Rock Diabetes - Fire And Forge Festival 2015, Trowbridge Civic Hall, Wiltshire
Across the bridge and into the middle of the beautiful county of Wiltshire for a 12 hour day festival, with a lot of bands that are well known on the British metal scene, the festival took place inside the Trowbridge Civic Hall with two stages (one large, one small) filled with over 20 bands, as a bonus all of the money raised by ticket sales and indeed a percentage of the bands merch sales went towards finding a cue for type 1 diabetes. So rock and roll for a good cause then lets get too it.
Soldier (7) were first up on the main stage and they played a strong set of powerful British heavy metal, Soldier are a revitalised NWOBHM band and their classic metal won over a lot of people in the crowd (they sold a LOT of merch) starting things off on the main stage in style, despite me only being able to catch a few songs. Over on the second stage it was Bite The Hand (7) who had played a good set of hard rock with bluesy bits to shake things up. After this bit of blues it was time for a bit of brutality on the main stage with Plymouth thrashers Huron (8) who were playing their first gig without their frontman Knievel who left after Download this year, the band are now trimmed to a four piece with bassist Rohan James taking over the vocalist role while also providing the bass, this is mighty modern thrash ala Machine Head with technical playing and aggressive songs that got the crowd banging their heads, I've never seen Huron as a five piece but as a four piece they were excellent providing the first real metal moment of the day when the threw in a cover of Testament's Into The Pit just for good measure. Great band that should go from strength to strength after this performance. Back over to the second stage to catch some of the West Country's answer to Crowbar or indeed BLS, Black Forge (7) they play big metal riffs biker style, with cut off leathers and beards galore, the band had some good songs but suffered with bad sound in the second stage meaning everything was very muddy although that could have been the point. With Warlord pulling out at the last minute it was Twisted State Of Mind (7) that took over their position on the main stage, they were full of youthful exuberance and boundless energy.
Staying on the main stage it was time for Triaxis (9) to step things up a little their professionalism was easily noticed, they were slick and drilled unit playing their most fierce material in the shape of Victorious, Liberty, Sand & Silver, Death Machine and Black Trinity battering the crowd that grew during the set, the band as usual played with ability and skill vocalist Krissy once again showing here power even though she was struggling with a hell of a cold, although you'd never notice. If I was to say one thing it's that they were on far too early, meaning they had a very short set for a band of this calibre, they should be much higher up the bill, a quick turn around and back onto the second stage for Triaxis bassist Becky's other band Control The Storm (7) the band play female fronted heavy metal with symphonic styling, their big sound was once again rendered a bit mute due to the poor sound, still the band ploughed through and delivered. Following them were Valous (7) who played gritty metal in the classic style early Maiden sound (a hark to the headliner) with rumbling bass and spiky guitars once again the room let the band down again. Back on the main stage for some chest beating groove metal in the shape of Black Acid Souls (8) they have a real menace about them with mixing thrash and groove perfectly to bring a chugging stomp to the main stage and once again lifting the spirits with fat riffs and booming vocals. Over to the second stage for classic rock worshipping Freeway Mad (8) who are deep in the 1980's classic rock vein of Y&T and followed by Jettblack, with some shirtless guitar fireworks and cowboy booted vocalist who screamed his head off throughout a thoroughly entertaining 45 minutes and the first band to have decent sound on this second stage.
Back onto the main stage ready for the 'Goth Kings of Manchester' Sinnergod (8)who brought a sense of darkness to proceedings playing, electronic Goth metal with big swathes of riffs and synths that was part Manson, part Placebo with less divisive vocals, they played Goth metal with emphasis on the heavier aspects and were not adversed to a solo either, for the most part they were bouncy Goth metal that got the girls (and one guy) dancing along to the darkness. As things changed over a local DJ had a bit of an Alan Partridge moment with some terribly unfunny stand up which made everyone wish he would just naff off and let the bands play. Happily it was time for Worcester trad metal heroes Fury (9) the band are Maiden meets Metallica who always play for their lives on every song having that epic feel of thrashy speed riffs, melodic vocals from Julian and bags of enthusiasm. The band ballsily played two new songs opening with one called StarTrooping and the other coming towards the middle of the set. After opening with a guitar rendition of the Blackadder theme you knew the band were going to have a lot of fun on stage. As well as the new stuff the band played classics in the shape of Dangerous World Out Beyond The Stars and the epic Britannia and Drunken Sailor both brought the house down. Third time at this festival and it showed by their performance which was once again fantastic. They get a bonus point for having the Union Jack instead of the George Cross draped on their amps as well as the Scottish and Welsh flag.
Unfortunately due to some very bad timing Cypher 16 suffered as they happened to be on at the same time as one of the most important games of rugby in the entire world cup, however I was near enough the second stage to catch Voodoo Vegas (8) bring their brand of big party rock and roll to Trowbridge. They are well in the tradition of Aerosmith and co, with big hair, big riffs and big balls they were the perfect end for the sweaty second stage, showing that even in a small venue they can captivate a crowd and get them rocking. Buoyed by a nail biting Welsh victory and being one of the few Welshmen in the building I was in a very good mood as I went straight into Absolva (9) who sounded better than ever in their new four piece formation, rhythm guitarist Luke Appleton returning to the fold after his dalliance with Iced Earth, this gives them more guts than before. They proceeded to get the fans in close, drawing the biggest crowd of the day as they ran through their rampaging metal with new stuff from as yet released album as well as glut of older tracks like Flames of Justice and Code Red that are all once modern and retro. Absolva put in a performance worthy of headline status and they also have a link tot he cause with frontman Chris being diagnosed with type 1 diabetes four years ago. So it was time for the headliner and really it was doomed from the start, after Absolva's amazing set having to suffer through a raffle and an auction at 10:45, then technical difficulties, after being in the venue for nearly 12 hours was trying my patience, but after being informed that frontman Paul DiAnno was waiting for an operation so would be sitting down for the gig, things went from bad to worse for The Architects of Chaoz (5) who were playing their first gig in the UK and it also marked Paul DiAnno's first performance in the UK for 10 years. Firstly their sound was appalling the bass was overpowering everything drowning out DiAnno's voice which has greatly improved from his Maiden days, the sound problem was only heightened when he ran through Sanctuary, followed by Prowler and the guitars were barely audible, as an upside the Architects Of Chaoz songs sounded good but would have been better if the sound was good. The final nail in the coffin for DiAnno was that between the songs he did nothing but complain about the crowd and the venue, using offensive remarks throughout to goad the crowd. I can see why DiAnno hasn't played in England for 10 years, he is so far removed from the British scene that he looked like a dinosaur.
All in all a nice little festival that needs a little bit of tweaking in the technical department and indeed the line up creation to make it a very good one indeed.
Monday, 28 September 2015
Sunday, 27 September 2015
Reviews: David Gilmour, Chris Cornell, Shinedown
David Gilmour: Rattle That Lock (Columbia)
Endless River signalled the end of an era for the guitarist and de-facto leader of Progressive Rock legends Pink Floyd, this was the groups final recording delving into the archive to create a tribute to their fallen comrade (keyboardist Rick Wright) and laying everything to rest. Gilmour is now a liberated man, he hasn't got the expectation of another Floyd album hanging around his neck which means that the man who has been the voice and guitar of Floyd for many years is now finally free to experiment and he has taken the opportunity of his first solo album in 9 years to widen his sound drawing from a few influences while maintaining that sound that is synonymous with him. Instrumental 5 a.m starts the record off and much in the style to Cluster One which opens Floyd's Division Bell album, it builds from relative silence into an acoustic led track that features Gilmour's definitive flowing guitar playing, however unlike Cluster One it fades after two minutes into the funky title track Rattle That Lock which is driven by Steve DiStanislao's cowbell-led drums and percussion, a reoccurring chime, hammond from co-producer Phil Manzanera and long time sideman Guy Pratt's walking bass line working with Yaron Stavi's upright bass playing. With it's gospel backing vocals from Mica Paris and Louise Marshall and funky rhythm it could be a real shake to the system for old school Floyd fans but as soon as Gilmour plays his searing solo the old wizard is still there.
Gilmour's solo work has always had an ambient sound and this album continues with this, Faces Of Stone starts off with a sparse piano intro before morphing into a folky acoustic piece that Floyd followers Mostly Autumn have done so well, it is the sound to a Parisian wonderland with piano and acoustic guitar working in tandem (both supplied by Gilmour) as the accordion adds the sense of drama to Gilmour's soulful, lazy vocals, that deliver his wife's poetic, wistful and sometimes heartbreaking lyrics with passion. The song swings away until the climactic solo sets your ears ablaze and saunters into the dreamy, romanticism of A Boat Lies Waiting which features Brian Eno (yes Brian Eno) on piano and the unmistakeable harmonies of David Crosby and Graham Nash working with Gilmour to sculpt one the albums most delicate and gorgeous songs. The jazz comes out on Dancing Right In Front Of Me which has the atypical upright bass and tapping percussion on a song that is one of many that has the superb orchestration of Zbigniew Preisner who marvels on In Any Tongue, Beauty is another instrumental which yet again has those ambient elements mentioned earlier, the guitars once again come to the fore as Eno once again adds atmospheric piano.
As Beauty drifts away we go back to the smoky jazz clubs for The Girl In The Yellow Dress which even has a sax and a parping cornet from Gilmour's old mate Robert Wyatt, this track slinks away and moves into the final 'proper track' Today which sees the most amount of musicians contributing with Pratt, Manzanera, DiStanislao all returning with the backing vocals of Paris and Marshall and the orchestrations of Preisner filling out the sound of this funky, whimsical uplifting rocker which has more than an element of Young Lust to is possibly due to the dual electric pianos and Gilmour's flirty and teasing vocal harmonising with his wife's wonderfully, finally And Then... is an instrumental that suitably ends this sprawling album beautifully. For Floyd fans this will love this album, as expected but also many non Floydians will too, it's a gorgeously constructed album of songs with Gilmour drawing on his childhood influences too. Yet again the work rate is as fast as a tectonic plate but it delivers and earthquake every time! 9/10
Chris Cornell: Higher Truth (Universal)
For the first time since Soundgarden's 2012 comeback King Animal their erstwhile frontman has returned to the recorded scene with his first solo album since 2009's critically panned Scream. Happily Cornell has gone back to his roots on this new record crafting an intimate acoustically tinged record with producer Brendan O Brien, the album for the most part is a showcase for Cornell's song writing playing and of course that unmistakable voice, the drums are either programmed or minimal meaning that everything is focussed on the warmth of the vocals and guitar combo. The genesis of this album comes from Cornell's Songbook acoustic tour where it was just him and an acoustic guitar and while this album is not strictly acoustic it has it's roots in acoustic playing. Nearly Forgot My Broken Heart is the perfect opener for the album with a lead mandolin backed by hand claps giving a powerful opening that shows occasional bursts of fussy electric soloing. Dead Wishes has a more country fell to it and is the first real showcase of Cornell's voice over the top of the acoustic plucking, piano and shuffling drums. Dead Wishes is a fantastic song, in fact most of this album is excellent, its not as stark or confessional as Euphoria Mo(u)rning or as rocky as and polished as Carry On but it is a superb collection of songs that look to Cornell's roots and make you feel something in the pit of your stomach, from the harmonica break on the bluesy Worried Moon, to the drum loop backing of the lumbering Before We Disappear which sounds like a condemned man's lament (or even a Bonamassa song).
