Paradise Lost: Wulfrun Hall
Another trip to the Midlands for a night of dark morbidity and three bands who proved excellent value for money. Having dined in a pub that resembled the Cantina in Episode IV, we headed for the Wulfrun Hall and realised why the area was flooded with some rather aggressive looking chaps; it was fight night at the Civic Hall. Skipping past the queue who were looking forward to a night of professional boxing, we joined the much smaller line waiting patiently for the doors to open.
Bang on 7:30pm opening act Lucifer (8) hit the stage. A heady mix of Sabbath, Cathedral, Zeppelin and Sleep, Lucifer know where their roots are and stick closely to them. Doom fused with heavy riffs and sludgy bass lines, this is a band who, similar to Orchid are sat firmly in the 70s but with a sound that really appeals. Given the fact that vocalist Johanna Sadonis (formerly of The Oath) and Cathedral guitarist Gaz Jennings comprise half of the band, it probably isn't a surprise. The band put in an excellent half hour with tracks from their debut release Lucifer I. Sadnois’ impressive voice and Nicks/Joplin moves captures the attention whilst alongside Jennings riffage, Dino Gollnick (complete with Blackmore style Pilgrim hat) and drummer Andrew Prestige laid down the heaviest of rhythms. As the crowd slowly built, Lucifer’s driving sound produced a solid and enthusiastic response.
A quick turnaround allowed Swedish Death Metallers Tribulation (9) a good 40 minutes to make a mark. And make a mark they did. Black metal is a strange genre and if done well can be really captivating. Tribulation hit the ground running and delivered an impressive set featuring several tracks from this year’s excellent The Children Of The Night as well as a couple of older numbers. Vocalist and bassist Johannes Andersson commands the centre stage, prowling back and fore and possessing a pretty impressive death growl to boot. Meanwhile guitarist Jonathan Hulten gurns and shreds simultaneously, never stopping in his movement around the stage. Fellow axeman Adam Zaars is more reserved but provides some of the most brutal chords. At the back Jakob Ljungberg made time keeping look easy. For all the interest in the shapes the band threw, if their music was shite it wouldn't mean anything. Fortunately Tribulation are musically excellent, with much more variety than the balls out thrash to death approach of many of their cohort. Melody, layered hooks combine with pounding heaviness to provide a pretty impressive outfit. Stunning choice of warm up band.
A smooth change over and the house lights dimmed as Paradise Lost (10) took the stage. Two years ago they played a 25th anniversary set at the same venue which contained a whole host (sorry!) of classic tracks culled from almost every album. They were excellent that evening and confirmed why they are one of the best metal bands that the UK has ever produced. Led by the dour (but brilliant) Nick Holmes, the band delivered a set that was set to awesome from the first note. A combination of new tracks from the unbelievably good The Plague Within release, which were paced throughout the set (take note Jeff Waters) and merged with old classics. Opening with No Hope In Sight, the band struggled with a very muddy sound for the first couple of songs with Adrian Erlandsson’s drums and Steve Edmondson's bass overpowering the guitars of Gregor Mackintosh and Aaron Aedy whilst Nick Holmes struggled to get his vocals heard. However, by the time they crashed into Gothic, balance had been restored and the doom laden guitar work allowed one of my all-time favourites to be delivered with aplomb.
Of course, this was the first time the new stuff has been played live in the UK and it was interesting how simply tracks such as Terminal, the brutally heavy Victims Of The Past and Return To The Sun slotted into the set list. In between songs the Yorkshire delivery from Holmes was superb with deadpan sarcasm prevalent. A rare outing for Praise Lamented Shade from 2007’s In Requiem reminded you of the heritage of the band. Gregor Mackintosh, headband and dreads flowing dealt with the lead work whilst Aedy plays an understated supporting rhythm. The brutally heavy duo of Flesh From Bone and the death crushingly heavy Beneath Broken Earth led to a massive response for As I Die, complete with audience participation before Requiem closed the main proceedings.
An encore of four songs followed, which was excellent and set closer Say Just Words once again proved what a vital band Paradise Lost are. As good, if not better than two years ago, Paradise Lost are firmly established as a brilliant band; it’s just a shame that the venue was only half full.
Monday, 5 October 2015
Saturday, 3 October 2015
Reviews: Riverside, Amorphis, Ahab (Reviews By Paul)
Riverside: Love, Fear And The Time Machine (InsideOut)
In the numerous albums that we review here at Musipedia Towers during the course of the year, we regularly award a 9 or 10 out of 10 for outstanding releases. Believe it or not, we can struggle to find superlatives to describe the brilliance of the music we have experienced. In 2014 that was the challenge we faced with the breathtakingly brilliant release by Anathema, Distant Satellites; due to its quality, complexity and sheer beauty. In 2015 compiling a top ten for the year is already proving to be a challenge with a quarter of the year still to go; however, Love, Fear And The Time Machine by Polish progressive rockers Riverside is for me, 2015’s Anathema moment.
