Mötley Crüe/Alice Cooper: Genting Arena Birmingham
When Mötley Crüe crashed into the hard rock scene in the early 1980s, I don’t think anyone could have predicted that over 30 years later they would be packing out arenas across the world. Bringing all the glamour of LA, the girls, the hedonistic lifestyle, the drink, the drugs, the ink and the occasional fiery rock tune, to a 15 year old finding his way in life, they were from a different galaxy, let alone planet. Mötley Crüe were the epitome of Ian Drury’s sex and drugs and rock n’ roll and it was rare for a rock magazine not to feature the latest exploits of messrs Neil, Mars, Sixx and Lee.
When the band rolled into Cardiff in 1986 on the Theatre Of Pain tour, I was among 2500 crazy metal fans who witnessed some of the most over the top action that St David’s Hall has ever seen. Yes, Vince Neil couldn’t sing but the show was so captivating that it didn’t matter. Nearly 30 years later and Mötley Crüe speed towards their much publicised conclusion. Hooking up with old pal Alice Cooper for one of their four UK dates, the evening presented good value for money with two of rock’s heavy weights shaking their stuff. Of course, the final opportunity to see Mötley Crüe was also a draw.
I've seen Alice Cooper (8) several times and each time I see him I remind myself how damn good he actually is when you remove the pantomime part of his show. Tonight, heavy as hell and stripped back to the basics with a conservative number of theatrics and props, Cooper rolled out an hour of classics from his back catalogue. Our Alice nut Brett had earlier informed us that this show was part of Alice’s Raise The Dead tour which has been on the road for some time. Cooper has assembled a formidable band to support him. Long standing members Glen Sobel and bassist Chuck Garric are currently joined by the impressive fretwork of Nita Strauss, Ryan Roxie and Tommy Henriksen.
Opening with the eerie Vincent Price narration, the band tore into Black Widow before a triple hit of No More Mr Nice Guy, Under My Wheels and I'm Eighteen got the already pumped crowd singing along. The dollars were scattered during Billion Dollar Babies and then it was time for full sing-a-long as fan favourite Poison increased the temperature. A couple of less well known tunes followed; Dirty Diamonds and the Ballad Of Dwight Fry which contained a bass and drum solo (yawn) before Nita showed her guitar prowess.
As always, no Alice show is complete without him being killed at least once and the guillotine was brought into action to take his head off as the band segued into I Love The Dead. Feed My Frankenstein saw the appearance of the monster; hammy, corny and such great entertainment with sufficient edge from the band to keep it heavy. The inevitable School’s Out with snippet of Another Brick In The Wall Part 2 brought the set to a roaring finish and a huge ovation.
Bang on time the house lights dimmed and with that the cue for one of the most ridiculously excessive stage shows ever witnessed. For the next two hours the lighting and almost constant pyrotechnics ensured that visually at least, there was not a dull moment. Mötley Crüe (9), like Kiss, have never claimed to be brilliant song writers but bloody hell do they put on a show.
Girls Girls Girls got the arena set to boiling point and Wild Side stoked the capacity crowd to even greater heights. The first pyro pots hadn't even cooled and already Nikki Sixx was stalking the stage every inch the rock star. It was feared that the other real driving force behind the band, drummer Tommy Lee might be forced to sit out some of the gigs due to his recurrent tendonitis but happily he was there, larger than life and beating the crap out of his custom kit.
An average Primal Scream led into S.O.S. with lots of singing from the crowd, as a bloated Vince Neil, supported by the rather attractive Crüe Girls Allison Kyler and Sofia Touta, crooned his way through it. Don’t Go Away Mad (Just Go Away) followed and then it was time for Brownsville Station’s Smokin’ In The Boys Room. Despite his dodgy voice Neil remains a captivating frontman.
A bit of real riffage next with oldie Looks That Kill, the focus on the zombie like Mick Mars who maintained his ghoulish position stage left all evening apart from his venture into the centre of the stage for a truly awful guitar solo. The set pace dropped with a pretty lousy Muthafucker Of The Year, after which we were treated to a brief monologue from Nikki Sixx, greeted with a roar from the delirious crowd. A rather pointless cover of Anarchy In The UK was at least followed by the ball shattering Shout At The Devil, a track that Neil’s voice always struggles with but hey, nothing new there.