Through The Window is beautiful in it's simplicity just a layered guitar with hints of an electric six string at the back and Cornell singing of regrets and sorrows. No this isn't Soundgarden, it's not a big pile of hard rock angst, it's not the open confessional of Cornell in his early solo records, no this is a new revitalised Cornell who finally seems at peace with himself, it's an album of acoustic rock songs in the fine troubadour style, looking to his influences for inspiration; with songs of love on Murder Of Blue Skies and the title track, which owes a debt to The Beatles with it's cacophony of noise at the end, something that moves right through to the final (on the normal edition) Our Time In The Universe which has an Indian vibe. Along with the songs of love there are also the ones that deal with loss and even happiness on Only These Three Words. This is what I would call a late night or indeed Sunday afternoon album, the ideal album to play in the comfort of your home surrounded by loved ones, put it on and let it's toasty glow engulf you. 9/10
Shinedown: Threat To Survival (Atlantic)
The Jacksonville Florida band come back with their fifth album and yet again they keep the sound that has seen them reaching the heights of the Billboard Number 1 time and time again, but once again evolving it much like they did on their previous release. Asking For It has a repetitive hook and an electronic backing on top of a punky guitar riff from Zach Myers that establishes their return with style. What is most noticeable are the electronic elements that are present throughout adding that modern sheen to Shinedown's alt metal songwriting. The bands albums have always greatly excelled their live performance with Brent Smith's vocals bolstered by the production allowing him to use all kinds of effects on songs like the swaggering Cut The Cord which harks back to Bully from Amaryllis with it's big child choir chorus. Again this album has big songs with HUGE hooks,, see How Did You Love and Outcast for two tracks that compliment each other slickly but this time as I've said they have added more influences with some industrial components and some sleaze on the percussion driven It All Adds Up.
The first part of this album is big riffs with a shout along value a good 7 songs have this chest beating approach with no slow down they are either fast or have some huge rhythms to get your head nodding, Oblivion is the most notable with it's sparse drum fuelled rhythm. Things slow down on the power ballad of Thick As Thieves which employs a bass drum and finger snap backing as well as some piano and acoustics, Black Cadillac things up a bit as it is swamped by synths and drums meaning that it feels a little like FNM in one of their more mainstream moments, however it's the finale of Misfits that really leaves a mark (scar?) as it too is built on synths and electronic orchestrations, this is a ballad on the scale of Nickelback with a bit of 80's synth pop thrown in for good measure, if any song is going to bring them another number one (ala Second Chance) it will be this one. With a more industrial sound than before the heartfelt lyrics and big rock riffs are still all here meaning it will not alienate old fans but what it will do is gain them a whole load of new fans, which for a band that are as talented and popular Shinedown is all that they can hope for, as I've said yet again they have made a slick album of modern American rock music. 8/10
Endless River signalled the end of an era for the guitarist and de-facto leader of Progressive Rock legends Pink Floyd, this was the groups final recording delving into the archive to create a tribute to their fallen comrade (keyboardist Rick Wright) and laying everything to rest. Gilmour is now a liberated man, he hasn't got the expectation of another Floyd album hanging around his neck which means that the man who has been the voice and guitar of Floyd for many years is now finally free to experiment and he has taken the opportunity of his first solo album in 9 years to widen his sound drawing from a few influences while maintaining that sound that is synonymous with him. Instrumental 5 a.m starts the record off and much in the style to Cluster One which opens Floyd's Division Bell album, it builds from relative silence into an acoustic led track that features Gilmour's definitive flowing guitar playing, however unlike Cluster One it fades after two minutes into the funky title track Rattle That Lock which is driven by Steve DiStanislao's cowbell-led drums and percussion, a reoccurring chime, hammond from co-producer Phil Manzanera and long time sideman Guy Pratt's walking bass line working with Yaron Stavi's upright bass playing. With it's gospel backing vocals from Mica Paris and Louise Marshall and funky rhythm it could be a real shake to the system for old school Floyd fans but as soon as Gilmour plays his searing solo the old wizard is still there.
Gilmour's solo work has always had an ambient sound and this album continues with this, Faces Of Stone starts off with a sparse piano intro before morphing into a folky acoustic piece that Floyd followers Mostly Autumn have done so well, it is the sound to a Parisian wonderland with piano and acoustic guitar working in tandem (both supplied by Gilmour) as the accordion adds the sense of drama to Gilmour's soulful, lazy vocals, that deliver his wife's poetic, wistful and sometimes heartbreaking lyrics with passion. The song swings away until the climactic solo sets your ears ablaze and saunters into the dreamy, romanticism of A Boat Lies Waiting which features Brian Eno (yes Brian Eno) on piano and the unmistakeable harmonies of David Crosby and Graham Nash working with Gilmour to sculpt one the albums most delicate and gorgeous songs. The jazz comes out on Dancing Right In Front Of Me which has the atypical upright bass and tapping percussion on a song that is one of many that has the superb orchestration of Zbigniew Preisner who marvels on In Any Tongue, Beauty is another instrumental which yet again has those ambient elements mentioned earlier, the guitars once again come to the fore as Eno once again adds atmospheric piano.
As Beauty drifts away we go back to the smoky jazz clubs for The Girl In The Yellow Dress which even has a sax and a parping cornet from Gilmour's old mate Robert Wyatt, this track slinks away and moves into the final 'proper track' Today which sees the most amount of musicians contributing with Pratt, Manzanera, DiStanislao all returning with the backing vocals of Paris and Marshall and the orchestrations of Preisner filling out the sound of this funky, whimsical uplifting rocker which has more than an element of Young Lust to is possibly due to the dual electric pianos and Gilmour's flirty and teasing vocal harmonising with his wife's wonderfully, finally And Then... is an instrumental that suitably ends this sprawling album beautifully. For Floyd fans this will love this album, as expected but also many non Floydians will too, it's a gorgeously constructed album of songs with Gilmour drawing on his childhood influences too. Yet again the work rate is as fast as a tectonic plate but it delivers and earthquake every time! 9/10
Chris Cornell: Higher Truth (Universal)
For the first time since Soundgarden's 2012 comeback King Animal their erstwhile frontman has returned to the recorded scene with his first solo album since 2009's critically panned Scream. Happily Cornell has gone back to his roots on this new record crafting an intimate acoustically tinged record with producer Brendan O Brien, the album for the most part is a showcase for Cornell's song writing playing and of course that unmistakable voice, the drums are either programmed or minimal meaning that everything is focussed on the warmth of the vocals and guitar combo. The genesis of this album comes from Cornell's Songbook acoustic tour where it was just him and an acoustic guitar and while this album is not strictly acoustic it has it's roots in acoustic playing. Nearly Forgot My Broken Heart is the perfect opener for the album with a lead mandolin backed by hand claps giving a powerful opening that shows occasional bursts of fussy electric soloing. Dead Wishes has a more country fell to it and is the first real showcase of Cornell's voice over the top of the acoustic plucking, piano and shuffling drums. Dead Wishes is a fantastic song, in fact most of this album is excellent, its not as stark or confessional as Euphoria Mo(u)rning or as rocky as and polished as Carry On but it is a superb collection of songs that look to Cornell's roots and make you feel something in the pit of your stomach, from the harmonica break on the bluesy Worried Moon, to the drum loop backing of the lumbering Before We Disappear which sounds like a condemned man's lament (or even a Bonamassa song).
Through The Window is beautiful in it's simplicity just a layered guitar with hints of an electric six string at the back and Cornell singing of regrets and sorrows. No this isn't Soundgarden, it's not a big pile of hard rock angst, it's not the open confessional of Cornell in his early solo records, no this is a new revitalised Cornell who finally seems at peace with himself, it's an album of acoustic rock songs in the fine troubadour style, looking to his influences for inspiration; with songs of love on Murder Of Blue Skies and the title track, which owes a debt to The Beatles with it's cacophony of noise at the end, something that moves right through to the final (on the normal edition) Our Time In The Universe which has an Indian vibe. Along with the songs of love there are also the ones that deal with loss and even happiness on Only These Three Words. This is what I would call a late night or indeed Sunday afternoon album, the ideal album to play in the comfort of your home surrounded by loved ones, put it on and let it's toasty glow engulf you. 9/10
Shinedown: Threat To Survival (Atlantic)
The Jacksonville Florida band come back with their fifth album and yet again they keep the sound that has seen them reaching the heights of the Billboard Number 1 time and time again, but once again evolving it much like they did on their previous release. Asking For It has a repetitive hook and an electronic backing on top of a punky guitar riff from Zach Myers that establishes their return with style. What is most noticeable are the electronic elements that are present throughout adding that modern sheen to Shinedown's alt metal songwriting. The bands albums have always greatly excelled their live performance with Brent Smith's vocals bolstered by the production allowing him to use all kinds of effects on songs like the swaggering Cut The Cord which harks back to Bully from Amaryllis with it's big child choir chorus. Again this album has big songs with HUGE hooks,, see How Did You Love and Outcast for two tracks that compliment each other slickly but this time as I've said they have added more influences with some industrial components and some sleaze on the percussion driven It All Adds Up.
The first part of this album is big riffs with a shout along value a good 7 songs have this chest beating approach with no slow down they are either fast or have some huge rhythms to get your head nodding, Oblivion is the most notable with it's sparse drum fuelled rhythm. Things slow down on the power ballad of Thick As Thieves which employs a bass drum and finger snap backing as well as some piano and acoustics, Black Cadillac things up a bit as it is swamped by synths and drums meaning that it feels a little like FNM in one of their more mainstream moments, however it's the finale of Misfits that really leaves a mark (scar?) as it too is built on synths and electronic orchestrations, this is a ballad on the scale of Nickelback with a bit of 80's synth pop thrown in for good measure, if any song is going to bring them another number one (ala Second Chance) it will be this one. With a more industrial sound than before the heartfelt lyrics and big rock riffs are still all here meaning it will not alienate old fans but what it will do is gain them a whole load of new fans, which for a band that are as talented and popular Shinedown is all that they can hope for, as I've said yet again they have made a slick album of modern American rock music. 8/10
A View From Various Rooms: The Graveltones, Grand Magus, Winterfylleth (Live Round Up)
So in a change to what we normally do here's a round up of some of this weeks live events, this is purely due to frequency and not being able to give a full review of each gig due to various reasons.