Combining a huge mix of influences, Love Fear And The Time Machine meshes together into some of the most perfect music I've ever heard. Opener Lost (Why Should I Be Frightened) mixes layers of hard rock with synth driven indie, Progressiveness ala Pink Floyd along with a generous serving of several seminal outfits (think Anathema, Opeth, Wishbone Ash for starters). Under The Pillow contains the edge which Steve Wilson manages to deliver so effortlessly with undertones of the late 80s synthesiser work of OMD, Depeche Mode et al. Complex, creative and delicate, Riverside, Mariusz Duda (vocals, bass and acoustic guitars), Piotr Grudzinski (Guitars), Piotr Kozieradzki (Drums and percussion) and Michael Kapaj (Keyboards and backing vocals) have made an absolute masterpiece which elevates the band even higher than their excellent 2013 release Shrine Of New Generation Slaves.
As well as the progressive elements which wash throughout this album, the indie and late 80s influence of bands such as OMD, The Cure and Depeche Mode really add to the eclectic feel. #Addicted contains the most addictive (sorry!) riff of the year with a beautiful construction and special hooks and melody. One of the most striking things about the band is the quality of Duda's voice, haunting and delicious. Last year’s excellent Lunatic Soul release, Walking On A Flashlight Beam really showcased the variation and subtlety in his vocal delivery and this is continued in spades on this album. Caterpillar And The Barbed Wire, maintains the complex and elegantly structured compositions, with a real Depeche Mode feel as well as some captivating guitar from Grudzinski.
A total change of mood, tempo and pace comes next during Saturate Me, with sweeping keyboards dominating the mix in a perfectly balanced Marillion-esque track. Afloat, like several tracks on this release, is short for a progressive rock release and demonstrates more variety and change. Duda’s vocals have an uncanny Vincent Cavanagh like quality and provide a calm, simple yet incredibly sensitive song. Having commented on the shortness of Afloat, we then hit the heavyweight in the tail of the release with some lengthier compositions. Starting with the six and a half minute Discard Your Fear, similarities with Swedish doom rockers Katatonia are unmistakeable. Towards The Blue Horizon clocks in at over eight minutes but you are so absorbed by the beauty of it. Gossamer light in parts, delicate and fragile throughout and breath taking in construction and delivery, this track makes the hairs stand on the back of your neck!
Penultimate track Time Travellers is an acoustic number, showcasing the many varied influences that have enabled Riverside to create their own unique sound. A beautifully crafted track, this is one that will bring a lump to the throat when played live; so sentimental and emotional. Album closer Found (The Unexpected Flaw Of Searching) provides a fitting finale to an incredible album. With so many influences throughout it is sometimes easy to forget that this band have been working their way through the music world for a number of years. Perfect is not a word I use very often, but Love, Fear And The Time Machine really is that. It is sophisticated and totally balanced; not beer and burger but a glass of wine and time to relax. It is nestling high in the already heaving top ten of 2015. 10/10
Amorphis: Under The Red Cloud (Nuclear Blast)
In the metal world it is almost impossible to keep up to date with the constant stream of new releases, vibrant and exciting bands and live performances. In recent years this has been even more of a problem due to the plethora of high quality music being produced. At festivals it is often the same where you have clashes aplenty. Do you watch band A or band B? Decisions, decisions. One of the bands who have really slipped under my radar over the last two decades is Amorphis from Finland. Initially a death metal band that emerged amongst the flood of other acts through the 1990s, their sound has evolved into a more progressive folk tinged heavy metal. I missed their performance at BOA in 2013 as they clashed with Evil Scarecrow, but by all accounts they were excellent and in their 12th offering, Under The Red Cloud, they have provided all the reasons needed to now finally become fully immersed in their back catalogue.
In the numerous albums that we review here at Musipedia Towers during the course of the year, we regularly award a 9 or 10 out of 10 for outstanding releases. Believe it or not, we can struggle to find superlatives to describe the brilliance of the music we have experienced. In 2014 that was the challenge we faced with the breathtakingly brilliant release by Anathema, Distant Satellites; due to its quality, complexity and sheer beauty. In 2015 compiling a top ten for the year is already proving to be a challenge with a quarter of the year still to go; however, Love, Fear And The Time Machine by Polish progressive rockers Riverside is for me, 2015’s Anathema moment.
