manner of things while we made our way. We stopped just outside Milton Keynes at a nice little pub for refreshment of both kinds, albeit forgoing a meal due to the extortionate prices. Back in the car it was to the venue and finding somewhere to park was turning into a one in one out affair, abandoning the idea of the 'official' car park we settled for a street near the venue and took the short walk to it.
However due to the Foo's need to play for three hours at 5:30 we heard Royal Blood (8) come on the stage to Jay Z's 99 Problems before moving rapidly into Come On Over, from what we heard they sounded in fine form and they grew louder as we neared. Into the bowls of the arena, it was cursory search and then a walk around the outside of the field as Royal Blood rocked out with You Can Be So Cruel. Up to the stairs and into the bowl itself, the size of the venue takes your breath away, 125,000 people all in one place, we worked our way through the crowds and took a seat on the hill as Royal Blood then played their most well known songs Figure It Out, Little Monster and Ten Tonne Skeleton, they are very loud for a two piece (just bass and drums) and their songs receive a lot of airplay on FM radio so it was no wonder why the crowd lapped them up like cream. They are both great players and despite their only being two of them they do have a sense of drama about their performance. With only two songs left we ate our provisions as my companions found more lubrication. They ended with Out Of The Black which was a heavyweight final song where they segued into Black Sabbath at the end with a nod and a wink to the metal fans in the audience. This was to become a bit of a theme actually as you do tend to get a lot of people at gigs of this magnitude that go for the event and aren't really interested in the music other than the 'hits' they know.
Iggy Pop's (7) set suffered due to this, a punk rock legend is known for his riotous live shows and his laissez-faire attitude towards his personal safety however he is now a man of advancing years (and indeed a insurance salesman) so the self harm was kept to a minimum although within one song he was shirtless. Iggy came straight out the gates with No Fun, I Wanna Be Your Dog, The Passenger and Lust For Life all in rapid succession, now the crowd grooved to these well known tracks but on the other hand as soon as Skull Ring started there was a noticeable lull in the enthusiasm this continued through the majority of the set with only really the hardcore getting stuck in. Iggy swivelled and shook throughout the set and his performance and that of his bands was tight and structured however it was the crowd that let him down with only 1969 and Wild One getting any reaction for the mid part of the set. For an hour the set was a bit of hard work for the most part due to Iggy blowing his load early, consequently by the time he played the doom laden slow moving final track many had completely lost interest and were waiting for the headline act. So after Pop had finished it was time for another drink at £5.00 per bottle alcohol was consumed sparingly from my companions, we waited as the stage turned over the works hidden by a huge FF banner.
So this was the time (and indeed a call) and as the banner dropped The Foo Fighters (10) exploded with the sublime Everlong, the band were spot on nailing every lick brilliantly, Grohl rocked himself silly atop his throne stabbing at his guitar and delivering every line with passion, his voice is faultless going from croon to scarred grunge roar with ease, he is a man that clearly enjoys his work and happily the crowd reciprocated this and were duly rewarded for their loyalty. The Foo's opening gambit was better than many bands encores with Everlong starting things off it was Monkey Wrench, Learn To Fly, Something For Nothing and The Pretender all following having the crowd shouting along with every line as the fans got their breath back I took in just how heavy The Foos are live, not metallic but just loud and professional the triple guitars of Grohl, Chris Schiflett and Pat Smear give the band a wide breath of sound with Nate Mendel's bass holding it all together as Taylor Hawkins drums for his life. With The Pretender still ringing in our collective ears, Grohl slowed everything down for an almost acoustic and solo rendition of Big Me which yet again saw the crowd in fine voice. The set was mixed beautifully with the new punctuating the old and slotting in perfectly two newies came in the shape of the gospel-like Congregation and Walk which ended the first part of the set with power and guts.
This was the break and time for the band introductions, allowing every member to show off a bit Schiflett played Van Halen's Eruption before they ploughed into the snippet of I'm The One. Nate was next and he paid tribute to perhaps the UK's best bassist Chris Squire of the band Yes by bursting forth with Roundabout which led into a keyboard solo from Rami Jaffee and Pat blasting a bit of God Save The Queen, it was the slightly under rehearsed nature of these introductions that made them endearing rather than a chore, finally it was time for Hawkins' solo but he instead did a rendition of Cold Day In The Sun (one of the few songs Taylor Hawkins sings on) this was great and showed that Hawkins is not just a great drummer but a good singer too. So back to the start of our story and Grohl mentions the leg but forgoes the slideshow as we all knew what it was about but he promises something special and my god does he deliver. After an introduction his 'friends' came on stage, these friends as many of you may have seen on-line were Roger Taylor of Queen and John Paul Jones of Led Zeppelin, Jones stood behind the keyboard and Taylor behind the drums while Hawkins went to front of stage (as is only right). Then with a little tap of the hi-hat we were treated to Under Pressure with Grohl and Hawkins sharing lead vocals as a tribute to both the first band to headline Milton Keynes Bowl (Queen) and to the bands legendary frontman Freddie Mercury who would have been 69 on the day of this concert. We were witnessing something very special indeed, but as the cheer filled the arena we where quickly reminded that this was the Foo's night.
They once again blew away the competition by revving back off with All My Life and Time Like These which moved into These Days, the thrashy White Limo, Alandria and Breakout. This was the rock section of the programme and myself and my hard rocking amigos banged our heads liberally during this section. We were reaching the 2 and a half hours mark but The Foos showed no sign of slowing down Outside moved into This Is A Call and then they played a fan request, luckily this was no obscure b-side the band let loose DOA a song that they haven't played since 2012, They played the song with some hesitation but managed to pull it off, as the light dimmed and we were left in darkness Grohl proclaimed that they don't do encores so they started their final three songs with For All The Cows then Aurora which gave Grohl another chance to play at rock God by playing a searing solo atop his throne that moved out onto the end of the ramp. As he ended his rock star moment the band played their last gasp with the excellent Best Of You (no My Hero which bemused myself and Ant) and it was as Best Of You finished we made our way through the surrounding forest and found ourselves where we came in so we strolled out of the arena and back to the car having seen some of the finest three hours of music I've witnessed. The band were all on fire and with such a wealth of songs there was never a dull moment, so the wait was worth it, £75 quid to see three hours of amazing music in a huge venue with quite a respectful crowd, yeah I'd say that was a win. All in all a fabulous night with good friends enjoying a band at the top of their game.