The Graveltones (Fuel Cardiff)
First up was two piece The Graveltones who I'd seen the same day playing a short totally electric 'acoustic' set (they were plugged in) set in the legendary Spillers Records, so after a little flip over to Fuel it was time to see their full electric show and they really pulled it off, Jimmy's stabbing guitar bursts out garage blues licks that Jack White or The Black Keys would be proud of and also howling at the moon vocally while he rocks and rolls, the usually mild mannered Mikey becomes possessed behind the kit flailing like a silver back in the louder moments but also casting a spell with delicate percussion. A furious set of songs from the duo showcasing their new album in the live arena as well as playing tracks from the debut album to a crowd that lapped it up in droves, a great set from a band that have a live buzz. 8/10
Grand Magus (Marble Factory, Bristol)
Into the second home once more this time with our groups power metal loving twins. After sitting through Heaven Asunder who sound like Killswitch Engage playing Avenged Sevenfold songs *shudders* it was time for the Swedish trad metal warriors, J.B, Fox and Ludwig to take to the stage to the theme from Conan The Barbarian. The crowd were cheering as the band blasted straight into I, The Jury with the hammering drums of Ludwig and the thumping basslines of Fox driving the bands trad metal onslaught as J.B riffed for his life and sang the songs of iron and stell with his sonorous vocals, this was a greatest hits set punctuated with the enjoyable between song banter that Grand Magus do so well, it is self depreciating and also inspiring getting the crowd to chant and clap along allowing everyone to join in the fun. Sword Of The Ocean bled into Kingslayer and as the set progressed we got Steel Versus Steel the always impressive triple threat of Iron Will Raven's Guide Our Way and Like The Oar That Strikes The Water. The set flew by and we were at the end in no time with Valhalla Rising, Triumph & Power ending the main set but Magus are not a band to faff about with encore thanking the crowd before the enormous set ender Hammer Of The North which came with the obligatory 'whoahs' at it's end. Magus once again played a blinder laying down the gauntlet to co-head-liners Ensalved who didn't really live up to the expectations for me. 8/10
Winterfylleth (Thekla, Bristol)
The final gig of the week was in Bristol again for British pagan black metallers Winterfylleth, this time I was with my long term gig companion and our apprentice. Due to a late arrival (and some beverages) we missed the support bands arriving just as the headliners took to the stage. Always a force to be reckoned with and a mesmerising live act I was surprised to see how empty the Thekla was on a Friday night, this is a tremendous shame as Winterfylleth are one of the truly truly unique bands on the metal circuit mixing unrelenting black metal with folk and pagan influences. The band kicked off their technical display with The Divination Of Antiquity and something didn't seem right, despite the band playing with the amazing virtuosity they always do the sound was bit weird (much like it was at Hammerfest) so after the The Ghost Of Heritage there was a lot of tuning and sound checking to get things right meaning there was a gap in proceedings while the audio gremlins were sorted, dutifully the hardcore crowd waited and with the layered delivery of Winterfylleth was back in full swing, the band have real magic about them live, they don't move much, quite the opposite Chris Naughton stands steadfast as he furiously shreds away aided by long term conspirator Nick Wallwork on bass, they provide the steadfast rhythm section, anchored by Simon Lucas' drums, that make the Winterfylleth sound, while Dan Capp plays the mellifluous leads that give the band a real depth. The Wayfarer Pt 1 was very well received and yet again showed off Naughton's demonic but crystalline vocals, the black metal genre is always a bit hit and miss with me but Winterfylleth have such good songs delivered with real prowess, that it's hard not to like them, tracks like A Valley Thick With Oaks, Whisper Of The Elements show crushing brutality and also a pastoral whimsy with acoustics placating the ferocious assault. The set ended with the always impressive Defending The Realm and with a few thank you's the night was over, this by far was the best gig of the week, an intimate venue, with a dedicated fanbase watching a band that are never less than impressive (sound issues aside). 9/10
The Graveltones (Fuel Cardiff)
First up was two piece The Graveltones who I'd seen the same day playing a short totally electric 'acoustic' set (they were plugged in) set in the legendary Spillers Records, so after a little flip over to Fuel it was time to see their full electric show and they really pulled it off, Jimmy's stabbing guitar bursts out garage blues licks that Jack White or The Black Keys would be proud of and also howling at the moon vocally while he rocks and rolls, the usually mild mannered Mikey becomes possessed behind the kit flailing like a silver back in the louder moments but also casting a spell with delicate percussion. A furious set of songs from the duo showcasing their new album in the live arena as well as playing tracks from the debut album to a crowd that lapped it up in droves, a great set from a band that have a live buzz. 8/10
Grand Magus (Marble Factory, Bristol)
Into the second home once more this time with our groups power metal loving twins. After sitting through Heaven Asunder who sound like Killswitch Engage playing Avenged Sevenfold songs *shudders* it was time for the Swedish trad metal warriors, J.B, Fox and Ludwig to take to the stage to the theme from Conan The Barbarian. The crowd were cheering as the band blasted straight into I, The Jury with the hammering drums of Ludwig and the thumping basslines of Fox driving the bands trad metal onslaught as J.B riffed for his life and sang the songs of iron and stell with his sonorous vocals, this was a greatest hits set punctuated with the enjoyable between song banter that Grand Magus do so well, it is self depreciating and also inspiring getting the crowd to chant and clap along allowing everyone to join in the fun. Sword Of The Ocean bled into Kingslayer and as the set progressed we got Steel Versus Steel the always impressive triple threat of Iron Will Raven's Guide Our Way and Like The Oar That Strikes The Water. The set flew by and we were at the end in no time with Valhalla Rising, Triumph & Power ending the main set but Magus are not a band to faff about with encore thanking the crowd before the enormous set ender Hammer Of The North which came with the obligatory 'whoahs' at it's end. Magus once again played a blinder laying down the gauntlet to co-head-liners Ensalved who didn't really live up to the expectations for me. 8/10
Winterfylleth (Thekla, Bristol)
The final gig of the week was in Bristol again for British pagan black metallers Winterfylleth, this time I was with my long term gig companion and our apprentice. Due to a late arrival (and some beverages) we missed the support bands arriving just as the headliners took to the stage. Always a force to be reckoned with and a mesmerising live act I was surprised to see how empty the Thekla was on a Friday night, this is a tremendous shame as Winterfylleth are one of the truly truly unique bands on the metal circuit mixing unrelenting black metal with folk and pagan influences. The band kicked off their technical display with The Divination Of Antiquity and something didn't seem right, despite the band playing with the amazing virtuosity they always do the sound was bit weird (much like it was at Hammerfest) so after the The Ghost Of Heritage there was a lot of tuning and sound checking to get things right meaning there was a gap in proceedings while the audio gremlins were sorted, dutifully the hardcore crowd waited and with the layered delivery of Winterfylleth was back in full swing, the band have real magic about them live, they don't move much, quite the opposite Chris Naughton stands steadfast as he furiously shreds away aided by long term conspirator Nick Wallwork on bass, they provide the steadfast rhythm section, anchored by Simon Lucas' drums, that make the Winterfylleth sound, while Dan Capp plays the mellifluous leads that give the band a real depth. The Wayfarer Pt 1 was very well received and yet again showed off Naughton's demonic but crystalline vocals, the black metal genre is always a bit hit and miss with me but Winterfylleth have such good songs delivered with real prowess, that it's hard not to like them, tracks like A Valley Thick With Oaks, Whisper Of The Elements show crushing brutality and also a pastoral whimsy with acoustics placating the ferocious assault. The set ended with the always impressive Defending The Realm and with a few thank you's the night was over, this by far was the best gig of the week, an intimate venue, with a dedicated fanbase watching a band that are never less than impressive (sound issues aside). 9/10
Thursday, 24 September 2015
Reviews: Kill Ritual, Stereo Nasty, Neckdeep (Review By Nicola)
Kill Ritual: Karma Machine (Scarlet Records)
Karma Machine sees the third offering from Californian thrashers Kill Ritual, and despite undergoing a major line-up change, this smasher of a record proves there’s no letting up from the rocking quartet. Clean vocals come thick and fast, but do well to not detract from the grit laid down by what is, at times, technical guitar work. However, it is the melodic riffs that echo power metal and guitarist Andrew Rice’s frequent, yet perfectly placed, leads on guitar that make this offering something special. A powering intro provided by Just A Cut sets a very much fast-paced buzz, that rhythmic offerings such as Just A Cut and The Enemy Inside do nothing to dispel. A curve ball comes in the form of The Key, deceptively beginning as the album’s greatest attempt at a softer ballad; before utilising some clever guitar work to tear into another up-tempo corker. The title track Karma Machine is, however, by no means the greatest contribution, falling a little short of creating a real hook, whilst the inclusion of carnival-esque sound effects at song’s end adds nothing. Overall, it’s easy to see why Kill Ritual are gaining notoriety for their contemporary twist on thrash, Karma Machine once again breathing life into the genre and setting them apart from more traditionally associated acts such as Metallica and Slayer; whilst still rocking hard. 8/10
Stereo Nasty: Nasty By Nature (Independently signed)
Squeeze into the spandex, don the denim cut and quiff up your bouffant; as slick 80’s throwback metal band Stereo Nasty are blasting us to the past, and if the Irish four-piece are attempting to prove something with this debut; then prove something they sure do. Nasty By Nature manages quite a feat; by utilising gravelly vocals that echo Mark Tornillo or Biff Byford; and combining them with good few heaps of stellar riffage; without sounding like a sub-par knockoff revival band. Whilst it’s hard to pick stand out tracks on an all-killer album, Death Machine notably utilises a steady hook to build anticipation before catapulting in with tearing vocals; and relishes a rapid pace before dropping a solo worthy of your slickest air guitar. Classic metal appreciation comes from In The Blood, with the choral declaration of ‘I've got that heavy metal blood running through my veins’; providing the perfect ingredient for a roaring metal-head anthem. The final three tracks of the album Under Her Spell, The Warrior and Demon Halo, all appeared on their initial demo; but their given revamp leads them effortlessly in and adds to this banger of nostalgic charm. Overall, this album leaves me with a feeling I believe every good metal album should, a need to see this band live ASAP! 8/10
Neck Deep: Life’s Not Out To Get You (Hopeless Records)
If pop-punk is your thing, and lets be honest we have all been known to at least hum along to a catchy teenage pop-punk anthem (I implore you to think Sum41 here); chances are; you may already know Neck Deep. Formed in 2012 in Wrexham, Neck Deep are hailed by peers as being at the forefront of the new wave of the genre; having scooped a few notable accolades under their relatively-young belts, including Kerrang’s 2014 ‘Best British Newcomer’. Life’s Not Out to Get You drops straight into Citizens Of Earth’s youthful riff that wouldn't find itself out of place starting up an early Blink 182 album; before being met with a vocal approach by Ben Barlow that begs influence from Enter Shikari’s Rou Reynold’s anguished raps. Interestingly, this is where these vocal similarities end; as they are seemingly and confusingly dropped for the remainder of the album, being replaced with the a-typical Americanised nasal drawl synonymous with the genre. Overall, LNOTGY follows the typical formula for an album attempting to musically recreate the emotional rollercoaster of teen life. You've got your raised-tempo; middle finger up in Serpents, your acoustic attempt at a reflective ballad in December and there’s no denying all are delivered by an energy akin to that produced in a Mentos and Coke experiment. But to me, it’s all been done a thousand times before, with a thousand different faces and there are only so many ways you can moan about teenage girls that have broken your heart, on one album.