Combining a huge mix of influences, Love Fear And The Time Machine meshes together into some of the most perfect music I've ever heard. Opener Lost (Why Should I Be Frightened) mixes layers of hard rock with synth driven indie, Progressiveness ala Pink Floyd along with a generous serving of several seminal outfits (think Anathema, Opeth, Wishbone Ash for starters). Under The Pillow contains the edge which Steve Wilson manages to deliver so effortlessly with undertones of the late 80s synthesiser work of OMD, Depeche Mode et al. Complex, creative and delicate, Riverside, Mariusz Duda (vocals, bass and acoustic guitars), Piotr Grudzinski (Guitars), Piotr Kozieradzki (Drums and percussion) and Michael Kapaj (Keyboards and backing vocals) have made an absolute masterpiece which elevates the band even higher than their excellent 2013 release Shrine Of New Generation Slaves.
As well as the progressive elements which wash throughout this album, the indie and late 80s influence of bands such as OMD, The Cure and Depeche Mode really add to the eclectic feel. #Addicted contains the most addictive (sorry!) riff of the year with a beautiful construction and special hooks and melody. One of the most striking things about the band is the quality of Duda's voice, haunting and delicious. Last year’s excellent Lunatic Soul release, Walking On A Flashlight Beam really showcased the variation and subtlety in his vocal delivery and this is continued in spades on this album. Caterpillar And The Barbed Wire, maintains the complex and elegantly structured compositions, with a real Depeche Mode feel as well as some captivating guitar from Grudzinski.
A total change of mood, tempo and pace comes next during Saturate Me, with sweeping keyboards dominating the mix in a perfectly balanced Marillion-esque track. Afloat, like several tracks on this release, is short for a progressive rock release and demonstrates more variety and change. Duda’s vocals have an uncanny Vincent Cavanagh like quality and provide a calm, simple yet incredibly sensitive song. Having commented on the shortness of Afloat, we then hit the heavyweight in the tail of the release with some lengthier compositions. Starting with the six and a half minute Discard Your Fear, similarities with Swedish doom rockers Katatonia are unmistakeable. Towards The Blue Horizon clocks in at over eight minutes but you are so absorbed by the beauty of it. Gossamer light in parts, delicate and fragile throughout and breath taking in construction and delivery, this track makes the hairs stand on the back of your neck!
Penultimate track Time Travellers is an acoustic number, showcasing the many varied influences that have enabled Riverside to create their own unique sound. A beautifully crafted track, this is one that will bring a lump to the throat when played live; so sentimental and emotional. Album closer Found (The Unexpected Flaw Of Searching) provides a fitting finale to an incredible album. With so many influences throughout it is sometimes easy to forget that this band have been working their way through the music world for a number of years. Perfect is not a word I use very often, but Love, Fear And The Time Machine really is that. It is sophisticated and totally balanced; not beer and burger but a glass of wine and time to relax. It is nestling high in the already heaving top ten of 2015. 10/10
Amorphis: Under The Red Cloud (Nuclear Blast)
In the metal world it is almost impossible to keep up to date with the constant stream of new releases, vibrant and exciting bands and live performances. In recent years this has been even more of a problem due to the plethora of high quality music being produced. At festivals it is often the same where you have clashes aplenty. Do you watch band A or band B? Decisions, decisions. One of the bands who have really slipped under my radar over the last two decades is Amorphis from Finland. Initially a death metal band that emerged amongst the flood of other acts through the 1990s, their sound has evolved into a more progressive folk tinged heavy metal. I missed their performance at BOA in 2013 as they clashed with Evil Scarecrow, but by all accounts they were excellent and in their 12th offering, Under The Red Cloud, they have provided all the reasons needed to now finally become fully immersed in their back catalogue.
Under The Red Cloud is powerful, anthemic, thrashy and symphonic; a real quality release and one that demonstrates the quality of the band. It is consistently strong throughout with the vocal delivery of Tomi Joutsen outstanding. He has a combination of styles, Maurizio Iacono (Kataklysm), Johan Hegg (Amon Amarth) Mikael Akerfeldt (Opeth) and even Nergal (Behemoth) all come to mind as he delivers both death growl and clean vocals with equal aplomb. The fusion of folk, power metal, death and even elements of the frantic drive of Blind Guardian all mix to provide a real mix of innovative and interesting music. The guitar work of Esa Holopainen is excellent whilst the supporting rhythm work of Tomi Koivusaari, bassist Niclas Etelavouri and drummer Jan Rechberger provide a solid foundation. Subtle keyboards underpin many of the tracks, with Santeri Kallio demonstrating his skills. Tracks such as Bad Blood, Dark Path and the Egyptian themed Death Of A King are real quality.