Wednesday, 9 September 2015
Reviews: Uncle Acid, Dead Lord, Black Trip
Uncle Acid & The Deadbeats: The Night Creeper (Rise Above)
The mysterious Cambridge band once again return from the shadows with their 4th album The Night Creeper, Uncle Acid are a rare breed of band that manage to do retro perfectly capturing a time period but not letting it move into a pastiche. Previous albums were chock full of Sabbath worshipping doom riffs and fuzz, The Night Creeper continues this love of Iommi and co on tracks such as Waiting For Blood, Downtown and Pusher Man which have that fusion of reverbed fuzz riffs along with the almost other worldly vocals of K.R Starrs and could have been off cuts from Masters Of Reality, this is drug infused occult loving 60's rock at it's most ominous, as well as the Sabbath style songs the band also bring in elements of The Beatles on Melody Lane, the title track and in fact throughout, with the layered vocals, permeating organs and mellotron all being contributing factors. Take heed though as when I say sound like The Beatles, I mean of course they sound like The Beatles if they ate LSD like Smarties and worshipped Charlie Manson, but still that melodic pop edge is still present throughout. With the Fab Four taken care of the band widen their scope with Inside which has a nod to the King Of Schlock himself Alice Cooper in his first incarnation (I mean the band). The band also have added a huge layer of psych to their sound on the instrumental Yellow Moon and the ideally named Slow Death which washes over you in a dreamy haze, the analogue record hiss audibly present in the background lending authenticity to the bands retro sound, they also know how to climax as the acoustic driven Neil Young-meets-Donavan via a heap of Quaalude's, Black Motorcade has a snaking synth behind it leaving you with a upsetting feeling, which suits this music to a tee. The Night Creeper is the culmination of Uncle Acid's past few years of high profile touring and mastering their craft, they have enlarged their repertoire drawing in more influences to their sound meaning that The Night Creeper is Uncle Acids most diverse offering yet. 8/10
Dead Lord: Head Held High (Century Media)
Sometimes I do wonder what's in the water in Sweden, in the last few years we have seen The Blues Pills, Graveyard, Free Fall, Witchcraft, Horisont and of course Ghost all throwing their hat into the ring to lay claim to the nostalgic style of rock and roll placing themselves firmly in the late 60's to mid 70's vein of British hard rock. Dead Lord too then are Swedes and yet again they are jump straight on to the classic rock band wagon with a second album of music that evokes those hazy days of bell bottoms, tight shirts and sweaty clubs filled with bikers. As with many bands there is always somewhere that you can trace their main influence to and in Dead Lords case it is those Irish Vagabonds Of The Western World Thin Lizzy, Dead Lord flawlessly ape the dual guitars of Gorham and Robertson with stabs of rhythm on Farewell, the twin leads on the bluesy Mindless and the shameless copying of No Regrets which has Gary Moore's fingerprint all over it. The rhythm section has the percussive beat of Downey with Adam Lindmark firing on all cylinders throughout casting shadows and flaring up when needed. Martin Nordin's bass thumps along underpinning the sliding leads of Olle Hedenstrom and Hakim Krim who play with fire and passion unafraid to rock out on the Celtic seasoned When History Repeats Itself but also quite happy to slow things down on the smoky, bluesy Cold Hearted Madness and The Bold Move which slithers along at a deliberate pace. Yes Dead Lord have Lizzyisms spread out all over this record most importantly with Hakim's vocals which bridge the gap between Phil and Gary having that booming croon which has a pronounced European diction. Sweden yet again delivers the goods, another hard rock band of high quality, Dead Lord have exquisitely harked back to boogie filled rock laced with twin guitar harmonies and some grit, if you love Mr Lynott and co then Dead Lord will become your new favourite band. 8/10
Black Trip: Shadowline (SPV)
Once again we catch up with the band that is an off shoot from Swedish speed metal freaks Enforcer, Black Trip features Enforcer guitarist Joseph Tholl taking up the mic and Enforcer drummer Jonas Wikistrand who once again takes up the sticks and also the organ(?) But anyway with the bookkeeping taken care of, Black Trip return again with their second album, now Enforcer deal in super fast speed metal but Black Trip are not exactly slower but deal more in the music of the early days of NWOBHM, thrusting guitars, punchy bass driven riffs and a pinch of punk. As I said in the review I did of their debut album Black Trip sound a lot like DiAnno fronted Maiden with Tholl having a similar snarl to the original singer of the Irons. Lyrically the band deal in the occult, horror, love and evil on these 12 tracks with songs such as Die With Me, Subvisual Sleep and Over The Worldly Walls. They all feature some cracking guitar work from the two guitarists who intertwine perfectly harking back to the Stratton Murray partnership of the past. This album does show a bit more progression with the title track being a bit more modern and indeed progressive, Berlin Model 32 is a punkier track but for the most part this is NWOBHM inspired metal with clear guitar melodies, galloping rhythms and passionate vocals. Black Trip are an enjoyable look back at metals past but really if you want to hear these men in full flight then you're better seeking out Enforcer but for completests and those that felt Maiden and their ilk sold out in 1982 Shadowline will be the soundtrack to your next Friday Night Rock Show. 6/10
The mysterious Cambridge band once again return from the shadows with their 4th album The Night Creeper, Uncle Acid are a rare breed of band that manage to do retro perfectly capturing a time period but not letting it move into a pastiche. Previous albums were chock full of Sabbath worshipping doom riffs and fuzz, The Night Creeper continues this love of Iommi and co on tracks such as Waiting For Blood, Downtown and Pusher Man which have that fusion of reverbed fuzz riffs along with the almost other worldly vocals of K.R Starrs and could have been off cuts from Masters Of Reality, this is drug infused occult loving 60's rock at it's most ominous, as well as the Sabbath style songs the band also bring in elements of The Beatles on Melody Lane, the title track and in fact throughout, with the layered vocals, permeating organs and mellotron all being contributing factors. Take heed though as when I say sound like The Beatles, I mean of course they sound like The Beatles if they ate LSD like Smarties and worshipped Charlie Manson, but still that melodic pop edge is still present throughout. With the Fab Four taken care of the band widen their scope with Inside which has a nod to the King Of Schlock himself Alice Cooper in his first incarnation (I mean the band). The band also have added a huge layer of psych to their sound on the instrumental Yellow Moon and the ideally named Slow Death which washes over you in a dreamy haze, the analogue record hiss audibly present in the background lending authenticity to the bands retro sound, they also know how to climax as the acoustic driven Neil Young-meets-Donavan via a heap of Quaalude's, Black Motorcade has a snaking synth behind it leaving you with a upsetting feeling, which suits this music to a tee. The Night Creeper is the culmination of Uncle Acid's past few years of high profile touring and mastering their craft, they have enlarged their repertoire drawing in more influences to their sound meaning that The Night Creeper is Uncle Acids most diverse offering yet. 8/10
Dead Lord: Head Held High (Century Media)
Sometimes I do wonder what's in the water in Sweden, in the last few years we have seen The Blues Pills, Graveyard, Free Fall, Witchcraft, Horisont and of course Ghost all throwing their hat into the ring to lay claim to the nostalgic style of rock and roll placing themselves firmly in the late 60's to mid 70's vein of British hard rock. Dead Lord too then are Swedes and yet again they are jump straight on to the classic rock band wagon with a second album of music that evokes those hazy days of bell bottoms, tight shirts and sweaty clubs filled with bikers. As with many bands there is always somewhere that you can trace their main influence to and in Dead Lords case it is those Irish Vagabonds Of The Western World Thin Lizzy, Dead Lord flawlessly ape the dual guitars of Gorham and Robertson with stabs of rhythm on Farewell, the twin leads on the bluesy Mindless and the shameless copying of No Regrets which has Gary Moore's fingerprint all over it. The rhythm section has the percussive beat of Downey with Adam Lindmark firing on all cylinders throughout casting shadows and flaring up when needed. Martin Nordin's bass thumps along underpinning the sliding leads of Olle Hedenstrom and Hakim Krim who play with fire and passion unafraid to rock out on the Celtic seasoned When History Repeats Itself but also quite happy to slow things down on the smoky, bluesy Cold Hearted Madness and The Bold Move which slithers along at a deliberate pace. Yes Dead Lord have Lizzyisms spread out all over this record most importantly with Hakim's vocals which bridge the gap between Phil and Gary having that booming croon which has a pronounced European diction. Sweden yet again delivers the goods, another hard rock band of high quality, Dead Lord have exquisitely harked back to boogie filled rock laced with twin guitar harmonies and some grit, if you love Mr Lynott and co then Dead Lord will become your new favourite band. 8/10
Black Trip: Shadowline (SPV)
Once again we catch up with the band that is an off shoot from Swedish speed metal freaks Enforcer, Black Trip features Enforcer guitarist Joseph Tholl taking up the mic and Enforcer drummer Jonas Wikistrand who once again takes up the sticks and also the organ(?) But anyway with the bookkeeping taken care of, Black Trip return again with their second album, now Enforcer deal in super fast speed metal but Black Trip are not exactly slower but deal more in the music of the early days of NWOBHM, thrusting guitars, punchy bass driven riffs and a pinch of punk. As I said in the review I did of their debut album Black Trip sound a lot like DiAnno fronted Maiden with Tholl having a similar snarl to the original singer of the Irons. Lyrically the band deal in the occult, horror, love and evil on these 12 tracks with songs such as Die With Me, Subvisual Sleep and Over The Worldly Walls. They all feature some cracking guitar work from the two guitarists who intertwine perfectly harking back to the Stratton Murray partnership of the past. This album does show a bit more progression with the title track being a bit more modern and indeed progressive, Berlin Model 32 is a punkier track but for the most part this is NWOBHM inspired metal with clear guitar melodies, galloping rhythms and passionate vocals. Black Trip are an enjoyable look back at metals past but really if you want to hear these men in full flight then you're better seeking out Enforcer but for completests and those that felt Maiden and their ilk sold out in 1982 Shadowline will be the soundtrack to your next Friday Night Rock Show. 6/10
Tuesday, 8 September 2015
Reviews: Iron Maiden (Monster Review By Paul)
Iron Maiden: The Book Of Souls (Parlophone)
Let’s get one thing clear right away. Iron Maiden are, in my eyes, the biggest heavy metal band of all time. Yes, bigger than Metallica, Sabbath and anyone else you care to throw in the mix. So the arrival of an Iron Maiden album is an absolutely massive event. Add in Bruce Dickinson’s recent health scare which was clearly a little more concerning than was revealed at the time and the arrival of The Book Of Souls is an even more momentous occasion. Maiden’s ability to tour for years at a time, combined with their recent decisions to deliver huge chunks of their back catalogue in the live arena means that they are rarely out of the media and consequently never out of our line of sight. Like their US counterparts Metallica, there has been hardly a year in recent memory when Maiden are not headlining a UK festival or massive show and so it is somewhat of a surprise in many respects that The Book Of Souls is Maiden’s first studio release since 2010’s brilliant The Final Frontier.