Cue Carl Orff’s O Fortuna; time for the much anticipated Tommy Lee roller coaster. I’d say that it was a drum solo except that it really wasn't but impressive and outrageous, oh yes. Lee drummed along to various rock tracks as his platform edged its way along the rails, twisting up and down, over and under. Obviously the crowd went bat shit crazy for it. The dire Mars solo followed, but then things really improved with a trio of blistering songs. First up Live Wire, then a devastatingly good Dr Feelgood and finally set closer Kickstart My Heart, which saw Neil and Sixx propelled high about the audience on separate hydraulic platforms. The set closed with an astonishing amount of pyro and the crowd ecstatic.
The encore saw Crüe decamp to an intimate set up directly behind the sound desk and complete with Tommy Lee on piano, the band closed down the evening and their last visit to Birmingham with an emotional Home Sweet Home.
Mötley Crüe has never disappointed live. I’d rarely listen to them out of choice (although they feature regularly on the play list of Planet Rock so I get more than sufficient) and I think it is fair to say that they are not in the same league musically as many of their peers; however, this was an unforgettable evening full of the over the top histrionics you’d expect. One where I am happy to say I was there.
Saturday, 7 November 2015
Wednesday, 4 November 2015
Reviews: Def Leppard, Skindred, Avatarium
Def Leppard: Def Leppard (Bludgeon Riffola/earMUSIC)
Paul is going to hate this album, I can tell you that for a fact, thus why I'm going to review it instead. Each to their own and that, but I've never hated Sheffield's big boys of rock, I think they have left an indelible mark on British rock music as they are one of the few Transatlantic successes, exploding across the ocean before hitting it big here, they were originally lumped in with the NWOBHM scene but upon the release of Hysteria they became the pomp-powered rock superstars they are today. But enough of the history lesson, better men than me have chronicled the bands history in a more interesting and detailed way than me. Back to the music and it's been a fair few years since their previous album Songs From The Sparkle Lounge, 7 to be exact, this gap may be due to guitarists Viv Campbell's battle with cancer, but also it might be due to the fact the band wanted to create the best album they can. So has their eleventh album achieved this? Well any band that releases a self titled releases this late in their career is either harking back or reinventing their sound, happily Def Leppard are doing both writing a 'greatest hits' album with all new songs.
Let's Go is deliberately familiar with Rick Allen's electronic kickdrum leading the charge as Campbell and Collen stab the guitars for the swaggering intro that has the same wrecking ball power as Pour Some Sugar On Me's including the latter's 'boom boom yeah' refrain and a shout along chorus. Def Leppard have said that they haven't really experimented on this album but drawn from all their elements, only really Energized wriggles out of the mold with it's orchestral and hip-hop-style (stylee?) electronic drumbeat. Dangerous is cut from the same Hysteria cloth as the opener with a faster, rockier sound and the bands trademark repeating melody riff. Rick Savage's big bass starts the funky Queen-like Man Enough before we get to the first ballad (yes there are a couple, it's Leppards signature) with the excellent We Belong which has the same ringing guitars as U2 have always been partial too.
Now these are just the first four tracks and already we have crossed the entire spectrum of Leppard sounds, but on these and the 10 remaining tracks shows off his great vocals, just scratchy enough to add some balls to the rockers like Sea Of Love and All Time High, acoustic showcases like the Fab Fouresque Battle Of My Own but with a croon that warms the heart on ballads such as Last Dance which is so saccharine that it could top pancakes, he even gets help on We Belong with Campbell, Collen, Savage and Allen all taking the co-lead vocals. This album has 14 tracks but it flies by at a rate of knots, now if you hate Def Leppard then this album will do nothing for you but if you love their brand of sleek, hard rock then you will love this record with a passion. This is Def Leppard distilled and all the better for it! 9/10
Paul is going to hate this album, I can tell you that for a fact, thus why I'm going to review it instead. Each to their own and that, but I've never hated Sheffield's big boys of rock, I think they have left an indelible mark on British rock music as they are one of the few Transatlantic successes, exploding across the ocean before hitting it big here, they were originally lumped in with the NWOBHM scene but upon the release of Hysteria they became the pomp-powered rock superstars they are today. But enough of the history lesson, better men than me have chronicled the bands history in a more interesting and detailed way than me. Back to the music and it's been a fair few years since their previous album Songs From The Sparkle Lounge, 7 to be exact, this gap may be due to guitarists Viv Campbell's battle with cancer, but also it might be due to the fact the band wanted to create the best album they can. So has their eleventh album achieved this? Well any band that releases a self titled releases this late in their career is either harking back or reinventing their sound, happily Def Leppard are doing both writing a 'greatest hits' album with all new songs.