Add in the excellent production of Jens Borgen, who has a CV longer than your arm (bands include Katatonia, Bloodbath, Opeth, Soilwork, Amon Amarth, Symphony X and Paradise Lost) and a number of guest musicians who add strings, percussion (ex-Opeth man Martin Lopez) and backing vocals, as well the orchestrations of the Osterang Symphonic Orchestra and this all adds up to one of the real quality releases of 2015. In another year of real excellent quality, Under the Red Cloud stands comfortably in the upper echelons. 9/10
Ahab: The Boats Of The Glen Carrig (Napalm)
At last year’s excellent Damnation Festival in Leeds, I was fortunate to catch around half of the set of German Doom merchants Ahab (named after the character in Herman Melville’s Moby Dick) before getting myself into position for the ball-breaking set by Bolt Thrower. I subsequently forgot much about what I had seen, mainly due to the Bolt Thrower set eclipsing all before them. However, with the release of album number four, The Boats of the Glen Carrig, a concept album based on William Hope Hodgson's eponymous novel, Ahab now has my full attention.
It is fair to say that Funeral Doom Metal is not everyone’s favourite brew; indeed I know as many who hate it as love it and basing an album on a novel by an author who died in 1918 may not convert many more to the fan club. The Boats Of The Glen Carrig is over an hour long and has a mere six songs; therefore you know some of those are going to be rather lengthy. However, those six tracks contain an incredible contrast. Just as the combination of cheese, beetroot and marmite shouldn't work to make the ultimate sandwich, so this combination of light and shade works when it clearly shouldn't. This album contains riffs so heavy that they crush you to the floor one minute; a mix of death metal growls followed by crystal clear vocals and then some of the most beautiful, intricate passages ever written. It is absolutely brilliant.
The combination of Daniel Droste and Christian Hector’s delightfully delicate and gentle guitar work merged with the powerful mind blowing riffage make this release sound effortless and unique. Stephen Wandernoth’s bass and Cornelius Atlhammer’s drumming complete the mix. Highlights include the album opener, The Isle, which effortlessly mixes huge crashing riffs with idyllic and peaceful passages and the terrifying The Weedmen, a 15 minute epic towards the end of the album. No uplifting songs about love and flowers here, just macabre and misery with riffs that decapitate if you stick your head out. Combine The Boats Of The Glen Carrig with a clear night, a huge spliff and you’ll be away. Just don’t study the fantastic cover at the same time …. 9/10
At last year’s excellent Damnation Festival in Leeds, I was fortunate to catch around half of the set of German Doom merchants Ahab (named after the character in Herman Melville’s Moby Dick) before getting myself into position for the ball-breaking set by Bolt Thrower. I subsequently forgot much about what I had seen, mainly due to the Bolt Thrower set eclipsing all before them. However, with the release of album number four, The Boats of the Glen Carrig, a concept album based on William Hope Hodgson's eponymous novel, Ahab now has my full attention.
It is fair to say that Funeral Doom Metal is not everyone’s favourite brew; indeed I know as many who hate it as love it and basing an album on a novel by an author who died in 1918 may not convert many more to the fan club. The Boats Of The Glen Carrig is over an hour long and has a mere six songs; therefore you know some of those are going to be rather lengthy. However, those six tracks contain an incredible contrast. Just as the combination of cheese, beetroot and marmite shouldn't work to make the ultimate sandwich, so this combination of light and shade works when it clearly shouldn't. This album contains riffs so heavy that they crush you to the floor one minute; a mix of death metal growls followed by crystal clear vocals and then some of the most beautiful, intricate passages ever written. It is absolutely brilliant.