It only seems like yesterday that I was in my bedroom on a Friday night listening the legendary ‘TV On The Radio’, the much missed Tommy Vance as he provided airtime to a track of the soon to be released third album from NWOBHM outfit Iron Maiden. The year was 1982, that track was Gangland and it blew my mind, which was no mean feat as I was massively upset when Paul Di’anno had left the Irons; Killers is still my favourite Maiden album. I was also a big fan of Samson, the band that Bruce had sung with before he joined Maiden, and I was quietly conflicted about the changes in personnel that I was reading about in the music press. Suffice to say that my concerns were soon laid to rest when the needle first dropped on The Number Of The Beast. A year later and I’d seen the air raid siren lead the charge at St David’s Hall as 2500 rabid South Wales head bangers rocked out during the Piece Of Mind tour. Yes, I was a convert and over the years, my admiration and loyalty for this iconic, British heavy metal institution has grown and grown.
33 years on from ‘Beast’ and Maiden still deliver surprises galore. This time, a 92 minute double album crammed to overflowing with some of the best music they've ever made. Opener If Eternity Should Fail sets the pace, an atmospheric build up with Dickinson’s distinctive voice setting the scene before the rest of the band join in with the familiar bass gallop of Steve Harris and the triple guitar attack which has become so recognisable. At the back of it all, the simple yet complex drumming of Nicko McBrain, the driving force of the Maiden backline since 1983. Five minutes into the track and a complete shift of direction and pace with a stunning breakdown which allows the fretwork of Gers, Murray and Smith to take over, smoking lead work as they duel with each other. A classic chorus allows Dickinson to really open up and demonstrate that he can still hit those notes. This will be the opener when Maiden crash back to the arena circuit of the UK in 2016. Track two is the most straightforward and instantly catchy of the 11 songs on the album; Speed Of Light has already caused a great stir with its excellent video. This is Maiden at their best, full speed ahead, driving bass lines, crashing drums and guitar work which provides layer upon layer to strengthen the already mighty sound; and that’s before you get to the twin and sometimes triple harmonies of the solos. The irony of a short Iron Maiden song is that it still rocks in at over five minutes.
The Book Of Souls contains tracks written by various combinations of the band and The Great Unknown is the first of three composed by Adrian Smith and Steve Harris. A six and a half minute track, The Great Unknown allows Dickinson to once more flex his vocal chords whilst Harris’ bass lines rampage like a runaway horse. Several changes in tempo and solo after solo as each of Maiden’s axemen get a chance to showcase their skills before a further and quite dramatic slowing of pace and some deft keyboard work brings the track to a calm end. Onto the first epic piece on the album, with Harris’ bass work leading directly into a typical Maiden stomp as the 13+ minute piece The Red And The Black begins to build. The only track on the album written solely by Harris, Dickinson has to work really hard to get the lyrics out at the start. With a rhythm reminiscent of the Rime Of The Ancient Mariner and the classic “whoo – whoo” chanting arriving early on, The Red And The Black slowly increases in speed and anticipation and by the third round of chanting you are preparing yourself for the breakdown; it soon arrives with some delicate keyboard work underpinning the triple guitar harmonies. Steve Harris knows how to compose the odd monster and this track is amongst his best works. Dickinson is allowed full range and the melody that runs throughout the song is infectious. Of course, it follows the usual Maiden blueprint with substantial opportunity for some sterling guitar work, each of Maiden’s guitarists granted plenty of time to tease out a solo before the keyboards wash through, continuing to add further volume and enhancement to the Maiden sound. At nine minutes in, a real traditional Iron Maiden heavy metal moment as the real Steve Harris gallop is let loose, accompanied by a three pronged guitar support. This is going to be a beast live, demanding attention from the crowd, concentration from the band and an acceptance from all that this is Iron fucking Maiden at their best. All that is classic about the band, the 41 years of graft and toil that Steve Harris has poured into making Iron Maiden is encapsulated in the final four minutes of this song. Absolutely brilliant and enough to give you goose bumps.
When The River Runs Deep follows, Dickinson again forcing himself to hit those really high notes which you either love or hate. I listened to a lot of Maiden’s back catalogue in the run up to this album and it would be fair to say that Dickinson’s voice has got progressively higher in pitch despite his age. Another Smith/Harris composition, When The River Runs Deep is fast and edgy, with a more aggressive style and driven approach. McBrain hammers the crap out of his kit throughout, ensuring that you forget that at 63 he is Maiden’s elder statesman. You’d never know with his playing superb. Meanwhile, Smith, Murray and Gers rip out face-melting solos which compliment Harris’s machine gunning bass work. A gentle intro with subtle keyboards leads into the final track on side one, and it’s another epic. Title track The Book Of Souls is one of two Gers/Harris penned tracks on the album and it is another beast of a track. Using keyboards to underpin the Maiden sound has been a standard approach since the late 1980s and the Seventh Son album and once again it works most impressively. Weighing in at over 10 minutes and telling the history of the Mayan people, The Book Of Souls, like all Maiden epics builds and builds, a solid pace to start with Dickinson’s vocals soaring the heights, before, at over halfway into the track things kick off with McBrain leading the charge with his battering ram of drumming, closely followed by the traditional guitar work and Harris’ bass powering away. It is once again classic Maiden and top quality heavy metal. Interestingly, unlike several of Maiden’s previous lengthy pieces, Dickinson remains involved throughout, adding verses as the track races to its conclusion. It’s going to be incredibly interesting to see what tracks the band pick to play live as there are a huge number of candidates.
Onto side two and what an opener. Death Or Glory, a mere five minute piece is a no-nonsense attack from start to finish, slicing guitar work, powerful rhythm and huge hooks in the chorus. Death Or Glory is from the same stable as The Trooper, Be Quick Or Be Dead and the like, and one likely to get the odd pit moving. As with Speed Of Light, it is a joint Dickinson/Smith composition; sharp, snappy and full pelt from start to finish. Back to the Somewhere In Time album for the sound on Shadows Of The Valley with its Wasted Years tinged introduction and familiar Maiden chug and once again the layered synthesiser sound adding texture. This is another meaty track, seven and a half minutes long, full of melody and hooks. Plenty of riffage and scintillating guitar work from the triple axes, and all the while the absolutely distinctive Maiden sound which by this part in the album is not only enjoyable but so reassuring to hear. It’s been a long time coming.
Tears Of A Clown, penned as a tribute to the late Robin Williams is the shortest track on the album and one of the most poignant. Tears Of A Clown considers the dark side of depression and pressure that Williams suffered despite his status as one of the world’s best loved comedians, which resulted in him tragically taking his own life in 2014. Initially I didn't think this was one of the strongest tracks but repeated plays have changed my view and it is actually one of the best on the album, definitely the most radio friendly track apart from Speed Of Light, due to its length and the abundance of hooks. It also contains some vintage guitar work from Smith who co-penned this with Harris.
Now at the final two tracks of this behemoth of a release and time for Dave Murray to add his name to the writing credits with The Man Of Sorrows, another six plus minute track that he wrote with Harris. Some interesting changes in the style on this track, with the keyboard use prominent in the early stages. The Man Of Sorrows oozes melody and in some ways is a departure from the time-honoured Maiden style. It is a much more progressive rock influenced piece, with plenty of shade and light, intricate and complex and rather delicate. I really like it.