Let's Go is deliberately familiar with Rick Allen's electronic kickdrum leading the charge as Campbell and Collen stab the guitars for the swaggering intro that has the same wrecking ball power as Pour Some Sugar On Me's including the latter's 'boom boom yeah' refrain and a shout along chorus. Def Leppard have said that they haven't really experimented on this album but drawn from all their elements, only really Energized wriggles out of the mold with it's orchestral and hip-hop-style (stylee?) electronic drumbeat. Dangerous is cut from the same Hysteria cloth as the opener with a faster, rockier sound and the bands trademark repeating melody riff. Rick Savage's big bass starts the funky Queen-like Man Enough before we get to the first ballad (yes there are a couple, it's Leppards signature) with the excellent We Belong which has the same ringing guitars as U2 have always been partial too.
Now these are just the first four tracks and already we have crossed the entire spectrum of Leppard sounds, but on these and the 10 remaining tracks shows off his great vocals, just scratchy enough to add some balls to the rockers like Sea Of Love and All Time High, acoustic showcases like the Fab Fouresque Battle Of My Own but with a croon that warms the heart on ballads such as Last Dance which is so saccharine that it could top pancakes, he even gets help on We Belong with Campbell, Collen, Savage and Allen all taking the co-lead vocals. This album has 14 tracks but it flies by at a rate of knots, now if you hate Def Leppard then this album will do nothing for you but if you love their brand of sleek, hard rock then you will love this record with a passion. This is Def Leppard distilled and all the better for it! 9/10
Newport’s finest release their sixth album containing a mighty 14 tracks, hot on the heels of 2014’s slightly disappointing Kill The Power. Musically, Volume continues their crazy fusion of metal, reggae, dub step, hip hop and ska and as you’d expect from a band who are in the top one of live experiences in the world, several anthems which are guaranteed to get the sweat dripping from the walls. Opener Under Attack, the title track and Hit The Ground contain Mikey Demus’s trademark riffage with the blitzkrieg vocal assault of Benji Webb and will kill in the live arena. Shut Ya Mouth has a really aggressive punky sound with the driving attack combining with Benji’s vicious rapping and The Healing moves slightly away from the traditional Skindred sound in a really interesting way. The album also contains three parts I, II and III which are ska influenced interludes spaced through the album. Dan Sturgess’s programming and mixing has become more prominent since 2011’s Union Black (in my opinion the best Skindred album) and throughout Volume his input into the tracks is noticeable, Sound the Siren is a good example.
Whilst Skindred are at their best when at full throttle, they have sensibly paced the album with a couple of balanced tracks which demonstrates that their song writing is being taken seriously and Saying It Now provides evidence that they are evolving. A hard edge remains but this track also allows Benji to really show how well he can sing whilst the band provide an almost U2 sound track, albeit with more riffs. The final trio of songs, the protest of No Justice, the average Stand Up and the rallying cry of Three Words bring the album to a close. Volume is a pretty solid release, stronger than Kill The Power in quality and composition. Whilst their strength remains in the live arena, compiling an arsenal of potent weapons to use in that environment is crucial and Volume had ensured that Skindred will continue to expand and grow. 8/10
Avatarium: The Girl With The Raven Mask (Nuclear Blast) [Review By Paul]
There was little doubt that the self-titled debut from Leif Edling’s outfit was one of the releases of the year in 2013, introducing the stunning soulful voice of Jennie-Ann Smith and Marcus Jidell (Smith’s husband) on guitar. Avatarium contained many of the traits of Edling’s main outfit, the mighty Candlemass. The overall feel was of doom and despair, with a mournful, macabre yet refreshingly new feel. The highly anticipated follow up, The Girl In The Raven Mask continues in exactly the same vein, with Jidell’s production capturing the tone and atmosphere perfectly. The title track kicks off the album, crashing guitars and a real 1970s sound, Carl Westholm’s mellotron and organ playing adding real depth both on this track and throughout the album. The Girl With The Raven Mask is a bit of a head banger for a band whose speed is usually slightly slower but I'm not complaining. It really moves along a pace with a storming guitar solo hidden in the middle. As we discovered on the debut, Smith’s voice is just amazing, sometimes almost childlike but oh so powerful and absolutely captivating.