The combination of Daniel Droste and Christian Hector’s delightfully delicate and gentle guitar work merged with the powerful mind blowing riffage make this release sound effortless and unique. Stephen Wandernoth’s bass and Cornelius Atlhammer’s drumming complete the mix. Highlights include the album opener, The Isle, which effortlessly mixes huge crashing riffs with idyllic and peaceful passages and the terrifying The Weedmen, a 15 minute epic towards the end of the album. No uplifting songs about love and flowers here, just macabre and misery with riffs that decapitate if you stick your head out. Combine The Boats Of The Glen Carrig with a clear night, a huge spliff and you’ll be away. Just don’t study the fantastic cover at the same time …. 9/10
Friday, 2 October 2015
Reviews: Delta Deep, The Jokers, Speedtrap
Delta Deep: Delta Deep (Mailboat Records)
Phil Collen of Def Leppard has had a glut of other bands that he has played in outside of the Leppard mothership first was glam metal band Girl (that was actually his band pre Leppard) and then came alt-rock band Manraze, however his latest project is perhaps his most adventurous. Teaming up with Debbi Blackwell-Cook (his wife's godmother) he began riffing on some old blues, soul and Mowtown songs that quickly developed into this album they recruited heavy metal drummer Forrest Robinson and Stone Temple Pilots bassist Robert DeLeo. The album is made up of 11 tracks of foot stomping, soul affirming blues music that Muddy Waters, Howlin Wolf and B.B King played back in the day but also with a snap of rockier Zep, early Whitesnake and even Joey Bones especially on the thunderous title track. Match this kind of searing blues rock with Blackwell-Cook's amazing gospel blues vocals that echo Chaka Khan or even Aretha in her heyday. She croons on the barroom lament of Whiskey which is a smoky tune with a scorching guitar solo that is in direct opposition to it's predecessor Bang The Lid which is a riotous hand clapping shout along. The rhythm section is rock solid forming the backbone of every song and allowing Collen's guitar playing to show a new level dexterity and also freeness allowing him t just as well as roughing things up with his Rod Stewartesque vocals on Treat Her Like Candy and Miss Me.
This is authentic blues done with reverence, Burnt Sally has the swinging 12 bar riff we all know and love with Blackwell-Cook hollering over the top of it as Collen once again soloing for his life, they throw in a few covers in the shape of Private Number originally by Judy Clay and William Bell, but here performed by Debbi Blackwell-Cook and David Coverdale. Phil tackles Steve Marriot, screaming his lungs out on Humble Pie's Black Coffee backed by his Manraze band mates Paul Cook and Simon Laffy, the final part of the trio of covers is a Mistreated by Deep Purple with vocals from Leppards Joe Elliot who impresses (although surely Coverdale would have been better as he sang the original). With this trio of songs you can get a feeling of what Delta Deep are all about with their own songs echoing this amalgamation of blues, rock and soul and doing them very well indeed. This album isn't as aggressive as his early work and won't be as stratospheric as his day job but it is an album of quality blues rock, well done Mr Collen. 8/10
The Jokers; Hurricane (SPV)
Three albums into their career and surely it's time for The Jokers to be more widely recognised than they currently are. They have been playing their brand of rhythm heavy, classic hard rock that encompasses elements of swaggering blues rock ala the Stones and Free, the stomping glam of T-Rex and Slade all wrapped up in the thumping rock and roll of The Who and Zep, since 2006 and they haven't missed a beat, both of their previous albums were excellent so hopefully with another classic they can finally break that glass ceiling and show the world how they rock. Moving back to the album and the influences, Hurricane starts off with Run For Cover which is like an amalgamation of Free, Whitesnake and The Who with an acoustic bottom line, a slinking chorus and some keys ala Baba O'Reilly. The Jokers move through the the title track with the speed and power of it's meteorological namesake then we get the funky Her World Is Love which is powered by Phil's chunky bass playing and has an air of The Purple One about it. The band are all excellent musicians Dan Evans' smashes his kit to bits on the rocking tracks but can also add a bit of percussive magic on She's On Fire and the acoustic fireside folk of Summer Time (which would sound at home on Zeppelin III), Phil Hartley's bass is most definitely the anchor of the band having the drive to power through the big ballsy riffs and adding the funk as I mentioned previously.
Paul Hurst's guitar playing is part Angus Young, part Paul Kossoff bluesy, ballsy and full of fire, he is just as happy riffing as he is pulling out a passionate fret melting solo, he does both on Angel which is most definitely his showcase. Vocalist Wane Findlay is superb he sounds a lot like Glen Hughes vocally and delivers the songs with the skill of an old hand knowing when to blast and when to croon. AC/DC rears it's head again on the Lockdown which has the prototypical Acca Dacca riff but played with their own style too. This album has peaks and troughs as any good album should the faster songs are balanced out by slower more melodic numbers but Dream is a hell of a ballad that could have come from an Alter Bridge album as it has equal amounts of force and tenderness, that is followed by the one two of the fuzzing first single Silver City which is a bit ZZ Top for it's money, in a good way of course and the Glam rock filled Everywhere I Go and the finale of Rockerman which chugs along with it's talk box guitar keeping it different. So have The Jokers done enough to warrant your attention this time? To right they have! With three great albums to their name (including this one) the band are on the upward trajectory, jump on board for the ride! 8/10