Much has been written about the final piece, Empire Of The Clouds. The second solo Dickinson penned track on the album, at over 18 minutes the longest track Maiden has ever delivered, it is quite simply a stunning piece of work. Opening with over three minutes of piano and cello as the Dickinson sets the scene in majestic style, Empire Of The Clouds tells the romantic and captivating story of the R101 airship, which crashed on its first formal flight in Beauvais, France in 1930 with the loss of 48 lives. The track builds impressively, piano combining with the rest of the Maiden sound until a pause for breath, before a triumvirate of guitars combine to launch the second half. And this is Iron Maiden at their finest, Harris’ bass tearing along, McBrain providing the reliable backbone and those fucking awesome three-pronged guitar battles which just race and dart all over the place. Once again a light touch of keyboards adds refined depth. As the story develops and the R101 heads towards its doom, dropping from the sky, the atmosphere of the track continues to build, heading to the crescendo and capturing the deadly ending. Dickinson has done his research on this fascinating story, his lyrics accurately detailing how the outer skin of the airship ripped. The historic quote from the captain “we’re down lads” is used to great effect as the pace slows and one of Iron Maiden’s most gargantuan and impressive pieces closes. A quite breath taking piece of work and one that demands repeat listens to really grasp its full scope and breadth. In 2015, Iron Maiden are THE metal band. Roll on The Book Of Souls tour, it’s going to be something else. 10/10
Let’s get one thing clear right away. Iron Maiden are, in my eyes, the biggest heavy metal band of all time. Yes, bigger than Metallica, Sabbath and anyone else you care to throw in the mix. So the arrival of an Iron Maiden album is an absolutely massive event. Add in Bruce Dickinson’s recent health scare which was clearly a little more concerning than was revealed at the time and the arrival of The Book Of Souls is an even more momentous occasion. Maiden’s ability to tour for years at a time, combined with their recent decisions to deliver huge chunks of their back catalogue in the live arena means that they are rarely out of the media and consequently never out of our line of sight. Like their US counterparts Metallica, there has been hardly a year in recent memory when Maiden are not headlining a UK festival or massive show and so it is somewhat of a surprise in many respects that The Book Of Souls is Maiden’s first studio release since 2010’s brilliant The Final Frontier.
It only seems like yesterday that I was in my bedroom on a Friday night listening the legendary ‘TV On The Radio’, the much missed Tommy Vance as he provided airtime to a track of the soon to be released third album from NWOBHM outfit Iron Maiden. The year was 1982, that track was Gangland and it blew my mind, which was no mean feat as I was massively upset when Paul Di’anno had left the Irons; Killers is still my favourite Maiden album. I was also a big fan of Samson, the band that Bruce had sung with before he joined Maiden, and I was quietly conflicted about the changes in personnel that I was reading about in the music press. Suffice to say that my concerns were soon laid to rest when the needle first dropped on The Number Of The Beast. A year later and I’d seen the air raid siren lead the charge at St David’s Hall as 2500 rabid South Wales head bangers rocked out during the Piece Of Mind tour. Yes, I was a convert and over the years, my admiration and loyalty for this iconic, British heavy metal institution has grown and grown.
33 years on from ‘Beast’ and Maiden still deliver surprises galore. This time, a 92 minute double album crammed to overflowing with some of the best music they've ever made. Opener If Eternity Should Fail sets the pace, an atmospheric build up with Dickinson’s distinctive voice setting the scene before the rest of the band join in with the familiar bass gallop of Steve Harris and the triple guitar attack which has become so recognisable. At the back of it all, the simple yet complex drumming of Nicko McBrain, the driving force of the Maiden backline since 1983. Five minutes into the track and a complete shift of direction and pace with a stunning breakdown which allows the fretwork of Gers, Murray and Smith to take over, smoking lead work as they duel with each other. A classic chorus allows Dickinson to really open up and demonstrate that he can still hit those notes. This will be the opener when Maiden crash back to the arena circuit of the UK in 2016. Track two is the most straightforward and instantly catchy of the 11 songs on the album; Speed Of Light has already caused a great stir with its excellent video. This is Maiden at their best, full speed ahead, driving bass lines, crashing drums and guitar work which provides layer upon layer to strengthen the already mighty sound; and that’s before you get to the twin and sometimes triple harmonies of the solos. The irony of a short Iron Maiden song is that it still rocks in at over five minutes.
The Book Of Souls contains tracks written by various combinations of the band and The Great Unknown is the first of three composed by Adrian Smith and Steve Harris. A six and a half minute track, The Great Unknown allows Dickinson to once more flex his vocal chords whilst Harris’ bass lines rampage like a runaway horse. Several changes in tempo and solo after solo as each of Maiden’s axemen get a chance to showcase their skills before a further and quite dramatic slowing of pace and some deft keyboard work brings the track to a calm end. Onto the first epic piece on the album, with Harris’ bass work leading directly into a typical Maiden stomp as the 13+ minute piece The Red And The Black begins to build. The only track on the album written solely by Harris, Dickinson has to work really hard to get the lyrics out at the start. With a rhythm reminiscent of the Rime Of The Ancient Mariner and the classic “whoo – whoo” chanting arriving early on, The Red And The Black slowly increases in speed and anticipation and by the third round of chanting you are preparing yourself for the breakdown; it soon arrives with some delicate keyboard work underpinning the triple guitar harmonies. Steve Harris knows how to compose the odd monster and this track is amongst his best works. Dickinson is allowed full range and the melody that runs throughout the song is infectious. Of course, it follows the usual Maiden blueprint with substantial opportunity for some sterling guitar work, each of Maiden’s guitarists granted plenty of time to tease out a solo before the keyboards wash through, continuing to add further volume and enhancement to the Maiden sound. At nine minutes in, a real traditional Iron Maiden heavy metal moment as the real Steve Harris gallop is let loose, accompanied by a three pronged guitar support. This is going to be a beast live, demanding attention from the crowd, concentration from the band and an acceptance from all that this is Iron fucking Maiden at their best. All that is classic about the band, the 41 years of graft and toil that Steve Harris has poured into making Iron Maiden is encapsulated in the final four minutes of this song. Absolutely brilliant and enough to give you goose bumps.
When The River Runs Deep follows, Dickinson again forcing himself to hit those really high notes which you either love or hate. I listened to a lot of Maiden’s back catalogue in the run up to this album and it would be fair to say that Dickinson’s voice has got progressively higher in pitch despite his age. Another Smith/Harris composition, When The River Runs Deep is fast and edgy, with a more aggressive style and driven approach. McBrain hammers the crap out of his kit throughout, ensuring that you forget that at 63 he is Maiden’s elder statesman. You’d never know with his playing superb. Meanwhile, Smith, Murray and Gers rip out face-melting solos which compliment Harris’s machine gunning bass work. A gentle intro with subtle keyboards leads into the final track on side one, and it’s another epic. Title track The Book Of Souls is one of two Gers/Harris penned tracks on the album and it is another beast of a track. Using keyboards to underpin the Maiden sound has been a standard approach since the late 1980s and the Seventh Son album and once again it works most impressively. Weighing in at over 10 minutes and telling the history of the Mayan people, The Book Of Souls, like all Maiden epics builds and builds, a solid pace to start with Dickinson’s vocals soaring the heights, before, at over halfway into the track things kick off with McBrain leading the charge with his battering ram of drumming, closely followed by the traditional guitar work and Harris’ bass powering away. It is once again classic Maiden and top quality heavy metal. Interestingly, unlike several of Maiden’s previous lengthy pieces, Dickinson remains involved throughout, adding verses as the track races to its conclusion. It’s going to be incredibly interesting to see what tracks the band pick to play live as there are a huge number of candidates.