The January Sea is a seven minute doom laden epic, with the sound crashing around likes waves breaking on the rocks. The atmosphere is enhanced once more by the huge vibrating ivories and some outstanding guitar work. Pearls And Coffins allows Smith’s vocals to take centre stage, whilst the music has a bluesy classic rock feel. Hypnotized has shades of Big Elf in its intro, a smashing drum and bass sound combining once more with huge keyboards and repetitive guitar riff, before Ghostlight casts an even darker spell. Run Killer Run opens with one of the grungiest, infectious guitar riffs I've heard in a long time, and yet again the epic keyboard playing really gives the track substance. The drumming of Lars Sköld and bass work of Elding underpin the whole album, nowhere more evident than on this track. Iron Mule has shades of Candlemass, deep and heavy resonating as the track salutes the dawn of railways.
Final track The Master Thief begins in a gentle manner, Smith’s vocals clear and resonant, a bluesy feel running through the song as it ebbs and flows towards its conclusion. The Girl With The Raven Mask is a stunning piece of work, building on the excellent debut. I'm just gutted that a paltry one UK date is included on their current European tour. May I be bold enough to suggest a headline set in the Sophie Tent at BOA next year? 9/10
Monday, 2 November 2015
Reviews: Hotei, Earthside, Gamma Bomb, Starblind
Hotei: Strangers (Spinefarm)
Tomoyasu Hotei is something of a legend in Japan he has released 15 albums that have sold millions of copies in his native country, he is a bona fide superstar in his homeland, having his music featuring in many films and shows, most notably in Kill Bill Vol 1. Since 2012 he has been firmly installed in London and because of this his 16th album Strangers is the first to be released in Europe, so are Europe ready for the Japanese virtuoso? Well on the evidence of this album the answer could be up in the air as there will be many who may not 'get' this record, it is a mix of guitar instrumentals and songs that feature guest vocalists, that move through a myriad of genres, from the industrial edge of Move It which features Richard Kruspe, to the jangling surf rock of Medusa, the electro punk of How The Cookie Crumbles which along with the bluesy Walking Through The Night have the unmistakeable pipes of Iggy Pop who weaves his dangerous magic on the songs. The songs are more than just three minute hits they are soundscapes created by a very talented musician however they do have a bit of a schizophrenic tendency as they move between the genres at a brisk pace, the orchestral dark ballad has Matt Tuck doing what he does best before the title track shows an 80's style solo instrumental that EVH himself would be proud of, before the thumping Texas Groove shows off her bar room whiskey vocals and comes off as the albums star because of it, the final three tracks are all instrumental but they add little to the album if I'm honest, unless you're a hardcore guitar fan. This album would be good if it was featured as a film soundtrack but as an independent album it's a little hit and miss, only Battle Without Honour Or Pride (the song from Kill Bill) Medusa, Walking Through The Night and Texas Groove lift this album up but they are good enough tracks to stand independently. 7/10
Earthside: A Dream In Static (Self-Released)
New Haven Connecticut's Earthside are primarily an instrumental band that play modern, progressive metallic rock that has nods to O.S.I, Liquid Tension Experiment and the more recent act Animals As Leaders; with polyrhythmic down-tuned riffs, thundering drums, technical fleet fingered bass playing and swathes of synths and electronics Earthside are very much in the 'cinematic rock' genre they claim to have created. This is an album that needs to be heard in it's entirety, it is a musical journey that is bolstered by the sharp, clear production from David Castillo (Opeth/Katatonia/Novembre) and Jens Borgen (Opeth/Soilwork/Symphony X/Devin Townsend) who immediately make their presence felt on the opening track The Closest I've Come which shows off the bass led opening of Ryan Griffin as the guitars of Jamie van Dyck dance on top and the song gets heavier with distorted rhythms meaning Griffin, van Dyck thunder along with Ben Shanbrom adding a jazz drum pattern beneath the heaviness as Frank Sacramone adds layer upon layer of keys that work in conjunction with the guitars in the flowing melodies that are driving the song along.