5/10
Karma Machine sees the third offering from Californian thrashers Kill Ritual, and despite undergoing a major line-up change, this smasher of a record proves there’s no letting up from the rocking quartet. Clean vocals come thick and fast, but do well to not detract from the grit laid down by what is, at times, technical guitar work. However, it is the melodic riffs that echo power metal and guitarist Andrew Rice’s frequent, yet perfectly placed, leads on guitar that make this offering something special. A powering intro provided by Just A Cut sets a very much fast-paced buzz, that rhythmic offerings such as Just A Cut and The Enemy Inside do nothing to dispel. A curve ball comes in the form of The Key, deceptively beginning as the album’s greatest attempt at a softer ballad; before utilising some clever guitar work to tear into another up-tempo corker. The title track Karma Machine is, however, by no means the greatest contribution, falling a little short of creating a real hook, whilst the inclusion of carnival-esque sound effects at song’s end adds nothing. Overall, it’s easy to see why Kill Ritual are gaining notoriety for their contemporary twist on thrash, Karma Machine once again breathing life into the genre and setting them apart from more traditionally associated acts such as Metallica and Slayer; whilst still rocking hard. 8/10
Stereo Nasty: Nasty By Nature (Independently signed)
Squeeze into the spandex, don the denim cut and quiff up your bouffant; as slick 80’s throwback metal band Stereo Nasty are blasting us to the past, and if the Irish four-piece are attempting to prove something with this debut; then prove something they sure do. Nasty By Nature manages quite a feat; by utilising gravelly vocals that echo Mark Tornillo or Biff Byford; and combining them with good few heaps of stellar riffage; without sounding like a sub-par knockoff revival band. Whilst it’s hard to pick stand out tracks on an all-killer album, Death Machine notably utilises a steady hook to build anticipation before catapulting in with tearing vocals; and relishes a rapid pace before dropping a solo worthy of your slickest air guitar. Classic metal appreciation comes from In The Blood, with the choral declaration of ‘I've got that heavy metal blood running through my veins’; providing the perfect ingredient for a roaring metal-head anthem. The final three tracks of the album Under Her Spell, The Warrior and Demon Halo, all appeared on their initial demo; but their given revamp leads them effortlessly in and adds to this banger of nostalgic charm. Overall, this album leaves me with a feeling I believe every good metal album should, a need to see this band live ASAP! 8/10
Neck Deep: Life’s Not Out To Get You (Hopeless Records)
If pop-punk is your thing, and lets be honest we have all been known to at least hum along to a catchy teenage pop-punk anthem (I implore you to think Sum41 here); chances are; you may already know Neck Deep. Formed in 2012 in Wrexham, Neck Deep are hailed by peers as being at the forefront of the new wave of the genre; having scooped a few notable accolades under their relatively-young belts, including Kerrang’s 2014 ‘Best British Newcomer’. Life’s Not Out to Get You drops straight into Citizens Of Earth’s youthful riff that wouldn't find itself out of place starting up an early Blink 182 album; before being met with a vocal approach by Ben Barlow that begs influence from Enter Shikari’s Rou Reynold’s anguished raps. Interestingly, this is where these vocal similarities end; as they are seemingly and confusingly dropped for the remainder of the album, being replaced with the a-typical Americanised nasal drawl synonymous with the genre. Overall, LNOTGY follows the typical formula for an album attempting to musically recreate the emotional rollercoaster of teen life. You've got your raised-tempo; middle finger up in Serpents, your acoustic attempt at a reflective ballad in December and there’s no denying all are delivered by an energy akin to that produced in a Mentos and Coke experiment. But to me, it’s all been done a thousand times before, with a thousand different faces and there are only so many ways you can moan about teenage girls that have broken your heart, on one album.
5/10
Monday, 21 September 2015
Reviews: Annihilator, Echolyn, Christian Mistress
Annihilator: Suicide Society (UDR)
Canadian thrash legends Annihilator have seen many line up changes throughout their years with only guitarist/lead writer Jeff Waters remaining the constant. The band seemed to have relative stability since 2004 with Dave Padden taking the vocalist role where Annihilator have always had problems, this new union seemed to be strong with Padden featuring on their great self titled album and 2013's Feast, both of which were full of the insane guitar prowess of Waters' early releases, bringing back the band into the collective conciousness. Padden too was a good fit for the band with his muscular vocals giving the band a new lease of life. However come 2015 and it's all change again with Padden departing the band leaving just Waters to continue with drummer Mike Harshaw, so for the first time since 1996 Waters not only handles all guitars and bass but vocals too (he previously sang between 1994 and 1996). So what is the new (old) Annihilator like well the outright superspeed of their early releases has been subdued a little on this album with Waters stripping things back for more heavy metal rather than speed metal/thrash style (which thankfully is still present on tracks such as Death Scent).
This release echoes the early 90's career of both Metallica and Megadeth I'm talking Youthanasia and The Black Album. This is an album that wears it's influences on it's sleeve, the title track which has a big stomping riff, before it speeds up for solo section and has Waters' giving his best Mustaine snarl which persists for the albums duration with the odd Papa Het "ohhh yeeeah" dropping in here and there. My Revenge is a bit too close to Damage Inc for my liking but it's still a good song that flaunts Waters' impressive guitar prowess. Snap is a darker but anthemic track and Creepin' Again has the same kind of wacky vocal delivery as Brain Dance but on the sort of sequel to Enter Sandman. Despite the setbacks in the personnel department Annihilator have released another great album that is different to their previous album but in a good way, this is the album Megadeth have wanted to make for years, I can't wait to see some of these crackers live at the end of the month. 8/10
Echolyn: I Heard You Listening (Self Released)
I Heard You Listening is American proggers Echolyn's ninth album, they were originally active in the early nineties playing a lengthy style of progressive rock favoured by Yes, Gentle Giant and early Genesis before going on hiatus until 2000. Since then they have released four albums, these retain the progressive values of old, but see them delivered in a more streamlined way favouring substance over style and concise songs over long winded instrumentals, most of the songs on this album don't crack the 10 minute mark with only the sprawling Empyrean Realms coming near with its euphoric delivery evoking those early Yes albums. The American band owe much to UK prog with ELP referenced in spades on Different Days which has all consuming organs and keys, something that continues throughout the album which fuses rock with more jazz passages on tracks like Once I Get Mine. The band also move through the modern neo-prog of Anathema on songs like the dreamy Sound Of Bees. The band also have nods to Rush and obviously Floyd but for the most part it is classic British prog with the five piece band of virtuoso musicians all playing excellently on these nine tracks that have wide spectrum of sounds but all pinned down by Christopher Buzby's keys and the dual lead vocals of Ray Weston and guitarist Brett Kull whose voices intertwine flawlessly on the Jethro Tull-like All This Time We're Given before Vanishing Sun brings everything together at the end. This is a strong album from an experienced band who do what they do very well. 7/10
Christian Mistress: To Your Death (Relapse)
There has been a glut of female fronted 'occult' bands at the moment with the whimsical, dreamy rock bands singing of demons and mystery usually with a Stevie Nicks-like chanteuse bewitching the audience with her lilting vocals as the band play intoxicating music. However Americans Christian Mistress have gone against the grain retaining the arcane lyricism but musically they are more akin to the NWOBHM style rock of Diamond Head and even the Scorpions than they are Blood Ceremony, The Blues Pills etc. Frontwoman Christie Davis has a husky vocal that lends the songs some big balls as she belts out the vocal lines over the pumping rhythm section of Jonny Wulf's striding bass and Reuben W Storey's thumping tubs, while Oscar Sparbel and Tim Diedrich furnish songs like Stronger Than Blood with intertwining leads of the early Maiden albums, Eclipse even has the Maiden gallop to give it that extra element of authenticity. There is a lot of influences on this record Neon has the Scorpions written all over it, Walkin' Around starts off with a chiming Angus Young guitar line before moving into another NWOBHM anthem, while Open Road harks to Thin Lizzy and Ultimate Freedom which edges into the occult rock tag mentioned earlier before speeding up with a more metallic middle. Christian Mistress are unashamedly retro with some killer hooks and performances, if you like NWOBHM with a rock edge then you will love this. 7/10
Canadian thrash legends Annihilator have seen many line up changes throughout their years with only guitarist/lead writer Jeff Waters remaining the constant. The band seemed to have relative stability since 2004 with Dave Padden taking the vocalist role where Annihilator have always had problems, this new union seemed to be strong with Padden featuring on their great self titled album and 2013's Feast, both of which were full of the insane guitar prowess of Waters' early releases, bringing back the band into the collective conciousness. Padden too was a good fit for the band with his muscular vocals giving the band a new lease of life. However come 2015 and it's all change again with Padden departing the band leaving just Waters to continue with drummer Mike Harshaw, so for the first time since 1996 Waters not only handles all guitars and bass but vocals too (he previously sang between 1994 and 1996). So what is the new (old) Annihilator like well the outright superspeed of their early releases has been subdued a little on this album with Waters stripping things back for more heavy metal rather than speed metal/thrash style (which thankfully is still present on tracks such as Death Scent).
This release echoes the early 90's career of both Metallica and Megadeth I'm talking Youthanasia and The Black Album. This is an album that wears it's influences on it's sleeve, the title track which has a big stomping riff, before it speeds up for solo section and has Waters' giving his best Mustaine snarl which persists for the albums duration with the odd Papa Het "ohhh yeeeah" dropping in here and there. My Revenge is a bit too close to Damage Inc for my liking but it's still a good song that flaunts Waters' impressive guitar prowess. Snap is a darker but anthemic track and Creepin' Again has the same kind of wacky vocal delivery as Brain Dance but on the sort of sequel to Enter Sandman. Despite the setbacks in the personnel department Annihilator have released another great album that is different to their previous album but in a good way, this is the album Megadeth have wanted to make for years, I can't wait to see some of these crackers live at the end of the month. 8/10
Echolyn: I Heard You Listening (Self Released)
I Heard You Listening is American proggers Echolyn's ninth album, they were originally active in the early nineties playing a lengthy style of progressive rock favoured by Yes, Gentle Giant and early Genesis before going on hiatus until 2000. Since then they have released four albums, these retain the progressive values of old, but see them delivered in a more streamlined way favouring substance over style and concise songs over long winded instrumentals, most of the songs on this album don't crack the 10 minute mark with only the sprawling Empyrean Realms coming near with its euphoric delivery evoking those early Yes albums. The American band owe much to UK prog with ELP referenced in spades on Different Days which has all consuming organs and keys, something that continues throughout the album which fuses rock with more jazz passages on tracks like Once I Get Mine. The band also move through the modern neo-prog of Anathema on songs like the dreamy Sound Of Bees. The band also have nods to Rush and obviously Floyd but for the most part it is classic British prog with the five piece band of virtuoso musicians all playing excellently on these nine tracks that have wide spectrum of sounds but all pinned down by Christopher Buzby's keys and the dual lead vocals of Ray Weston and guitarist Brett Kull whose voices intertwine flawlessly on the Jethro Tull-like All This Time We're Given before Vanishing Sun brings everything together at the end. This is a strong album from an experienced band who do what they do very well. 7/10
Christian Mistress: To Your Death (Relapse)
There has been a glut of female fronted 'occult' bands at the moment with the whimsical, dreamy rock bands singing of demons and mystery usually with a Stevie Nicks-like chanteuse bewitching the audience with her lilting vocals as the band play intoxicating music. However Americans Christian Mistress have gone against the grain retaining the arcane lyricism but musically they are more akin to the NWOBHM style rock of Diamond Head and even the Scorpions than they are Blood Ceremony, The Blues Pills etc. Frontwoman Christie Davis has a husky vocal that lends the songs some big balls as she belts out the vocal lines over the pumping rhythm section of Jonny Wulf's striding bass and Reuben W Storey's thumping tubs, while Oscar Sparbel and Tim Diedrich furnish songs like Stronger Than Blood with intertwining leads of the early Maiden albums, Eclipse even has the Maiden gallop to give it that extra element of authenticity. There is a lot of influences on this record Neon has the Scorpions written all over it, Walkin' Around starts off with a chiming Angus Young guitar line before moving into another NWOBHM anthem, while Open Road harks to Thin Lizzy and Ultimate Freedom which edges into the occult rock tag mentioned earlier before speeding up with a more metallic middle. Christian Mistress are unashamedly retro with some killer hooks and performances, if you like NWOBHM with a rock edge then you will love this. 7/10
Sunday, 20 September 2015
Venomous Thoughts: Music From The Outer Reaches
Venomous Thoughts
God Is An Astronaut: Helios/Erebus (Revive)
Comparisons to other bands will never be my strong suit as I will probably get targeted by my peers in the same way that William Tell allegedly shoots apples off heads. With that in mind, I now turn to visit the eighth release from this quartet from Glen of Downs in Ireland (at the time of writing I am now making my way through the rest of their back catalogue). Like all instrumental music, especially if it’s the likes of ambient rock it will always have elements of progression there to keep up the listening experience, at times you get so encapsulated you forget which track you’re on until you actually hear the mood of the track change. It’s psychedelic and ambivalent, meets prog and hard rock. I have to be honest it has been so difficult to describe these pieces of music and can only imagine that it could have a psychedelic light show if played in its entirety live.