Onto side two and what an opener. Death Or Glory, a mere five minute piece is a no-nonsense attack from start to finish, slicing guitar work, powerful rhythm and huge hooks in the chorus. Death Or Glory is from the same stable as The Trooper, Be Quick Or Be Dead and the like, and one likely to get the odd pit moving. As with Speed Of Light, it is a joint Dickinson/Smith composition; sharp, snappy and full pelt from start to finish. Back to the Somewhere In Time album for the sound on Shadows Of The Valley with its Wasted Years tinged introduction and familiar Maiden chug and once again the layered synthesiser sound adding texture. This is another meaty track, seven and a half minutes long, full of melody and hooks. Plenty of riffage and scintillating guitar work from the triple axes, and all the while the absolutely distinctive Maiden sound which by this part in the album is not only enjoyable but so reassuring to hear. It’s been a long time coming.
Tears Of A Clown, penned as a tribute to the late Robin Williams is the shortest track on the album and one of the most poignant. Tears Of A Clown considers the dark side of depression and pressure that Williams suffered despite his status as one of the world’s best loved comedians, which resulted in him tragically taking his own life in 2014. Initially I didn't think this was one of the strongest tracks but repeated plays have changed my view and it is actually one of the best on the album, definitely the most radio friendly track apart from Speed Of Light, due to its length and the abundance of hooks. It also contains some vintage guitar work from Smith who co-penned this with Harris.
Now at the final two tracks of this behemoth of a release and time for Dave Murray to add his name to the writing credits with The Man Of Sorrows, another six plus minute track that he wrote with Harris. Some interesting changes in the style on this track, with the keyboard use prominent in the early stages. The Man Of Sorrows oozes melody and in some ways is a departure from the time-honoured Maiden style. It is a much more progressive rock influenced piece, with plenty of shade and light, intricate and complex and rather delicate. I really like it.
Much has been written about the final piece, Empire Of The Clouds. The second solo Dickinson penned track on the album, at over 18 minutes the longest track Maiden has ever delivered, it is quite simply a stunning piece of work. Opening with over three minutes of piano and cello as the Dickinson sets the scene in majestic style, Empire Of The Clouds tells the romantic and captivating story of the R101 airship, which crashed on its first formal flight in Beauvais, France in 1930 with the loss of 48 lives. The track builds impressively, piano combining with the rest of the Maiden sound until a pause for breath, before a triumvirate of guitars combine to launch the second half. And this is Iron Maiden at their finest, Harris’ bass tearing along, McBrain providing the reliable backbone and those fucking awesome three-pronged guitar battles which just race and dart all over the place. Once again a light touch of keyboards adds refined depth. As the story develops and the R101 heads towards its doom, dropping from the sky, the atmosphere of the track continues to build, heading to the crescendo and capturing the deadly ending. Dickinson has done his research on this fascinating story, his lyrics accurately detailing how the outer skin of the airship ripped. The historic quote from the captain “we’re down lads” is used to great effect as the pace slows and one of Iron Maiden’s most gargantuan and impressive pieces closes. A quite breath taking piece of work and one that demands repeat listens to really grasp its full scope and breadth. In 2015, Iron Maiden are THE metal band. Roll on The Book Of Souls tour, it’s going to be something else. 10/10
Friday, 4 September 2015
Reviews: Pop Evil, King King, Mykur
Pop Evil: Up (eOne Music)
So Michigan rockers Pop Evil come back with their fourth album, this record comes off the back of their breakthrough record Onyx, this previous release saw them get harder heavier and more grown up yet still retaining the melodic punch of their early albums. Onyx was the album instrumental in getting them known in the UK too (we got a special edition) and saw them tour the country on a solo tour and as support to Five Finger Death Punch. So what about Up? well it is yet again a step up in terms of musicianship and song writing, Footsteps is a marching chant along track that perfectly merges the bands heaviness with their keen ear for a melody, in fact this whole album is heavier than it's predecessor with a lot more big riffs from Nick Fuelling and Dave Grahs who add a swagger to tracks like Take It All and even some thrash riffs on Vendetta although they are not afraid of some introspective strumming on If Only For Now and even some Mandolin on Seattle Rain. They are the work horses that generally drive the music while Matt DiRito's bass and Joshua Marunde drums are deft and expressive supplying more than just rhythm.
Musically the palate on this record is wider than on previous releases, with a lot more electronic elements throughout especially on the eerie Ghost Of Muskegon; In Disarray harks to Stone Temple Pilots's style of psychedelic alternative rock, they are more than at home with the thumping modern metal stomp of Core, while Ways To Get High has a nod to Nirvana or Seether and Lux is a lustful hard rocker with a 'ooh' refrain, much of this mix of styles comes from Leigh Kakaty's impressive vocals, he gives an impassioned performance throughout with a huge range in his vocal. Last time I reviewed Pop Evil I said they were essentially an amalgamation of most post 90's American Rock bands, cherry picking the best bits to create albums and once again this is true albeit with a bit more gravitas, most notably on the final track Til Kingdom Come and the bonus number My Confessions, than before. Pop Evil continue on an upward trajectory with this record, watch this space as they could go stratospheric! 9/10
King King: Reaching For The Light (Hatman)
Scots blues rockers King King don't need any praise they have already won five British blues awards including best band (for the third time) and best album for their debut and their second album Standing In The Shadows. Having toured the album all around the UK they focused their sound and this is what is most evident on their third offering, the band are as tight as the lid on a W.I Jam jar. The four piece play classy blues rock on which all of the band gel perfectly, Alan Nimmo is the soulful vocals and the sublime six stringing, he plays with precision and passion providing the same kind of restrained but eloquent playing that Rory Gallagher or Stevie Ray Vaughan were revered for see the middle section of Stranger To Love. He is not the member of the band though and he is more than ably backed by the spirited drumming of Wayne Proctor, the funky bass playing of Lindsay Coulson both keep the engine room nice and stoked on the faster tracks like Hurricane and You Stopped The Rain as well as the more soulful cuts such as Rush Hour which also highlights the talents of Bob Fridzemas keys, he adds a mean organ with some ramping up the funk factor on Crazy.
All together the band blend seamlessly feeding off each other and giving the album a jam-like feel, from the outset the album it feels like a classic Whitesnake album, in fact Nimmo's excellent voice is the major reason for this, he delivers each line with a smoky blues that is somewhere between David Coverdale and Dave Meneketti from Y&T he has the perfect voice for the blues emotive but masculine especially when he sings of love on Lay With Me which has the keys just punctuating it perfectly before things funk up again in the coda for Just A Little Lie. After just one play of this album and it is evident why the hype surrounding King King is so justified, this album is superb it's a real tour-de-force of blues rock power, the band are virtuoso musicians and they know how to write a song and on this album they have nine stone cold classics. If you love blues rock par excellence then seek out Reaching For The Light you won't regret it. 9/10
Mykur: M (Relapse)
Mykur is a black metal band formed by Danish singer-songwriter Amalie Bruun who handles vocals, guitar piano and the production along with Kristoffer "Garm" Rygg from Norwegian Black Metal legends Ulver, she has assembled a cast of musicans to help her create this album that draws elements from, second wave black metal, atmospheric post-metal, gothic, darkwave, Scandinavian folk and classical music. So if that all sounds like it might be a bit over the top then you'd be right, this album moves from glacial black metal riffs and screeches to huge orchestral passages before culminating in lilting folk, Bruun's vocal range is superb she can chirp like a song bird, evoke magic with her clean vocals and scare Satan himself with her murderous scream. Now this album has garnered a lot of praise from the metal and rock press, which may be because Bruun is a woman, but it seems that this album is hailed as some kind of second coming of black metal, well that it maybe but for me it is mostly just the folky metal of Leave's Eyes with some black metal blastbeats thrown in for good measure, everything is played perfectly, precision is the name of the game here folks, add to that the D.I.Y production and you get a great true cvlt metal sound throughout. If you love black metal with folk influences then you will love M but for the most part the album is by the numbers black metal with some Danish folk and orchestrations to flesh it out a little. 7/10
So Michigan rockers Pop Evil come back with their fourth album, this record comes off the back of their breakthrough record Onyx, this previous release saw them get harder heavier and more grown up yet still retaining the melodic punch of their early albums. Onyx was the album instrumental in getting them known in the UK too (we got a special edition) and saw them tour the country on a solo tour and as support to Five Finger Death Punch. So what about Up? well it is yet again a step up in terms of musicianship and song writing, Footsteps is a marching chant along track that perfectly merges the bands heaviness with their keen ear for a melody, in fact this whole album is heavier than it's predecessor with a lot more big riffs from Nick Fuelling and Dave Grahs who add a swagger to tracks like Take It All and even some thrash riffs on Vendetta although they are not afraid of some introspective strumming on If Only For Now and even some Mandolin on Seattle Rain. They are the work horses that generally drive the music while Matt DiRito's bass and Joshua Marunde drums are deft and expressive supplying more than just rhythm.