Now I've said that Earthside are an instrumental band but on this record they have found four guest vocalists meaning that the album is half vocal and half just the instrumentation, Tesseract's Dan Tompkins adds his impressive voice the title track which sound like it could have featured on an album by his day job. The Albums most cinematic track is Mob Mentality which has Sevendust's Lajon Witherspoon lending his soulful pipes to the track as well as an inspiring performance by the Moscow Studio Symphony Orchestra to give the soundtrack to a movie yet to happen, Mob Mentality is a story in itself and is in parts breathtaking, an very emotive, the orchestra also leave their mark on the atmospheric Entering The Light with Crater is a the world away from the sound of Soilwork, mainly due to Björn Strid liberally employing his clean singing than the harsher tones he uses in his normal delivery. This record works on many levels it is immediate giving the satisfaction that many rock and metal fans will want after one play, but also it's a grower and after repeated listens it really opens into a jewel. This is an impressive debut from the American's that really shows that they have an incredible talent. 9/10
Gama Bomb: Untouchable Glory (AFM) [Review By Paul]
Northern Irish thrash at 150mph? Yep, it must be Gama Bomb blasting back in your face with a no holds barred half an hour of crazed aggressive thrash. Back in the race after 2013’s The Terror Tapes, Gama Bomb get through this album quicker than I can drink my first pint on a night out (and we all know the first one doesn't count). I’ve seen these guys a couple of times over the years and they really have improved. Technically Untouchable Glory is excellent, with some vicious axe work courtesy of John Roche and lead axe man Domo Dixon. The humour remains; see Drinkers Inc, which demonstrates the tightness of Joey McGuigan’s bass and Paul Caffrey’s ferocious drumming. Philly Byrne’s vocal delivery is exactly what you want with a thrash outfit. He can hit the notes but maintains a steady yet honest approach which adds in all areas. My Evil Eye is one wild ride, huge riffs and a battering assault which to be honest, never lets up. You want some stomping Anthrax thrash? Check out the serious nature of Tuck Your T-shirt In, a topic of some concern in today’s society. Gama Bomb’s blueprint is pretty straightforward. Three minutes, accelerate to break neck speed, thrash the nuts out of it, move onto the next one. Repeat. It works for me. I ♥ thrash. 8/10
Starblind: Dying Son (Pure Steel Records) [Review By Paul]
Sometimes you just have to call it as you hear it. The sophomore release from Stockholm’s classic metal outfit Starblind is decimated by two absolutely massive elephants in the room. One, Mike Stark cannot sing. His combination of Geoff Tate, Kai Hansen and Bruce Dickinson is at times just painful. Second; if you are going to absolutely plagiarise a band’s sound then pick one that is slightly more obscure than Iron fucking Maiden. The playing is absolutely fine. Unfortunately at times I actually thought it was Maiden. Of course, that’s when Starblind weren’t doing Helloween circa 1987. Oh, and thirdly, Mike Stark cannot sing. Seven minute “epic” Firestone, for example, is completely crucified by his screeching and wailing. Oh, and your cover is pretty dismal too. 3/10
Tomoyasu Hotei is something of a legend in Japan he has released 15 albums that have sold millions of copies in his native country, he is a bona fide superstar in his homeland, having his music featuring in many films and shows, most notably in Kill Bill Vol 1. Since 2012 he has been firmly installed in London and because of this his 16th album Strangers is the first to be released in Europe, so are Europe ready for the Japanese virtuoso? Well on the evidence of this album the answer could be up in the air as there will be many who may not 'get' this record, it is a mix of guitar instrumentals and songs that feature guest vocalists, that move through a myriad of genres, from the industrial edge of Move It which features Richard Kruspe, to the jangling surf rock of Medusa, the electro punk of How The Cookie Crumbles which along with the bluesy Walking Through The Night have the unmistakeable pipes of Iggy Pop who weaves his dangerous magic on the songs. The songs are more than just three minute hits they are soundscapes created by a very talented musician however they do have a bit of a schizophrenic tendency as they move between the genres at a brisk pace, the orchestral dark ballad has Matt Tuck doing what he does best before the title track shows an 80's style solo instrumental that EVH himself would be proud of, before the thumping Texas Groove shows off her bar room whiskey vocals and comes off as the albums star because of it, the final three tracks are all instrumental but they add little to the album if I'm honest, unless you're a hardcore guitar fan. This album would be good if it was featured as a film soundtrack but as an independent album it's a little hit and miss, only Battle Without Honour Or Pride (the song from Kill Bill) Medusa, Walking Through The Night and Texas Groove lift this album up but they are good enough tracks to stand independently. 7/10
Earthside: A Dream In Static (Self-Released)
New Haven Connecticut's Earthside are primarily an instrumental band that play modern, progressive metallic rock that has nods to O.S.I, Liquid Tension Experiment and the more recent act Animals As Leaders; with polyrhythmic down-tuned riffs, thundering drums, technical fleet fingered bass playing and swathes of synths and electronics Earthside are very much in the 'cinematic rock' genre they claim to have created. This is an album that needs to be heard in it's entirety, it is a musical journey that is bolstered by the sharp, clear production from David Castillo (Opeth/Katatonia/Novembre) and Jens Borgen (Opeth/Soilwork/Symphony X/Devin Townsend) who immediately make their presence felt on the opening track The Closest I've Come which shows off the bass led opening of Ryan Griffin as the guitars of Jamie van Dyck dance on top and the song gets heavier with distorted rhythms meaning Griffin, van Dyck thunder along with Ben Shanbrom adding a jazz drum pattern beneath the heaviness as Frank Sacramone adds layer upon layer of keys that work in conjunction with the guitars in the flowing melodies that are driving the song along.