Speedtrap: Straight Shooter (Svart Records)
Bullet belts at the ready for Speedtrap who were formed by former Ranger guitarist Jaakko Hietakangas who hasn't really changed tack with Speedtrap who do exactly what it says on the tin lightning guitar playing, tick-tock drumming and fingernails on a chalkboard vocals. These 8 songs soar past in a flash of guitar fireworks and blistering speed metal, it's not big or clever but Speedtrap take you back to the halcyon days of Shrapnel records, when Exciter, Agent Steel, Mercyful Fate and Overkill ruled the club scenes getting the people metal thrashing mad with their twin axe attacks and blast beat drumming, the Overkill influence is at it's most obvious with vocalist Jori Sara-aoh, who sounds a lot like Bobby Blitz with his screech. Straight Shooter is and album that just builds and builds with every song more of race between the guitarists to see who can finish the song first but this is a benefit to the bands sound, a bit of speed metal mastery is never a bad thing in my book and Speedtrap go hell for leather. 7/10
Phil Collen of Def Leppard has had a glut of other bands that he has played in outside of the Leppard mothership first was glam metal band Girl (that was actually his band pre Leppard) and then came alt-rock band Manraze, however his latest project is perhaps his most adventurous. Teaming up with Debbi Blackwell-Cook (his wife's godmother) he began riffing on some old blues, soul and Mowtown songs that quickly developed into this album they recruited heavy metal drummer Forrest Robinson and Stone Temple Pilots bassist Robert DeLeo. The album is made up of 11 tracks of foot stomping, soul affirming blues music that Muddy Waters, Howlin Wolf and B.B King played back in the day but also with a snap of rockier Zep, early Whitesnake and even Joey Bones especially on the thunderous title track. Match this kind of searing blues rock with Blackwell-Cook's amazing gospel blues vocals that echo Chaka Khan or even Aretha in her heyday. She croons on the barroom lament of Whiskey which is a smoky tune with a scorching guitar solo that is in direct opposition to it's predecessor Bang The Lid which is a riotous hand clapping shout along. The rhythm section is rock solid forming the backbone of every song and allowing Collen's guitar playing to show a new level dexterity and also freeness allowing him t just as well as roughing things up with his Rod Stewartesque vocals on Treat Her Like Candy and Miss Me.
This is authentic blues done with reverence, Burnt Sally has the swinging 12 bar riff we all know and love with Blackwell-Cook hollering over the top of it as Collen once again soloing for his life, they throw in a few covers in the shape of Private Number originally by Judy Clay and William Bell, but here performed by Debbi Blackwell-Cook and David Coverdale. Phil tackles Steve Marriot, screaming his lungs out on Humble Pie's Black Coffee backed by his Manraze band mates Paul Cook and Simon Laffy, the final part of the trio of covers is a Mistreated by Deep Purple with vocals from Leppards Joe Elliot who impresses (although surely Coverdale would have been better as he sang the original). With this trio of songs you can get a feeling of what Delta Deep are all about with their own songs echoing this amalgamation of blues, rock and soul and doing them very well indeed. This album isn't as aggressive as his early work and won't be as stratospheric as his day job but it is an album of quality blues rock, well done Mr Collen. 8/10
The Jokers; Hurricane (SPV)
Three albums into their career and surely it's time for The Jokers to be more widely recognised than they currently are. They have been playing their brand of rhythm heavy, classic hard rock that encompasses elements of swaggering blues rock ala the Stones and Free, the stomping glam of T-Rex and Slade all wrapped up in the thumping rock and roll of The Who and Zep, since 2006 and they haven't missed a beat, both of their previous albums were excellent so hopefully with another classic they can finally break that glass ceiling and show the world how they rock. Moving back to the album and the influences, Hurricane starts off with Run For Cover which is like an amalgamation of Free, Whitesnake and The Who with an acoustic bottom line, a slinking chorus and some keys ala Baba O'Reilly. The Jokers move through the the title track with the speed and power of it's meteorological namesake then we get the funky Her World Is Love which is powered by Phil's chunky bass playing and has an air of The Purple One about it. The band are all excellent musicians Dan Evans' smashes his kit to bits on the rocking tracks but can also add a bit of percussive magic on She's On Fire and the acoustic fireside folk of Summer Time (which would sound at home on Zeppelin III), Phil Hartley's bass is most definitely the anchor of the band having the drive to power through the big ballsy riffs and adding the funk as I mentioned previously.