Musically the palate on this record is wider than on previous releases, with a lot more electronic elements throughout especially on the eerie Ghost Of Muskegon; In Disarray harks to Stone Temple Pilots's style of psychedelic alternative rock, they are more than at home with the thumping modern metal stomp of Core, while Ways To Get High has a nod to Nirvana or Seether and Lux is a lustful hard rocker with a 'ooh' refrain, much of this mix of styles comes from Leigh Kakaty's impressive vocals, he gives an impassioned performance throughout with a huge range in his vocal. Last time I reviewed Pop Evil I said they were essentially an amalgamation of most post 90's American Rock bands, cherry picking the best bits to create albums and once again this is true albeit with a bit more gravitas, most notably on the final track Til Kingdom Come and the bonus number My Confessions, than before. Pop Evil continue on an upward trajectory with this record, watch this space as they could go stratospheric! 9/10
King King: Reaching For The Light (Hatman)
Scots blues rockers King King don't need any praise they have already won five British blues awards including best band (for the third time) and best album for their debut and their second album Standing In The Shadows. Having toured the album all around the UK they focused their sound and this is what is most evident on their third offering, the band are as tight as the lid on a W.I Jam jar. The four piece play classy blues rock on which all of the band gel perfectly, Alan Nimmo is the soulful vocals and the sublime six stringing, he plays with precision and passion providing the same kind of restrained but eloquent playing that Rory Gallagher or Stevie Ray Vaughan were revered for see the middle section of Stranger To Love. He is not the member of the band though and he is more than ably backed by the spirited drumming of Wayne Proctor, the funky bass playing of Lindsay Coulson both keep the engine room nice and stoked on the faster tracks like Hurricane and You Stopped The Rain as well as the more soulful cuts such as Rush Hour which also highlights the talents of Bob Fridzemas keys, he adds a mean organ with some ramping up the funk factor on Crazy.
All together the band blend seamlessly feeding off each other and giving the album a jam-like feel, from the outset the album it feels like a classic Whitesnake album, in fact Nimmo's excellent voice is the major reason for this, he delivers each line with a smoky blues that is somewhere between David Coverdale and Dave Meneketti from Y&T he has the perfect voice for the blues emotive but masculine especially when he sings of love on Lay With Me which has the keys just punctuating it perfectly before things funk up again in the coda for Just A Little Lie. After just one play of this album and it is evident why the hype surrounding King King is so justified, this album is superb it's a real tour-de-force of blues rock power, the band are virtuoso musicians and they know how to write a song and on this album they have nine stone cold classics. If you love blues rock par excellence then seek out Reaching For The Light you won't regret it. 9/10
Mykur: M (Relapse)
Mykur is a black metal band formed by Danish singer-songwriter Amalie Bruun who handles vocals, guitar piano and the production along with Kristoffer "Garm" Rygg from Norwegian Black Metal legends Ulver, she has assembled a cast of musicans to help her create this album that draws elements from, second wave black metal, atmospheric post-metal, gothic, darkwave, Scandinavian folk and classical music. So if that all sounds like it might be a bit over the top then you'd be right, this album moves from glacial black metal riffs and screeches to huge orchestral passages before culminating in lilting folk, Bruun's vocal range is superb she can chirp like a song bird, evoke magic with her clean vocals and scare Satan himself with her murderous scream. Now this album has garnered a lot of praise from the metal and rock press, which may be because Bruun is a woman, but it seems that this album is hailed as some kind of second coming of black metal, well that it maybe but for me it is mostly just the folky metal of Leave's Eyes with some black metal blastbeats thrown in for good measure, everything is played perfectly, precision is the name of the game here folks, add to that the D.I.Y production and you get a great true cvlt metal sound throughout. If you love black metal with folk influences then you will love M but for the most part the album is by the numbers black metal with some Danish folk and orchestrations to flesh it out a little. 7/10
Sunday, 30 August 2015
Reviews: Buckcherry, Nathaniel Rateliff, Biters
Buckcherry: Rock N Roll (F-Bomb Records)
Buckcherry's continuing transformation into one of America's biggest bands reaches it's latest stage on Rock N Roll which surprisingly is just that, after dabbling with a bit of a concept on Confessions it was their Fuck E.P that brought back the bawdy, naughty, swaggering danger that Buckcherry's music has always delivered. On Rock N Roll the band have brought back that rock again with songs like Bring It On Back, The Madness but they have also fleshed out their sound with horns on the brilliantly filthy Tight Pants, some country-like organs that err on the Bon Jovi style The Feeling Never Dies and a mix of heavy and light on Cradle which echoes Aerosmith's Living On The Edge. In fact the album seems to experiment a bit in the middle before rocking up in the final part with Wood, Sex Appeal all coming from the faster, furious play book with only Rain's Falling slowing things down with it's emotive almost lounge bar balladic style. This album doesn't outstay it's welcome it's straight in bash you about the head, get you hips swaying and runs it's hands up your girlfriends dress, just over 38 minutes it's just how a rock album should be. This album mixes up Buckcherry's sound perfectly and takes them further on their journey (much like latter day Aerosmith) with a mix of soul, blues, funk all coming together, these obviously are all the component elements of rock n roll, this is a tribute to rocks influences and for the most part is a stripped back organic affair. Yet again Josh Todd is on top form, sneering, and snarling like the rock gods of old, he is every bit a rock n roll frontman, Keith Nelson and Stevie D provide perfect guitars with a loucheness and a chugging jagged edge backed by the rumbling rhythm section of Xaiver Muriel and Kelly LeMieux. Buckcherry are back on course now let's have a party!! 8/10
Nathaniel Rateliff & The Night Sweats: S/T (Stax)
Nathaniel Rateliff is a singer songwriter from Missouri, he has released a few solo records which showcased his songwriting talent and his folk roots, however he has now found himself a band (called The Night Sweats) and has all but changed his sound making it bigger and indeed better. Look at the record label that this record is on, yes that is THE Stax records home of Wilson Pickett, Sam & Dave, Otis Redding amongst other soul legends, Stax was the home of soul and funk and as such I don't need to tell you what Nathaniel Rateliff & The Night Sweats sounds like, this is soul music at it's most authentic with real passion and emotion behind it. I Need Never Get Old is the opener and it has the same jogging bass as Keep On Running by Spencer Davis Group with some reverbed guitar and parping brass to really get you grooving, the whole song echoes with power and it's here you get the first listen to Rateliff's amazing vocals, part whiskey barfly, part revival minister; his rawness fits the music perfectly, he has real sadness in the quieter parts but roars like a lion in the louder parts. I Need Never Get Old is the best opener and album like this can have immediately throwing you into those heady glory days of Stax, Look It Here is this tracks equal in terms of throw your hands in the air and sing it loud glee. Things inevitably slow down on Howling At Nothing as it has the swaying doo-wop beat that Ben E King would have crooned over, while also having a searing guitar solo that opens this records rock roots to.