Second track Pig Powder kicks off as a slow rock track led by Torsten’s guitar playing. Third track Vetus Memoria is a piano led track often switching between piano and synth with some superb jazz influenced style drumming supported by some great guitar riffs and solo’s in-between before closing with a hard rocky finish and ambivalent sound to end, should definitely be a live staple to please newcomers and long term fans of the band alike. A very hard and rocky track with ambience at the very end to settle the brief head nodding. Finem Solis continues the slow and soft keyboard theme with a little bit of static to give a white noise effect halfway through the song before ending the closing minutes with a slow classical arrangement coming from said piano, personally I feel this to be the weakest track on the album.
Title track Helios/Erebus (also the longest track at 8 and a half minutes) gives a slight acoustic feel to the album as if the guitar is speaking to you, however this doesn't last long as the power chords kick in along with the rest of the band, the keyboard blares to life and you feel an awe of electricity around you and can probably picture what I can only imagine would be a volcano tripping out at a light show, definitely should be another live staple. Obscura Somina, is a very similar track to aforementioned Finem Solis, however what makes it stand out to said track is a slow acoustic part accompanying the keyboard before fading out to let keyboard and classical once again take over to finish off before (and I won’t pardon the pun) fade into obscurity.
The track Centralia seems to have inherited a more swaying sound that sums up the majority of this track, after another slow piano arrangement and steady drum intro, the track then starts it starts to edge towards the closing two minutes when they take on a rock but jazzy drum take that has so infamously been adopted from other groups before. A strangely relaxing but funky bass track that your average d-jent band would be proud of, these closing moments shouldn't be mixed together...... yet somehow it does actually work on this album. Final track Sea Of Trees starts with a harrowingly haunting piano solo, before another acoustic solo then accompanies it, and then a beautiful medley follows from the entire group begins just before the 2 minute mark and it follows on suit from there. Torsten Kisella plays a brief but electric solo before letting Jamie Dean give another take over on the keys again with the effects of a haunting choir in the background as well before bringing the album to an abrupt finish.
The only small niggle I have with the album is that each track does literally start each album and can almost tempt you to fall asleep before the rest of the band kick in but credit where it is due it does set the tone of the album almost flawlessly. Ambience seems to be my favourite word for this particular debut review, but however since I don’t have my pet Thesaurus with me at this very moment I seriously cannot describe the audio experience I get from this album. Each track seem to tell a separate story in their own right having an ambient setting created by Jamie Dean (their most recent addition to the group) on keyboard and piano and has a clear classical influence, and then there are the hard rock and prog moments that is all set up by brothers Torsten on guitar, and Niels Kisella on the bass with a great performance by Lloyd Hanney on the sticks and skins. Clocking in at 45 minutes, this is going to be a very strong contender on my list of albums of the year, and a band I would very much like to see on the UK live circuit.
9/10
Authors Note: Perhaps using an instrumental album wasn’t the best example to start with, but having given this album so many listens in the last few days I couldn’t help but feel inspired to write about it despite my lack of extended vocabulary and thesaurus by side, however I do hope these words will give me a better critique of albums good and bad in the near future....... Here endeth the Venomous Rant.
God Is An Astronaut: Helios/Erebus (Revive)
Comparisons to other bands will never be my strong suit as I will probably get targeted by my peers in the same way that William Tell allegedly shoots apples off heads. With that in mind, I now turn to visit the eighth release from this quartet from Glen of Downs in Ireland (at the time of writing I am now making my way through the rest of their back catalogue). Like all instrumental music, especially if it’s the likes of ambient rock it will always have elements of progression there to keep up the listening experience, at times you get so encapsulated you forget which track you’re on until you actually hear the mood of the track change. It’s psychedelic and ambivalent, meets prog and hard rock. I have to be honest it has been so difficult to describe these pieces of music and can only imagine that it could have a psychedelic light show if played in its entirety live.
Second track Pig Powder kicks off as a slow rock track led by Torsten’s guitar playing. Third track Vetus Memoria is a piano led track often switching between piano and synth with some superb jazz influenced style drumming supported by some great guitar riffs and solo’s in-between before closing with a hard rocky finish and ambivalent sound to end, should definitely be a live staple to please newcomers and long term fans of the band alike. A very hard and rocky track with ambience at the very end to settle the brief head nodding. Finem Solis continues the slow and soft keyboard theme with a little bit of static to give a white noise effect halfway through the song before ending the closing minutes with a slow classical arrangement coming from said piano, personally I feel this to be the weakest track on the album.
Title track Helios/Erebus (also the longest track at 8 and a half minutes) gives a slight acoustic feel to the album as if the guitar is speaking to you, however this doesn't last long as the power chords kick in along with the rest of the band, the keyboard blares to life and you feel an awe of electricity around you and can probably picture what I can only imagine would be a volcano tripping out at a light show, definitely should be another live staple. Obscura Somina, is a very similar track to aforementioned Finem Solis, however what makes it stand out to said track is a slow acoustic part accompanying the keyboard before fading out to let keyboard and classical once again take over to finish off before (and I won’t pardon the pun) fade into obscurity.
The track Centralia seems to have inherited a more swaying sound that sums up the majority of this track, after another slow piano arrangement and steady drum intro, the track then starts it starts to edge towards the closing two minutes when they take on a rock but jazzy drum take that has so infamously been adopted from other groups before. A strangely relaxing but funky bass track that your average d-jent band would be proud of, these closing moments shouldn't be mixed together...... yet somehow it does actually work on this album. Final track Sea Of Trees starts with a harrowingly haunting piano solo, before another acoustic solo then accompanies it, and then a beautiful medley follows from the entire group begins just before the 2 minute mark and it follows on suit from there. Torsten Kisella plays a brief but electric solo before letting Jamie Dean give another take over on the keys again with the effects of a haunting choir in the background as well before bringing the album to an abrupt finish.
The only small niggle I have with the album is that each track does literally start each album and can almost tempt you to fall asleep before the rest of the band kick in but credit where it is due it does set the tone of the album almost flawlessly. Ambience seems to be my favourite word for this particular debut review, but however since I don’t have my pet Thesaurus with me at this very moment I seriously cannot describe the audio experience I get from this album. Each track seem to tell a separate story in their own right having an ambient setting created by Jamie Dean (their most recent addition to the group) on keyboard and piano and has a clear classical influence, and then there are the hard rock and prog moments that is all set up by brothers Torsten on guitar, and Niels Kisella on the bass with a great performance by Lloyd Hanney on the sticks and skins. Clocking in at 45 minutes, this is going to be a very strong contender on my list of albums of the year, and a band I would very much like to see on the UK live circuit.
9/10
Authors Note: Perhaps using an instrumental album wasn’t the best example to start with, but having given this album so many listens in the last few days I couldn’t help but feel inspired to write about it despite my lack of extended vocabulary and thesaurus by side, however I do hope these words will give me a better critique of albums good and bad in the near future....... Here endeth the Venomous Rant.
Saturday, 19 September 2015
Reviews: Royal Hunt, Grave Pleasures, Black Tide
Royal Hunt: Devil's Dozen (Frontiers)
Since Danes Royal Hunt reunited with their most revered vocalist D.C Cooper, back in 2011, the band have gone from strength to strength, celebrating their 20th anniversary 2012 before continuing with their latter career purple patch with 2013's A Life To Die For, however the band have outdone themselves with Devil's Dozen which unsurprisingly their thirteenth album, it is yet a gain a tour-de-force of melodic progressive metal, driven by founding member Andre Andersen's keys, over the eight tracks on this record the band really ply their trade with orchestral melodic metal with huge scope and precise musicianship. Opener So Right So Wrong builds the tension with it's ticking intro that explodes into the first powerful riffs shared by Andersen, guitarist Jonas Larsen and bassist Andreas Passmark. The song has almost a clockwork feel, sounding like it could have come from steampunk ball scene, the band have employed a string section to give them more of a cinematic quality from the outset. With it's huge backing vocals and orchestral feel So Right So Wrong starts the album off how it means to go on, with an epic feel carried by D.C Coopers excellent vocal, things switch on May You Never (Walk Alone) which is not a cover of the Liverpool anthem, no it is a strong second track builds from it's slow piano intro into a sprinting power metal track.
This whole album covers all of Royal Hunt's bases giving 8 distinct songs which are all linked by the bands excellent playing and their trademark sound while never being repetitive. Like I said Cooper's vocals are sublime and indeed unique his European delivery enlivens his rich baritone meaning that songs such as the galloping A Tear In The Rain have an almost operatic quality with a metallic crunch beneath them, but also showing the bands softer side on Until The Day which is a devastatingly powerful ballad induced by Andersen's piano and synths, underscored by the strings and the searing guitars. Having started their career in 1989 Royal Hunt have really outdone themselves on this record with a great mixture of old and new drawing from other influences too, the folky Riches To Rags being a major example of this sounding like it could have come off a Pirates Of The Caribbean soundtrack. Devil's Dozen is superb, really superb, in just 8 tracks the band leave you wanting more of the quality witnessed on this record, so much so in fact that you immediately play it again! 9/10
Grave Pleasures: Dreamcrash (Sony)
Finnish band Grave Pleasures have a picked their name perfectly, they are exactly that, their debut album is a perverted, sexy, filth laden album that is self described as "post apocalyptic post punk" this is music that is both mysteriously sexy and uplifitingly sad. Grave Pleasures themselves have a lot of misery to draw from, they have risen from the ashes of several bands, the majority of the membership are formally of Beastmilk, one of the most talked about bands in recent years, vocalist Mat ”Kvohst” McNerney and bassist Valtteri Arino both parted ways with Beastmilk's guitarist and set about forming a new band with Linnéa Olsson, Swedish bombshell guitarist formerly of occult doomers The Oath, along the way they found sticksman in the shape of Uno Bruniusson who was co-founder of Maiden-meets-Satan revivalists In Solitude, finally the band found Juho Vanhanen who contributes yet more guitar his jangling telecaster giving the band it's post-punk alternative style as it shines on top of the heavier rhythms. Now when I say heavier I don't mean in a Lamb Of God sense, no I mean atmospherically, the band deal in heavyweight themes and have a overriding sense of doom that manifests itself in an upbeat set of songs that blend, Goth, punk, metal and rock with the same gratifying joie-de-vivre as some of the most individual and cult bands of the late 1980's. The album has a distinctly late 80's early 90's flavour to it Utopian Scream has a stabbing guitar sound relentlessly pushing the forward the rhythms allowing Bruniusson's drums to breathe at the back room, as Kvohst gives a distinctly bizarre vocal performance.