Paul Hurst's guitar playing is part Angus Young, part Paul Kossoff bluesy, ballsy and full of fire, he is just as happy riffing as he is pulling out a passionate fret melting solo, he does both on Angel which is most definitely his showcase. Vocalist Wane Findlay is superb he sounds a lot like Glen Hughes vocally and delivers the songs with the skill of an old hand knowing when to blast and when to croon. AC/DC rears it's head again on the Lockdown which has the prototypical Acca Dacca riff but played with their own style too. This album has peaks and troughs as any good album should the faster songs are balanced out by slower more melodic numbers but Dream is a hell of a ballad that could have come from an Alter Bridge album as it has equal amounts of force and tenderness, that is followed by the one two of the fuzzing first single Silver City which is a bit ZZ Top for it's money, in a good way of course and the Glam rock filled Everywhere I Go and the finale of Rockerman which chugs along with it's talk box guitar keeping it different. So have The Jokers done enough to warrant your attention this time? To right they have! With three great albums to their name (including this one) the band are on the upward trajectory, jump on board for the ride! 8/10
Speedtrap: Straight Shooter (Svart Records)
Bullet belts at the ready for Speedtrap who were formed by former Ranger guitarist Jaakko Hietakangas who hasn't really changed tack with Speedtrap who do exactly what it says on the tin lightning guitar playing, tick-tock drumming and fingernails on a chalkboard vocals. These 8 songs soar past in a flash of guitar fireworks and blistering speed metal, it's not big or clever but Speedtrap take you back to the halcyon days of Shrapnel records, when Exciter, Agent Steel, Mercyful Fate and Overkill ruled the club scenes getting the people metal thrashing mad with their twin axe attacks and blast beat drumming, the Overkill influence is at it's most obvious with vocalist Jori Sara-aoh, who sounds a lot like Bobby Blitz with his screech. Straight Shooter is and album that just builds and builds with every song more of race between the guitarists to see who can finish the song first but this is a benefit to the bands sound, a bit of speed metal mastery is never a bad thing in my book and Speedtrap go hell for leather. 7/10
The View From The Back Of The Room: Annihilator (Live Review By Paul)
Annihilator: Birmingham 02 Academy
A rare appearance on UK shores from Canadian old school thrash merchants Annihilator was sufficient to whet the appetite of six of the Musipedia crew back in June when their five dates were announced and eventually the date arrived.
Arriving at the air conditioned (and rather chilly) smaller 02 Two venue shortly after 8pm it was surprising to see a very sparse crowd gathered. We missed the first support band (sorry Harlot but getting to Brum on a work night is always a challenge) and quickly wished we missed the second lot too. As a few more bodies drifted into a pretty subdued atmosphere, there was the farcical sight of Santa Cruz thrash outfit Archer (5) sound checking, hiding behind the amps and then stomping out to their stirring intro music. Unfortunately the stirring music fizzled out there and then and we were treated (if that is the right word) to 40 minutes of pretty tepid thrash. Now, these guys can play their instruments, and I hate being negative because they get up and give it some but the bottom line is that their songs were just average. A few tracks from their new release Culling The Masses and a few tasty guitar solos from Zakk Wylde wannabe Dylan Rose was about all I can remember. Oh yes, a minor and very pointless bass solo from Derek Smalls, sorry David De Silva and a bland cover of Megadeth’s Tornado Of Souls too. If you are playing in Birmingham, you really don’t have to tell the crowd that you are at the home of heavy metal. We get the picture. Oh, and a final comment … stop saying “fucking A” six times in a row. It just makes you look limited. Sorry.
A good 40 minute wait, and the venue had swollen to maybe 250 hardy souls by the time Rock You Like A Hurricane blasted out of the PA. Yep, Annihilator (7) let the whole bloody song play out before hitting the stage. Yawn. Anyway, this being the first night of their European tour, I suppose it is expected that there will be the odd technical hitch. And so it proved, with some very ponderous change overs during the lengthy set. Opening with King Of The Kill, remaining original member Jeff Waters shredded and gurned for Canada whilst his assembled musicians for hire did a sterling job alongside him. It is no secret that Annihilator have an almost revolving door policy with band members joining and leaving at a rate of knots. Still, as Matt noted, the multi-talented Rich Hinks from Aeon Zen was pulling excellent base duties whilst Aaron Homma delivered solid support on rhythm guitar and wind milling.
What is it about Canadian rockers? Just like his fellow countryman Devin Townsend, Jeff Waters is absolutely bonkers with insane ramblings between songs and after a while you can clearly see why Annihilator’s songs are a little bit chaotic – take Brain Dance as an absolute concrete example of an absolute nut job of a tune. Putting aside the clunky change overs, Annihilator demonstrated how far bands like Archer have to go in terms of both quality and delivery. Finely tuned and cohesive, the band cruised through an eclectic set which went on for ages. Getting the new stuff out of the way before playing “the old shit” is an interesting ethos when you are touring to promote your 15th album but that’s what Mr Waters said. So after blasting through Suicide Society and Creepin’ Again it was time for heads down thrash with Set The World On Fire and finally, the first pit of the night as W.T.Y.D received a warm reception as Waters showed that he can riff and shred with the best of them.