Rateliff's band is superb they are all top notch players from the shuffling drums, through the bone rattling bass the rhythm section forces you to boogie while the guitars drive the songs along meaning the piano/organs as well as the horn section can flesh things out to really give you that classic soul vibe. I've Been Falling is the kind of song that would be playing in spit and sawdust late night bar, where you drink the pain away, before S.O.B is the tale of lament that follows off set by the humming, clapping verses and fractious guitar fuelled choruses. This album not only tries to sound like the records of old, it actually does the production is analogue with the right amount of hiss and pop to suspend your disbelief that this is vinyl, this album is pure R&B (the old kind) but the singer songwriter roots are still there, the lyrics are introspective and deal with all manner of hardships it's just the music that blind sides you into happier territory, however Wasting Time is the perfect example of this albums unrequited sadness with country & western slide guitar bringing to mind early Eagles while the vocals and drums sync beautifully, while Thank You is deep in the belly of the blues and I'd Be Waiting has a smoky blues backing (and some cymbal action that Santana would love). With so many influences on this record it's hard to find anyone that won't like at least one song on this album, no it's not metal, it's not even rock for the most part but it has the unrequited passion that any musical lover will identify with, it's an album of real music played with dedication, sophistication and flair. In a world full of posers and manufactured music Nathaniel Rateliff and his Night Sweats take you back to the heady days when real music mattered. BUY IT! 10/10
Biters: Electric Blood (Earache)
From swaggering American arena rock, to another band that follows the poppier style of hard rock favoured by fellow yanks Cheap Trick although established by Slade, The Sweet and Ziggy-era Bowie. Yes folks Biters are a glam styled band ready to give a short, sharp shock on their second album, as Restless Hearts starts things off with it's Cheap Trick with and AC/DC riff you know exactly what you are going to get, this glam rock with a punk sneer buoyed by an attitude and sneer all wrapped up in a bubblegum sheen. 1975 is a song that perfectly sums up the year as it harks back to Bowie, partly because of frontman Tuk's great vocals topping the strutting rock of the title track as well as the the punky bite of The Kids Ain't Alright which is a track filled with bravado and a piano exit that continues on the bar-room boogie of Low Lives In High Definition which is a T.V throwing ode to teenage rebellion while Space Age Wastelands has same guitar tone that Mr Lynott and co used to do back in the day. This album whizzes around like a sherbet dip-dab (one for the oldies) with 10 concise tracks of leather clad rock n roll that breeze by with a riotus punch, Tuk and Matt play with fire and flair while the rhythm section of Phillip and Joey provide the one-two back beat. Keep and eye out for Biters as they maybe tearing up a venue near you soon! 8/10
Buckcherry's continuing transformation into one of America's biggest bands reaches it's latest stage on Rock N Roll which surprisingly is just that, after dabbling with a bit of a concept on Confessions it was their Fuck E.P that brought back the bawdy, naughty, swaggering danger that Buckcherry's music has always delivered. On Rock N Roll the band have brought back that rock again with songs like Bring It On Back, The Madness but they have also fleshed out their sound with horns on the brilliantly filthy Tight Pants, some country-like organs that err on the Bon Jovi style The Feeling Never Dies and a mix of heavy and light on Cradle which echoes Aerosmith's Living On The Edge. In fact the album seems to experiment a bit in the middle before rocking up in the final part with Wood, Sex Appeal all coming from the faster, furious play book with only Rain's Falling slowing things down with it's emotive almost lounge bar balladic style. This album doesn't outstay it's welcome it's straight in bash you about the head, get you hips swaying and runs it's hands up your girlfriends dress, just over 38 minutes it's just how a rock album should be. This album mixes up Buckcherry's sound perfectly and takes them further on their journey (much like latter day Aerosmith) with a mix of soul, blues, funk all coming together, these obviously are all the component elements of rock n roll, this is a tribute to rocks influences and for the most part is a stripped back organic affair. Yet again Josh Todd is on top form, sneering, and snarling like the rock gods of old, he is every bit a rock n roll frontman, Keith Nelson and Stevie D provide perfect guitars with a loucheness and a chugging jagged edge backed by the rumbling rhythm section of Xaiver Muriel and Kelly LeMieux. Buckcherry are back on course now let's have a party!! 8/10
Nathaniel Rateliff & The Night Sweats: S/T (Stax)
Nathaniel Rateliff is a singer songwriter from Missouri, he has released a few solo records which showcased his songwriting talent and his folk roots, however he has now found himself a band (called The Night Sweats) and has all but changed his sound making it bigger and indeed better. Look at the record label that this record is on, yes that is THE Stax records home of Wilson Pickett, Sam & Dave, Otis Redding amongst other soul legends, Stax was the home of soul and funk and as such I don't need to tell you what Nathaniel Rateliff & The Night Sweats sounds like, this is soul music at it's most authentic with real passion and emotion behind it. I Need Never Get Old is the opener and it has the same jogging bass as Keep On Running by Spencer Davis Group with some reverbed guitar and parping brass to really get you grooving, the whole song echoes with power and it's here you get the first listen to Rateliff's amazing vocals, part whiskey barfly, part revival minister; his rawness fits the music perfectly, he has real sadness in the quieter parts but roars like a lion in the louder parts. I Need Never Get Old is the best opener and album like this can have immediately throwing you into those heady glory days of Stax, Look It Here is this tracks equal in terms of throw your hands in the air and sing it loud glee. Things inevitably slow down on Howling At Nothing as it has the swaying doo-wop beat that Ben E King would have crooned over, while also having a searing guitar solo that opens this records rock roots to.
Rateliff's band is superb they are all top notch players from the shuffling drums, through the bone rattling bass the rhythm section forces you to boogie while the guitars drive the songs along meaning the piano/organs as well as the horn section can flesh things out to really give you that classic soul vibe. I've Been Falling is the kind of song that would be playing in spit and sawdust late night bar, where you drink the pain away, before S.O.B is the tale of lament that follows off set by the humming, clapping verses and fractious guitar fuelled choruses. This album not only tries to sound like the records of old, it actually does the production is analogue with the right amount of hiss and pop to suspend your disbelief that this is vinyl, this album is pure R&B (the old kind) but the singer songwriter roots are still there, the lyrics are introspective and deal with all manner of hardships it's just the music that blind sides you into happier territory, however Wasting Time is the perfect example of this albums unrequited sadness with country & western slide guitar bringing to mind early Eagles while the vocals and drums sync beautifully, while Thank You is deep in the belly of the blues and I'd Be Waiting has a smoky blues backing (and some cymbal action that Santana would love). With so many influences on this record it's hard to find anyone that won't like at least one song on this album, no it's not metal, it's not even rock for the most part but it has the unrequited passion that any musical lover will identify with, it's an album of real music played with dedication, sophistication and flair. In a world full of posers and manufactured music Nathaniel Rateliff and his Night Sweats take you back to the heady days when real music mattered. BUY IT! 10/10
Biters: Electric Blood (Earache)
From swaggering American arena rock, to another band that follows the poppier style of hard rock favoured by fellow yanks Cheap Trick although established by Slade, The Sweet and Ziggy-era Bowie. Yes folks Biters are a glam styled band ready to give a short, sharp shock on their second album, as Restless Hearts starts things off with it's Cheap Trick with and AC/DC riff you know exactly what you are going to get, this glam rock with a punk sneer buoyed by an attitude and sneer all wrapped up in a bubblegum sheen. 1975 is a song that perfectly sums up the year as it harks back to Bowie, partly because of frontman Tuk's great vocals topping the strutting rock of the title track as well as the the punky bite of The Kids Ain't Alright which is a track filled with bravado and a piano exit that continues on the bar-room boogie of Low Lives In High Definition which is a T.V throwing ode to teenage rebellion while Space Age Wastelands has same guitar tone that Mr Lynott and co used to do back in the day. This album whizzes around like a sherbet dip-dab (one for the oldies) with 10 concise tracks of leather clad rock n roll that breeze by with a riotus punch, Tuk and Matt play with fire and flair while the rhythm section of Phillip and Joey provide the one-two back beat. Keep and eye out for Biters as they maybe tearing up a venue near you soon! 8/10
Saturday, 29 August 2015
Reviews: Motorhead, Pentagram, Idlewar (Reviews By Paul)
Motörhead: Bad Magic (UDR)
So after all the health problems which plagued Lemmy after the stunningly good Aftershock, Motörhead return to kick you full in the face with their 22nd album Bad Magic. And you know what, it is another full on, vital slab of no-nonsense rock ‘n’ roll, and just as good as album 21. Victory And Die is a hammering start to the album, Mikkey Dee powering the trio forward whilst the Rickenbacker bass of the main man still acts more as the rhythm guitar than the bass. Thunder & Lightning is classic Motörhead. 100mph, full steam ahead, allowing Phil Campbell to shred for Ponty. He truly is one of the rock world’s most underrated guitarists and once again demonstrates this throughout Bad Magic. So how does Lemmy's voice hold up? Well, he’s no Bruce Dickinson but Lemmy, well, he’s fucking Lemmy. You know what you get. That gruff, rough delivery is back in all its glory and he holds it throughout. Firestorm Hotel has a huge bluesy feel, with some smooth backing vocals, and once again shows that whilst Motörhead do indeed play Rock ‘n’ Roll, they can mix up the formula just a bit. Campbell’s guitar work absolutely excellent once more.