This oddness leads pointedly into the more straightforward approach of New Hip Moon which has nods to New Order/Joy Division and breaks gets the legs moving with it's melodic euphoric Gothic chorus. Throughout this album there are nods to The Cure, to Killing Joke and even more obscure performers like Bauhaus. The furious percussion on the bass driven Crying Wolves nods to the unsettling eccentricity of Jello Bifara and co, while the dissonant guitars hook everything together as they jab on the punk Futureshock which tells you to "Obey The Future". Dreamcrash is not as much of an immediate record as the Beastmilk debut was but it is better for it. Yes there is still a lot of accessible stuff here with gorgeous hooks and melodies throughout but the songs need repeated listens to really draw you in to their world, Worn Threads is a slow burning, swirling ominous affair that is complete counterpoint to the gutsy punk of Taste The Void which along with Lipstick On Your Tombstone has a Gothic overtones Billy Idol and indeed The Cult. Grave Pleasures have crafted a soundtrack for the party, that comes after the party at the end of the world, this is the music of a forgotten generation that have survived the light of a thousand suns but have lost every inhibition in the process and just want to revel in their misery, come and join them and see where the music takes you. 9/10
Black Tide: Chasing Shadows (Pavement Entertainment)
Black Tide have a bit of a torrid time in terms of membership losing band memebers at a rate of knots with only frontman/guitarist Gabriel Garcia staying since the bands inception. I do have history with the band too, their debut was storming piece of old school thrash from a band young and hungry, it featured some modern classics like Shockwave and Warriors Of Time, showing that this band were contenders, however after their first album they did seem to disappear for a bit before returning with the Post Mortem which was in my opinion a turgid desperate attempt to cash in on the burgeoning metalcore style with emo lyrics and a lot of style of substance, this was buoyed by their boring performance at Sonisphere where they committed the ultimate sin of opening their set with a cover of Metallica's Hit The Lights a day after the band themselves had opened their headline set with the same song. The band were obviously none to healthy at that time either taking a bit of a hiatus which saw their drummer and bassist leaving the group, with a revolving line up of drummers and a loss of a bassist (again) since their comeback EP the band are finally settled as a (studio) three piece for this new album.
With this history of the band I was a little apprehensive about their new album but as No Guidelines starts off the band have found their thrash roots again the riffage of Garcia and his sideman Austin Diaz playing with style as Cody Paige blasts away in the engine room. The band have fused their two styles together well on this third record I would liken them to Bullet For My Valentine or even Avenged Sevenfold for the most part with some driving thrash riffs and emotive lyrics delivered by Garcia's scratchy but stylish vocals which are bolstered by the screaming backing vocals that bring to mind Florida's favourite sons Trivium another band that Black Tide have a similarities to. Yes there are misteps, Burn is awful but they are quickly forgotten by tracks like Promised Land, however for the most part this album will really hit the spot with any fans of A7X, BFMV or even Escape The Fate, these are arena baiting songs that are written to get the band back into the public conciousness. If I had one criticism it would be that there is one too many slow ballad like song with whiny lyrics for my liking meaning that a lot of the album is a bit samey. Still a step in the right direction for the Florida band. 6/10
Since Danes Royal Hunt reunited with their most revered vocalist D.C Cooper, back in 2011, the band have gone from strength to strength, celebrating their 20th anniversary 2012 before continuing with their latter career purple patch with 2013's A Life To Die For, however the band have outdone themselves with Devil's Dozen which unsurprisingly their thirteenth album, it is yet a gain a tour-de-force of melodic progressive metal, driven by founding member Andre Andersen's keys, over the eight tracks on this record the band really ply their trade with orchestral melodic metal with huge scope and precise musicianship. Opener So Right So Wrong builds the tension with it's ticking intro that explodes into the first powerful riffs shared by Andersen, guitarist Jonas Larsen and bassist Andreas Passmark. The song has almost a clockwork feel, sounding like it could have come from steampunk ball scene, the band have employed a string section to give them more of a cinematic quality from the outset. With it's huge backing vocals and orchestral feel So Right So Wrong starts the album off how it means to go on, with an epic feel carried by D.C Coopers excellent vocal, things switch on May You Never (Walk Alone) which is not a cover of the Liverpool anthem, no it is a strong second track builds from it's slow piano intro into a sprinting power metal track.
This whole album covers all of Royal Hunt's bases giving 8 distinct songs which are all linked by the bands excellent playing and their trademark sound while never being repetitive. Like I said Cooper's vocals are sublime and indeed unique his European delivery enlivens his rich baritone meaning that songs such as the galloping A Tear In The Rain have an almost operatic quality with a metallic crunch beneath them, but also showing the bands softer side on Until The Day which is a devastatingly powerful ballad induced by Andersen's piano and synths, underscored by the strings and the searing guitars. Having started their career in 1989 Royal Hunt have really outdone themselves on this record with a great mixture of old and new drawing from other influences too, the folky Riches To Rags being a major example of this sounding like it could have come off a Pirates Of The Caribbean soundtrack. Devil's Dozen is superb, really superb, in just 8 tracks the band leave you wanting more of the quality witnessed on this record, so much so in fact that you immediately play it again! 9/10
Grave Pleasures: Dreamcrash (Sony)
Finnish band Grave Pleasures have a picked their name perfectly, they are exactly that, their debut album is a perverted, sexy, filth laden album that is self described as "post apocalyptic post punk" this is music that is both mysteriously sexy and uplifitingly sad. Grave Pleasures themselves have a lot of misery to draw from, they have risen from the ashes of several bands, the majority of the membership are formally of Beastmilk, one of the most talked about bands in recent years, vocalist Mat ”Kvohst” McNerney and bassist Valtteri Arino both parted ways with Beastmilk's guitarist and set about forming a new band with Linnéa Olsson, Swedish bombshell guitarist formerly of occult doomers The Oath, along the way they found sticksman in the shape of Uno Bruniusson who was co-founder of Maiden-meets-Satan revivalists In Solitude, finally the band found Juho Vanhanen who contributes yet more guitar his jangling telecaster giving the band it's post-punk alternative style as it shines on top of the heavier rhythms. Now when I say heavier I don't mean in a Lamb Of God sense, no I mean atmospherically, the band deal in heavyweight themes and have a overriding sense of doom that manifests itself in an upbeat set of songs that blend, Goth, punk, metal and rock with the same gratifying joie-de-vivre as some of the most individual and cult bands of the late 1980's. The album has a distinctly late 80's early 90's flavour to it Utopian Scream has a stabbing guitar sound relentlessly pushing the forward the rhythms allowing Bruniusson's drums to breathe at the back room, as Kvohst gives a distinctly bizarre vocal performance.
This oddness leads pointedly into the more straightforward approach of New Hip Moon which has nods to New Order/Joy Division and breaks gets the legs moving with it's melodic euphoric Gothic chorus. Throughout this album there are nods to The Cure, to Killing Joke and even more obscure performers like Bauhaus. The furious percussion on the bass driven Crying Wolves nods to the unsettling eccentricity of Jello Bifara and co, while the dissonant guitars hook everything together as they jab on the punk Futureshock which tells you to "Obey The Future". Dreamcrash is not as much of an immediate record as the Beastmilk debut was but it is better for it. Yes there is still a lot of accessible stuff here with gorgeous hooks and melodies throughout but the songs need repeated listens to really draw you in to their world, Worn Threads is a slow burning, swirling ominous affair that is complete counterpoint to the gutsy punk of Taste The Void which along with Lipstick On Your Tombstone has a Gothic overtones Billy Idol and indeed The Cult. Grave Pleasures have crafted a soundtrack for the party, that comes after the party at the end of the world, this is the music of a forgotten generation that have survived the light of a thousand suns but have lost every inhibition in the process and just want to revel in their misery, come and join them and see where the music takes you. 9/10
Black Tide: Chasing Shadows (Pavement Entertainment)
Black Tide have a bit of a torrid time in terms of membership losing band memebers at a rate of knots with only frontman/guitarist Gabriel Garcia staying since the bands inception. I do have history with the band too, their debut was storming piece of old school thrash from a band young and hungry, it featured some modern classics like Shockwave and Warriors Of Time, showing that this band were contenders, however after their first album they did seem to disappear for a bit before returning with the Post Mortem which was in my opinion a turgid desperate attempt to cash in on the burgeoning metalcore style with emo lyrics and a lot of style of substance, this was buoyed by their boring performance at Sonisphere where they committed the ultimate sin of opening their set with a cover of Metallica's Hit The Lights a day after the band themselves had opened their headline set with the same song. The band were obviously none to healthy at that time either taking a bit of a hiatus which saw their drummer and bassist leaving the group, with a revolving line up of drummers and a loss of a bassist (again) since their comeback EP the band are finally settled as a (studio) three piece for this new album.
With this history of the band I was a little apprehensive about their new album but as No Guidelines starts off the band have found their thrash roots again the riffage of Garcia and his sideman Austin Diaz playing with style as Cody Paige blasts away in the engine room. The band have fused their two styles together well on this third record I would liken them to Bullet For My Valentine or even Avenged Sevenfold for the most part with some driving thrash riffs and emotive lyrics delivered by Garcia's scratchy but stylish vocals which are bolstered by the screaming backing vocals that bring to mind Florida's favourite sons Trivium another band that Black Tide have a similarities to. Yes there are misteps, Burn is awful but they are quickly forgotten by tracks like Promised Land, however for the most part this album will really hit the spot with any fans of A7X, BFMV or even Escape The Fate, these are arena baiting songs that are written to get the band back into the public conciousness. If I had one criticism it would be that there is one too many slow ballad like song with whiny lyrics for my liking meaning that a lot of the album is a bit samey. Still a step in the right direction for the Florida band. 6/10
Reviews: Stratovarius, Gary Clarke Jr, Metaprism
Stratovarius: Eternal (earMusic)
Polaris, Elysium and Nemesis these have been the three albums Stratovarius have released since their founding guitarist Timo Tolkki left and they have been consistently brilliant, almost reinventing the bands symphonic power metal sound wholesale bringing it into the 21st Century with progressive flourishes and mature song writing. Eternal continues in this vein of the previous three releases by once again supplying the top level prog/power metal that a band of this calibre can do in their sleep, the triumphant My Eternal Dream starts things off on a high with the drumming relentless, bass galloping and the bands trademark guitar/keyboard riffs welcoming you into the world of Stratovarius, the keyboard runs of Jens Johansson are once again sublime conducting orchestral parps and sweeping synths on every track, soloing just as fluidly as Matias Kupiainen's guitars do, with the two duelling like two axe heroes. Kupiainen is the main writer on this record meaning that all of the songs are little more guitar-centric much like they were on Nemesis from the rocking rhythms that underpin the techno synths on Shine In The Dark.
Along with the dark tale of romance In My Line Of Work and the metallic Few Are Those, Shine In The Dark is co-written by frontman Timo Kotipelto and Cain's Offering/ex-Sonata Arctica guitarist Jani Liimatainen. We go through the fat riffs of Rise Above It's chorus. The band are still in a purple patch delivering some of the best songs of their career on their most recent albums, one of the best tracks on this album, Lost Without A Trace is written by Lauri Porra, it is an epic track with light and shade throughout having power and gravitas, which is not bad for a bassist. With the music suitably excellent as usual it's up to Kotipelto to once again lay claim to being power metal greatest vocalist by soaring above the riffs, keys and blast beats with the same power he has shown since day one, his vocals are remarkable suiting the electronic Man In The Mirror as much as they do the wistful ballad Fire In Your Eyes. Stratovarius are still delivering fantastic music for a band in their 31st year with the grandiose finale The Lost Saga ending the album in an 11 minute plus masterpiece, yet again these Finns have delivered quality, you need this album. 9/10
Gary Clarke Jr: The Story Of Sonny Boy Slim (Warner Bros)
Gary Clarke Jr has been hailed as the saviour of American blues, transcending the genre even as he reinvents it, seamlessly blending blues, rock with soul, folk and hip-hop, think screaming guitars, howling vocals and electronic beats permeating the analogue groove. His debut was nothing short of a masterpiece bringing together everything he had worked for since he was first starting out on his path to super stardom, since then he has gone stratospheric playing with numerous huge bands and giving guest spots a galore, along with these he has also released a double live album that distilled his live sound on to two discs which whet the whistle for this sophomore album. So what do you do when you've concurred the world and been called the modern day Hendrix, well you release and album that is more akin with The Purple One than Purple Haze, the R&B factor has been turned up to it's highest on this record, soul and funk is just as important as rock and blues with Clarke Jr harking back to his Austin influences. The Healing has the gospel garage of The Black Keys, with a smooth delivery and the hip-hop drum loops, before we get our first bit of guitar violence on Grinder which has a wah-wah driven soul number on which Clarke Jr lets his fingers do the talking.