And then we had to have it. A fucking drum solo, all seven minutes of tub thumping from Mike Harshaw. Canadians and drum solos eh? Who’d have thunk it? Ironically, having started relatively late and bloated the bill with two support bands, Jeff then stated that the band had six more tracks to play but had to cut it to two. A quick straw poll resulted in some violent pit action for Alison Hell (and I mean violent with punches thrown in earnest) before set closer Phantasamagoria. 11:20pm and we headed for the cars and a two hour drive home. I'm no party pooper (although a good night for me most days is getting into bed by 10pm) but if you want to play a two hour set, drop a support band, start earlier or at least kick the bleeding drum solo into the long grass. A decent night out although I won’t be rushing to see them in a hurry if it means having to travel across the country mid-week again
A rare appearance on UK shores from Canadian old school thrash merchants Annihilator was sufficient to whet the appetite of six of the Musipedia crew back in June when their five dates were announced and eventually the date arrived.
Arriving at the air conditioned (and rather chilly) smaller 02 Two venue shortly after 8pm it was surprising to see a very sparse crowd gathered. We missed the first support band (sorry Harlot but getting to Brum on a work night is always a challenge) and quickly wished we missed the second lot too. As a few more bodies drifted into a pretty subdued atmosphere, there was the farcical sight of Santa Cruz thrash outfit Archer (5) sound checking, hiding behind the amps and then stomping out to their stirring intro music. Unfortunately the stirring music fizzled out there and then and we were treated (if that is the right word) to 40 minutes of pretty tepid thrash. Now, these guys can play their instruments, and I hate being negative because they get up and give it some but the bottom line is that their songs were just average. A few tracks from their new release Culling The Masses and a few tasty guitar solos from Zakk Wylde wannabe Dylan Rose was about all I can remember. Oh yes, a minor and very pointless bass solo from Derek Smalls, sorry David De Silva and a bland cover of Megadeth’s Tornado Of Souls too. If you are playing in Birmingham, you really don’t have to tell the crowd that you are at the home of heavy metal. We get the picture. Oh, and a final comment … stop saying “fucking A” six times in a row. It just makes you look limited. Sorry.
A good 40 minute wait, and the venue had swollen to maybe 250 hardy souls by the time Rock You Like A Hurricane blasted out of the PA. Yep, Annihilator (7) let the whole bloody song play out before hitting the stage. Yawn. Anyway, this being the first night of their European tour, I suppose it is expected that there will be the odd technical hitch. And so it proved, with some very ponderous change overs during the lengthy set. Opening with King Of The Kill, remaining original member Jeff Waters shredded and gurned for Canada whilst his assembled musicians for hire did a sterling job alongside him. It is no secret that Annihilator have an almost revolving door policy with band members joining and leaving at a rate of knots. Still, as Matt noted, the multi-talented Rich Hinks from Aeon Zen was pulling excellent base duties whilst Aaron Homma delivered solid support on rhythm guitar and wind milling.
What is it about Canadian rockers? Just like his fellow countryman Devin Townsend, Jeff Waters is absolutely bonkers with insane ramblings between songs and after a while you can clearly see why Annihilator’s songs are a little bit chaotic – take Brain Dance as an absolute concrete example of an absolute nut job of a tune. Putting aside the clunky change overs, Annihilator demonstrated how far bands like Archer have to go in terms of both quality and delivery. Finely tuned and cohesive, the band cruised through an eclectic set which went on for ages. Getting the new stuff out of the way before playing “the old shit” is an interesting ethos when you are touring to promote your 15th album but that’s what Mr Waters said. So after blasting through Suicide Society and Creepin’ Again it was time for heads down thrash with Set The World On Fire and finally, the first pit of the night as W.T.Y.D received a warm reception as Waters showed that he can riff and shred with the best of them.
And then we had to have it. A fucking drum solo, all seven minutes of tub thumping from Mike Harshaw. Canadians and drum solos eh? Who’d have thunk it? Ironically, having started relatively late and bloated the bill with two support bands, Jeff then stated that the band had six more tracks to play but had to cut it to two. A quick straw poll resulted in some violent pit action for Alison Hell (and I mean violent with punches thrown in earnest) before set closer Phantasamagoria. 11:20pm and we headed for the cars and a two hour drive home. I'm no party pooper (although a good night for me most days is getting into bed by 10pm) but if you want to play a two hour set, drop a support band, start earlier or at least kick the bleeding drum solo into the long grass. A decent night out although I won’t be rushing to see them in a hurry if it means having to travel across the country mid-week again
Monday, 28 September 2015
A View From Wiltshire: Rock Diabetes - Fire & Forge 2015
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.
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.
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.
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