Bad Magic really doesn't fuck around with only one track over four minutes in length but whilst it isn't The Book Of Souls, it remains a quality release and one that proves once more that Motörhead is still relevant in today’s metal world. Electricity, one of the first releases off the album is a magnificent driving track, powerhouse bass and drums and some sharp fretwork. The blues edge has become more and more evident in Motorhead's recent work, and nowhere is it more evident than on Evil Eye, a brilliant example of this. Bad Magic just gets better as it goes on; a change of atmosphere and tempo on Til The End allows Lemmy to show his softer side with some cleaner vocals and emotive lyrics. After you've wiped your eyes Motörhead grab you right in the balls and deliver the final punches. Tell Me Who To Kill and Choking On Your Screams, complete with an absolute ringer of a Hawkwind riff lead towards the final tracks, another feel good rock ’n’ roller When The Sky Comes Looking For You before a really interesting cover of the Stones’ Sympathy For The Devil closes one of the releases of 2015. As I write this news has reached me that Lemmy is once again in poor health. If this is the swansong, it would be a fitting one although as I have tickets for the 40th anniversary show at Hammersmith Odeon in January, I desperately hope the main man can maintain his fitness to deliver a couple of these tracks live. Motörhead, on album at least remain a most excellent outfit. Motörhead for Life indeed. Long live Lemmy, Phil and Mikkey. 9/10
Pentagram: Curious Volume (Peaceville)
Veteran doom merchants Pentagram have been around for a long time. They are one of those bands who have flitted in my peripheral vision without really ever coming into focus. Well known as one of the forefathers of metal and doom in particular, the band have been led by singer Bobby Liebling since the 1970s with the rest of the line-up a revolving door of musicians. Curious Volume is the band’s 8th full studio album; not a prolific return but given the turbulence that the band has experienced, maybe not that surprising. The current personnel consists Liebling, Victor Griffin on guitar, Greg Turley on bass and new recruit Pete Campbell on drums. Full of chunky, fuzz ridden riffs, rampaging bass and drums and Liebling's instantly recognisable vocal delivery, Curious Volume is set firmly in the 1970s with a sound akin to their UK counterparts Black Sabbath.
So after all the health problems which plagued Lemmy after the stunningly good Aftershock, Motörhead return to kick you full in the face with their 22nd album Bad Magic. And you know what, it is another full on, vital slab of no-nonsense rock ‘n’ roll, and just as good as album 21. Victory And Die is a hammering start to the album, Mikkey Dee powering the trio forward whilst the Rickenbacker bass of the main man still acts more as the rhythm guitar than the bass. Thunder & Lightning is classic Motörhead. 100mph, full steam ahead, allowing Phil Campbell to shred for Ponty. He truly is one of the rock world’s most underrated guitarists and once again demonstrates this throughout Bad Magic. So how does Lemmy's voice hold up? Well, he’s no Bruce Dickinson but Lemmy, well, he’s fucking Lemmy. You know what you get. That gruff, rough delivery is back in all its glory and he holds it throughout. Firestorm Hotel has a huge bluesy feel, with some smooth backing vocals, and once again shows that whilst Motörhead do indeed play Rock ‘n’ Roll, they can mix up the formula just a bit. Campbell’s guitar work absolutely excellent once more.
Bad Magic really doesn't fuck around with only one track over four minutes in length but whilst it isn't The Book Of Souls, it remains a quality release and one that proves once more that Motörhead is still relevant in today’s metal world. Electricity, one of the first releases off the album is a magnificent driving track, powerhouse bass and drums and some sharp fretwork. The blues edge has become more and more evident in Motorhead's recent work, and nowhere is it more evident than on Evil Eye, a brilliant example of this. Bad Magic just gets better as it goes on; a change of atmosphere and tempo on Til The End allows Lemmy to show his softer side with some cleaner vocals and emotive lyrics. After you've wiped your eyes Motörhead grab you right in the balls and deliver the final punches. Tell Me Who To Kill and Choking On Your Screams, complete with an absolute ringer of a Hawkwind riff lead towards the final tracks, another feel good rock ’n’ roller When The Sky Comes Looking For You before a really interesting cover of the Stones’ Sympathy For The Devil closes one of the releases of 2015. As I write this news has reached me that Lemmy is once again in poor health. If this is the swansong, it would be a fitting one although as I have tickets for the 40th anniversary show at Hammersmith Odeon in January, I desperately hope the main man can maintain his fitness to deliver a couple of these tracks live. Motörhead, on album at least remain a most excellent outfit. Motörhead for Life indeed. Long live Lemmy, Phil and Mikkey. 9/10
Pentagram: Curious Volume (Peaceville)
Veteran doom merchants Pentagram have been around for a long time. They are one of those bands who have flitted in my peripheral vision without really ever coming into focus. Well known as one of the forefathers of metal and doom in particular, the band have been led by singer Bobby Liebling since the 1970s with the rest of the line-up a revolving door of musicians. Curious Volume is the band’s 8th full studio album; not a prolific return but given the turbulence that the band has experienced, maybe not that surprising. The current personnel consists Liebling, Victor Griffin on guitar, Greg Turley on bass and new recruit Pete Campbell on drums. Full of chunky, fuzz ridden riffs, rampaging bass and drums and Liebling's instantly recognisable vocal delivery, Curious Volume is set firmly in the 1970s with a sound akin to their UK counterparts Black Sabbath.
Griffin’s guitar work is excellent throughout, his soloing on opener Lay Down And Die eerily close to that of Iron Man Tony Iommi whilst The Tempter Push combines Geezer Butler’s power with the stoner edge of Clutch. Unsurprisingly, a Pentagram album rarely has the feel of a bright summer day and Curious Volume is no exception. The dark despair of Liebling's lyrics contribute to the feel of foreboding and ruin that flows through the album, although there are exceptions such as Dead Bury Dead with rocks along at quite a pace and doesn't contain quite such an air of malevolence. Although several critics have commented that Liebling's new found sobriety has dented the edges of his delivery, I can’t say that I noticed and the hooks and huge chugging riffs which drive this doom and stoner tinged music forward remains as addictive as ever. Devil’s Playground is possibly the track on the album, a massive groove and again the Sabbath flavoured guitar work. A metal institution, Curious Volume propels you back to 1974 once more … without having to obtain the cocaine habit. 8/10
Idlewar: Dig In (Self Released)
Formed in Orange County in 2014, Idlewar is a power trio consisting of James Blake, bass and vocals, Rick Graham on guitar and drummer Pete Pagonis. Dig In is a stomping five track EP which showcases the band’s major influences; Clutch, Zeppelin and Kings X to name but three. Dig In is heavy on the groove, hook and toe tapping; Chunk Of Me, for example, as infectious as impetigo in a nursery. It’s raw, it’s simple but damn is it effective and straightforward. Thick, heavy riffs cascade throughout the EP, with the slower paced Feel The Pain adding a bit of calm in the midst of some quality stoner rock. Album closer Stronger allows Blake to really open the pipes whilst Pagonis smashes seven shades out of his kit. In a genre which is incredibly strong, it’ll be difficult for Idlewar to accelerate at speed but the promise is there in spades. 7/10
Idlewar: Dig In (Self Released)
Formed in Orange County in 2014, Idlewar is a power trio consisting of James Blake, bass and vocals, Rick Graham on guitar and drummer Pete Pagonis. Dig In is a stomping five track EP which showcases the band’s major influences; Clutch, Zeppelin and Kings X to name but three. Dig In is heavy on the groove, hook and toe tapping; Chunk Of Me, for example, as infectious as impetigo in a nursery. It’s raw, it’s simple but damn is it effective and straightforward. Thick, heavy riffs cascade throughout the EP, with the slower paced Feel The Pain adding a bit of calm in the midst of some quality stoner rock. Album closer Stronger allows Blake to really open the pipes whilst Pagonis smashes seven shades out of his kit. In a genre which is incredibly strong, it’ll be difficult for Idlewar to accelerate at speed but the promise is there in spades. 7/10
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