With the rock factor toned down and even the experimental nature of the debut subdued, it does mean that this record is a bit straightforward in places, Star is a bit weak with it's simple funk guitar lines and lazy lyrics. However it is followed by the soulful romantic organ filled Our Love which could have been a Prince number one, as could the frisky, filthy Can't Sleep which is just prime Purple One, handclaps and all. The stripped back blues of Church which is a nod to Sunday service musically and Hold On is one of the best tracks on the album with it's semi-rapped verses, but there is just one to many tracks on this record where Gary Clarke Jr is in neutral not pushing himself as he did on his debut. All in all this is a good album, Clarke Jr and his band all high quality musicians but this album does have a bit of difficult second album feel to it. This is a release that has flashes of his previous brilliance but for the most part it is a crowd pleasing record that is aimed at gratifying those who have recently discovered him rather than progressing with his reinvention of the blues. 8/10
Metaprism: The Human Encryption (Self Released)
Bournemouth modern metal troop Metaprism have finally released their awaited debut, The Human Encryption is a tour-de-force in post-millennial metal, this is chunky riffs, technical lead playing, intense drumming, the odd piece of programming and dual singers giving harsh/clean vocals, however in change to the norm the band has male and female vocalist which means that the band have a unique sound. I listened to Metaprisim's EP when it was released and I was impressed by the bands songwriting chops then however everything seems a lot more refined on this debut. The riffs come thick and fast from the off as we get two guitarists with defined roles Callum Dowling's rhythm guitar merges with Mike West's bass to drive these songs along flawlessly providing the fattest thickest riffs this side of Lamb Of God add to this the relentless, unstoppable drumming of James Clarke and you get a bottom end that punches you in guts. Add to this the impeccable lead playing of founder Ollie Roberts an the bands musical backing is rock solid fusing intense power and fantastic melodies.
Roberts guitar playing is very good indeed, his fingers fly over the the fretboard adding lead breaks and solos galore to the songs, although he resists the need to show off his flash and flare allowing the solos to breathe long enough to make an impact but not overshadow anything relying more on his lead breaks over the concrete riffs to widen the scope of the songs. He does give up one of the solos to Bloodshot Dawn's Ben Ellis who shows his mettle on Only The Last. With the music taken care of its up to vocalists Jut Tabor and Theresa Smith to show off their chops and they do sublimely, Smith has the keening female vocals that are not operatic in a Epica sense but they are powerful and soar above the heaviness duelling and intertwining with Tabors guttural screams and roars in a similar style Elize Ryd of Amaranthe or Delain's Charlotte Wessels especially on the super ballad Here I Stand. Tabor himself parries the light with darkness on tracks like Nebula but he also has a crooning clean vocal on Reload and Needless Of Light And Shame which blends with Smith's to add more power to huge choruses. Metaprism encompass everything good about modern metal they play progressive, heavy yet intensely melodic hook filled music that is executed with sublime style. 9/10
Polaris, Elysium and Nemesis these have been the three albums Stratovarius have released since their founding guitarist Timo Tolkki left and they have been consistently brilliant, almost reinventing the bands symphonic power metal sound wholesale bringing it into the 21st Century with progressive flourishes and mature song writing. Eternal continues in this vein of the previous three releases by once again supplying the top level prog/power metal that a band of this calibre can do in their sleep, the triumphant My Eternal Dream starts things off on a high with the drumming relentless, bass galloping and the bands trademark guitar/keyboard riffs welcoming you into the world of Stratovarius, the keyboard runs of Jens Johansson are once again sublime conducting orchestral parps and sweeping synths on every track, soloing just as fluidly as Matias Kupiainen's guitars do, with the two duelling like two axe heroes. Kupiainen is the main writer on this record meaning that all of the songs are little more guitar-centric much like they were on Nemesis from the rocking rhythms that underpin the techno synths on Shine In The Dark.
Along with the dark tale of romance In My Line Of Work and the metallic Few Are Those, Shine In The Dark is co-written by frontman Timo Kotipelto and Cain's Offering/ex-Sonata Arctica guitarist Jani Liimatainen. We go through the fat riffs of Rise Above It's chorus. The band are still in a purple patch delivering some of the best songs of their career on their most recent albums, one of the best tracks on this album, Lost Without A Trace is written by Lauri Porra, it is an epic track with light and shade throughout having power and gravitas, which is not bad for a bassist. With the music suitably excellent as usual it's up to Kotipelto to once again lay claim to being power metal greatest vocalist by soaring above the riffs, keys and blast beats with the same power he has shown since day one, his vocals are remarkable suiting the electronic Man In The Mirror as much as they do the wistful ballad Fire In Your Eyes. Stratovarius are still delivering fantastic music for a band in their 31st year with the grandiose finale The Lost Saga ending the album in an 11 minute plus masterpiece, yet again these Finns have delivered quality, you need this album. 9/10
Gary Clarke Jr: The Story Of Sonny Boy Slim (Warner Bros)
Gary Clarke Jr has been hailed as the saviour of American blues, transcending the genre even as he reinvents it, seamlessly blending blues, rock with soul, folk and hip-hop, think screaming guitars, howling vocals and electronic beats permeating the analogue groove. His debut was nothing short of a masterpiece bringing together everything he had worked for since he was first starting out on his path to super stardom, since then he has gone stratospheric playing with numerous huge bands and giving guest spots a galore, along with these he has also released a double live album that distilled his live sound on to two discs which whet the whistle for this sophomore album. So what do you do when you've concurred the world and been called the modern day Hendrix, well you release and album that is more akin with The Purple One than Purple Haze, the R&B factor has been turned up to it's highest on this record, soul and funk is just as important as rock and blues with Clarke Jr harking back to his Austin influences. The Healing has the gospel garage of The Black Keys, with a smooth delivery and the hip-hop drum loops, before we get our first bit of guitar violence on Grinder which has a wah-wah driven soul number on which Clarke Jr lets his fingers do the talking.
With the rock factor toned down and even the experimental nature of the debut subdued, it does mean that this record is a bit straightforward in places, Star is a bit weak with it's simple funk guitar lines and lazy lyrics. However it is followed by the soulful romantic organ filled Our Love which could have been a Prince number one, as could the frisky, filthy Can't Sleep which is just prime Purple One, handclaps and all. The stripped back blues of Church which is a nod to Sunday service musically and Hold On is one of the best tracks on the album with it's semi-rapped verses, but there is just one to many tracks on this record where Gary Clarke Jr is in neutral not pushing himself as he did on his debut. All in all this is a good album, Clarke Jr and his band all high quality musicians but this album does have a bit of difficult second album feel to it. This is a release that has flashes of his previous brilliance but for the most part it is a crowd pleasing record that is aimed at gratifying those who have recently discovered him rather than progressing with his reinvention of the blues. 8/10
Metaprism: The Human Encryption (Self Released)
Bournemouth modern metal troop Metaprism have finally released their awaited debut, The Human Encryption is a tour-de-force in post-millennial metal, this is chunky riffs, technical lead playing, intense drumming, the odd piece of programming and dual singers giving harsh/clean vocals, however in change to the norm the band has male and female vocalist which means that the band have a unique sound. I listened to Metaprisim's EP when it was released and I was impressed by the bands songwriting chops then however everything seems a lot more refined on this debut. The riffs come thick and fast from the off as we get two guitarists with defined roles Callum Dowling's rhythm guitar merges with Mike West's bass to drive these songs along flawlessly providing the fattest thickest riffs this side of Lamb Of God add to this the relentless, unstoppable drumming of James Clarke and you get a bottom end that punches you in guts. Add to this the impeccable lead playing of founder Ollie Roberts an the bands musical backing is rock solid fusing intense power and fantastic melodies.
Roberts guitar playing is very good indeed, his fingers fly over the the fretboard adding lead breaks and solos galore to the songs, although he resists the need to show off his flash and flare allowing the solos to breathe long enough to make an impact but not overshadow anything relying more on his lead breaks over the concrete riffs to widen the scope of the songs. He does give up one of the solos to Bloodshot Dawn's Ben Ellis who shows his mettle on Only The Last. With the music taken care of its up to vocalists Jut Tabor and Theresa Smith to show off their chops and they do sublimely, Smith has the keening female vocals that are not operatic in a Epica sense but they are powerful and soar above the heaviness duelling and intertwining with Tabors guttural screams and roars in a similar style Elize Ryd of Amaranthe or Delain's Charlotte Wessels especially on the super ballad Here I Stand. Tabor himself parries the light with darkness on tracks like Nebula but he also has a crooning clean vocal on Reload and Needless Of Light And Shame which blends with Smith's to add more power to huge choruses. Metaprism encompass everything good about modern metal they play progressive, heavy yet intensely melodic hook filled music that is executed with sublime style. 9/10
Thursday, 17 September 2015
Reviews: Cradle Of Filth, Xandria, Lothöryen (Reviews By Stief)
Cradle Of Filth: Hammer Of The Witches (Nuclear Blast Records)
Having drunkenly shoved Dani Filth at Hammerfest, I was deemed the most qualified to review the Ipswich band's latest offering. As with most of their albums, Cradle Of Filth set the mood with an instrumental piece (Walpurgis Eve) before ripping into Yours Immortally... which, musically, is brilliant, with the latest incarnation of COF working brilliantly together, Marthus' drums paired with the bass of Daniel Firth and guitars of Rich Shaw and Ashok, all interwoven with wonderful keyboard and vocal work from Lindsay Schoolcraft. However, one thing that has always seemed to divide the people has been Mr Filth himself; when he's growling, it's great and fits well with the sound of the band, but when he starts screeching, it's pretty jarring. However, it's not a surprise, you generally know what you're getting when it comes to Cradle Of Filth and most of the time, that involves Dani Filth's screeching voice over a symphonic black metal backdrop. Although a great sounding album, in some places it seems to sound too familiar to older works by the band, one example being Blackest Magick In Practice, which has echoes of Swansong For A Raven in areas. Overall, as mentioned earlier, it's a great album, and if you're a fan of the Filth, then it's definitely worth grabbing. However, if you're expecting something new, then look somewhere else. 7/10
Xandria: Fire And Ashes EP (Napalm Records)
Hailing from Germany, this is the second offering from the symphonic quintet since lead singer Dianne Van Giersbergen's joining. It's standard symphonic metal fare, with strings and operatic vocals galore. Opening song Voyage Of The Fallen opens with a wonderful choir before the band blast into excellent riffs. Despite consisting of only 7 songs, the EP gives us a few surprises, with covers of Meat Loaf's I'd Do Anything For Love (But I Won't Do That) and Sonata Arctica's Don't Say A Word, both songs getting a more bombastic edge added to them through the band's symphonic style. Xandria have also re-recorded 'alternate versions' of older songs, in this case Ravenheart and Now And Forever with Van Giersbergen obviously singing lead this time around. Generally, it's a great listen, especially if symphonic metal is your thing. 8/10
Lothöryen: Principles Of A Past Tomorrow (Shinigami Records)
The fifth offering from this Brazilian sextet, Principles... starts with ...A Journey Begins, which brings to mind The Eagles' Journey Of The Sorcerer in places before breaking into Heretic Chant, which is a great example of what melodic folk metal can be. With most of the songs, there are hints of Tobias Sammet's Avantasia amongst other bands in the mix, but that's not to say Lothöryen don't have their own sound. Daniel Felipe's gravelly vocals work wonderfully with the band's folky sound. Although initially bringing to mind the olden days with their lute-like guitars, played by Tim Alan Wagner and Leko Soares, with some rhythmic drumming from Marcello Benelli, the band throw in futuristic elements such as synth-like keyboard work from Leo Godde which work suprisingly well together with Marcelo Godde's bass and some excellent solos from Soares . There's a clear message of futurism and time theories throughout the album, with snippets of Stephen Hawkings and Carl Sagan being thrown into some of the songs. Generally the band has a great heavy sound and as pointed out before, has a very Avantasia-esque feel to it, with each song feeling different, yet working together as if they were pages in a book, whether it's the wah-wah pedal heavy sound of Manipulative Waves, the almost 80's synth in Night Is Calling and The Convict, the soft, ballad-like Wavery Time or the great folky sound in the previously mentioned Heretic Chant. An excellent piece of work. 9/10
Having drunkenly shoved Dani Filth at Hammerfest, I was deemed the most qualified to review the Ipswich band's latest offering. As with most of their albums, Cradle Of Filth set the mood with an instrumental piece (Walpurgis Eve) before ripping into Yours Immortally... which, musically, is brilliant, with the latest incarnation of COF working brilliantly together, Marthus' drums paired with the bass of Daniel Firth and guitars of Rich Shaw and Ashok, all interwoven with wonderful keyboard and vocal work from Lindsay Schoolcraft. However, one thing that has always seemed to divide the people has been Mr Filth himself; when he's growling, it's great and fits well with the sound of the band, but when he starts screeching, it's pretty jarring. However, it's not a surprise, you generally know what you're getting when it comes to Cradle Of Filth and most of the time, that involves Dani Filth's screeching voice over a symphonic black metal backdrop. Although a great sounding album, in some places it seems to sound too familiar to older works by the band, one example being Blackest Magick In Practice, which has echoes of Swansong For A Raven in areas. Overall, as mentioned earlier, it's a great album, and if you're a fan of the Filth, then it's definitely worth grabbing. However, if you're expecting something new, then look somewhere else. 7/10
Xandria: Fire And Ashes EP (Napalm Records)
Hailing from Germany, this is the second offering from the symphonic quintet since lead singer Dianne Van Giersbergen's joining. It's standard symphonic metal fare, with strings and operatic vocals galore. Opening song Voyage Of The Fallen opens with a wonderful choir before the band blast into excellent riffs. Despite consisting of only 7 songs, the EP gives us a few surprises, with covers of Meat Loaf's I'd Do Anything For Love (But I Won't Do That) and Sonata Arctica's Don't Say A Word, both songs getting a more bombastic edge added to them through the band's symphonic style. Xandria have also re-recorded 'alternate versions' of older songs, in this case Ravenheart and Now And Forever with Van Giersbergen obviously singing lead this time around. Generally, it's a great listen, especially if symphonic metal is your thing. 8/10
Lothöryen: Principles Of A Past Tomorrow (Shinigami Records)
The fifth offering from this Brazilian sextet, Principles... starts with ...A Journey Begins, which brings to mind The Eagles' Journey Of The Sorcerer in places before breaking into Heretic Chant, which is a great example of what melodic folk metal can be. With most of the songs, there are hints of Tobias Sammet's Avantasia amongst other bands in the mix, but that's not to say Lothöryen don't have their own sound. Daniel Felipe's gravelly vocals work wonderfully with the band's folky sound. Although initially bringing to mind the olden days with their lute-like guitars, played by Tim Alan Wagner and Leko Soares, with some rhythmic drumming from Marcello Benelli, the band throw in futuristic elements such as synth-like keyboard work from Leo Godde which work suprisingly well together with Marcelo Godde's bass and some excellent solos from Soares . There's a clear message of futurism and time theories throughout the album, with snippets of Stephen Hawkings and Carl Sagan being thrown into some of the songs. Generally the band has a great heavy sound and as pointed out before, has a very Avantasia-esque feel to it, with each song feeling different, yet working together as if they were pages in a book, whether it's the wah-wah pedal heavy sound of Manipulative Waves, the almost 80's synth in Night Is Calling and The Convict, the soft, ballad-like Wavery Time or the great folky sound in the previously mentioned Heretic Chant. An excellent piece of work. 9/10
Wednesday, 16 September 2015
Reviews: Stoned Jesus (Guest Review By Elle)
Stoned Jesus: The Harvest (InshaMuzyka)
Stoner/Doom Metal trio Stoned Jesus from Kyiv, Ukraine return with their 3rd full length album The Harvest. Stoned Jesus, formed in 2009, consist of three gloomy looking men who are passionate about themes of love and occultism. Igor, on vocals and lead guitar, Sid, on bass guitar and backing vocals and Viktor, on drums and percussion, make one talented bunch. Their talent doesn't come as a surprise as the band cite some of the greatest bands on the planet such as, Black Sabbath, Nirvana, Opeth and Mastodon as their influences. Stoned Jesus have enough material to keep their audience entertained but thirsty for more as apart from their 3 full length albums, they also have a couple of demos, a compilation and an EP up their sleeves.
Consisting of 6 songs, The Harvest is an interesting combination of funky, fast-paced tracks and slower, darker tunes with doomy riffs. Here Come The Robots is an explosive start to the album with a catchy one-liner chorus and the opening lyrics of ‘Jesus Christ!’ definitely caught my attention. Following on, is another rocker, Wound that gets you dancing around your living room and singing at the top of your lungs. This track centres around the aftermath of love and the recovery from betrayal and broken hearts through music. It is a song that we can all relate too and with its infectious tune it had me thinking that maybe not all hope for love is gone. The album soon enough changes its tempo to a sludgy, longer number, Rituals Of The Sun. I am personally quite fussy with bands’ vocals, but Igor’s voice is outstanding throughout, ranging between powerful melodies and raspy cries of despair. This track is by far my favourite on the album and it had me hypnotised from the first riff.
Get your necks ready because next up is a headbanging burst of monstrous stoner riffs, YFS (Youth For Sale). The song has a cheeky and almost rebellious side to it with lyrics such as, ‘I'm not buying this shit!’ and psychedelic soloing towards the end. Number 5 on the album is Silkworm Confessions, just over 9 minutes of pure ecstasy for the ears. The band takes you on a wicked journey with their trippy lyrics of getting really high, flying with angels and kissing the gods above. Throughout the whole track we are blessed with magnificent riffs, big enough to bring down Big Ben and to finish off, an anthemic chorus that touches your very soul. Last but not least is the whopping, 15 minute long, incredible Black Church. The track starts off slowly as if luring the listener in, but steadily picks up speed and hits you with rhythmic riffs and powerful drums. As soon as Igor opens his mouth he puts you under a spell taking your mind with him. With its comforting repetitiveness, the song opens up a door to a new dimension where no material things exist. The tune’s trancy nature relaxes you, engulfing you in its almighty riffs and canorous vocals.
I thoroughly enjoyed listening to the whole album not only once or twice and it got better with each listen. Stoned Jesus resemble the hazy stoner notes of Clutch and Monster Magnet, but add their own unique twist throughout The Harvest. Every song on the album has its own special sound to it enough to give you an eargasm. Stoned Jesus never let their fans wait for too long before delivering another dose of their high quality sludge. Just prior to completing my review, the band released a new song, The Harvest, which was one of the first songs completed for the album but didn't make the final cut. According to the lead singer, Igor, the track differs sonically from the style on the rest of the album, but retains its significance and so was released separately. That’s fine, I’ll just have it as a little bonus, as extra icing on my cake. Here’s hoping for a UK tour. 8/10
Stoner/Doom Metal trio Stoned Jesus from Kyiv, Ukraine return with their 3rd full length album The Harvest. Stoned Jesus, formed in 2009, consist of three gloomy looking men who are passionate about themes of love and occultism. Igor, on vocals and lead guitar, Sid, on bass guitar and backing vocals and Viktor, on drums and percussion, make one talented bunch. Their talent doesn't come as a surprise as the band cite some of the greatest bands on the planet such as, Black Sabbath, Nirvana, Opeth and Mastodon as their influences. Stoned Jesus have enough material to keep their audience entertained but thirsty for more as apart from their 3 full length albums, they also have a couple of demos, a compilation and an EP up their sleeves.
Consisting of 6 songs, The Harvest is an interesting combination of funky, fast-paced tracks and slower, darker tunes with doomy riffs. Here Come The Robots is an explosive start to the album with a catchy one-liner chorus and the opening lyrics of ‘Jesus Christ!’ definitely caught my attention. Following on, is another rocker, Wound that gets you dancing around your living room and singing at the top of your lungs. This track centres around the aftermath of love and the recovery from betrayal and broken hearts through music. It is a song that we can all relate too and with its infectious tune it had me thinking that maybe not all hope for love is gone. The album soon enough changes its tempo to a sludgy, longer number, Rituals Of The Sun. I am personally quite fussy with bands’ vocals, but Igor’s voice is outstanding throughout, ranging between powerful melodies and raspy cries of despair. This track is by far my favourite on the album and it had me hypnotised from the first riff.
Get your necks ready because next up is a headbanging burst of monstrous stoner riffs, YFS (Youth For Sale). The song has a cheeky and almost rebellious side to it with lyrics such as, ‘I'm not buying this shit!’ and psychedelic soloing towards the end. Number 5 on the album is Silkworm Confessions, just over 9 minutes of pure ecstasy for the ears. The band takes you on a wicked journey with their trippy lyrics of getting really high, flying with angels and kissing the gods above. Throughout the whole track we are blessed with magnificent riffs, big enough to bring down Big Ben and to finish off, an anthemic chorus that touches your very soul. Last but not least is the whopping, 15 minute long, incredible Black Church. The track starts off slowly as if luring the listener in, but steadily picks up speed and hits you with rhythmic riffs and powerful drums. As soon as Igor opens his mouth he puts you under a spell taking your mind with him. With its comforting repetitiveness, the song opens up a door to a new dimension where no material things exist. The tune’s trancy nature relaxes you, engulfing you in its almighty riffs and canorous vocals.
I thoroughly enjoyed listening to the whole album not only once or twice and it got better with each listen. Stoned Jesus resemble the hazy stoner notes of Clutch and Monster Magnet, but add their own unique twist throughout The Harvest. Every song on the album has its own special sound to it enough to give you an eargasm. Stoned Jesus never let their fans wait for too long before delivering another dose of their high quality sludge. Just prior to completing my review, the band released a new song, The Harvest, which was one of the first songs completed for the album but didn't make the final cut. According to the lead singer, Igor, the track differs sonically from the style on the rest of the album, but retains its significance and so was released separately. That’s fine, I’ll just have it as a little bonus, as extra icing on my cake. Here’s hoping for a UK tour. 8/10
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