Now I've said that Earthside are an instrumental band but on this record they have found four guest vocalists meaning that the album is half vocal and half just the instrumentation, Tesseract's Dan Tompkins adds his impressive voice the title track which sound like it could have featured on an album by his day job. The Albums most cinematic track is Mob Mentality which has Sevendust's Lajon Witherspoon lending his soulful pipes to the track as well as an inspiring performance by the Moscow Studio Symphony Orchestra to give the soundtrack to a movie yet to happen, Mob Mentality is a story in itself and is in parts breathtaking, an very emotive, the orchestra also leave their mark on the atmospheric Entering The Light with Crater is a the world away from the sound of Soilwork, mainly due to Björn Strid liberally employing his clean singing than the harsher tones he uses in his normal delivery. This record works on many levels it is immediate giving the satisfaction that many rock and metal fans will want after one play, but also it's a grower and after repeated listens it really opens into a jewel. This is an impressive debut from the American's that really shows that they have an incredible talent. 9/10
Gama Bomb: Untouchable Glory (AFM) [Review By Paul]
Northern Irish thrash at 150mph? Yep, it must be Gama Bomb blasting back in your face with a no holds barred half an hour of crazed aggressive thrash. Back in the race after 2013’s The Terror Tapes, Gama Bomb get through this album quicker than I can drink my first pint on a night out (and we all know the first one doesn't count). I’ve seen these guys a couple of times over the years and they really have improved. Technically Untouchable Glory is excellent, with some vicious axe work courtesy of John Roche and lead axe man Domo Dixon. The humour remains; see Drinkers Inc, which demonstrates the tightness of Joey McGuigan’s bass and Paul Caffrey’s ferocious drumming. Philly Byrne’s vocal delivery is exactly what you want with a thrash outfit. He can hit the notes but maintains a steady yet honest approach which adds in all areas. My Evil Eye is one wild ride, huge riffs and a battering assault which to be honest, never lets up. You want some stomping Anthrax thrash? Check out the serious nature of Tuck Your T-shirt In, a topic of some concern in today’s society. Gama Bomb’s blueprint is pretty straightforward. Three minutes, accelerate to break neck speed, thrash the nuts out of it, move onto the next one. Repeat. It works for me. I ♥ thrash. 8/10
Starblind: Dying Son (Pure Steel Records) [Review By Paul]
Sometimes you just have to call it as you hear it. The sophomore release from Stockholm’s classic metal outfit Starblind is decimated by two absolutely massive elephants in the room. One, Mike Stark cannot sing. His combination of Geoff Tate, Kai Hansen and Bruce Dickinson is at times just painful. Second; if you are going to absolutely plagiarise a band’s sound then pick one that is slightly more obscure than Iron fucking Maiden. The playing is absolutely fine. Unfortunately at times I actually thought it was Maiden. Of course, that’s when Starblind weren’t doing Helloween circa 1987. Oh, and thirdly, Mike Stark cannot sing. Seven minute “epic” Firestone, for example, is completely crucified by his screeching and wailing. Oh, and your cover is pretty dismal too. 3/10
Reviews: Dark Moor, Eldritch, Joel Hoekstra's 13 (Reviews By Paul)
Dark Moor: Project X (Scarlet Records)
It never ceases to amaze me how many bands churn out album after album with little if no mainstream recognition. Such is the way the metal media is dominated by those with the big cheque books and high profiles, many bands just don’t stand a chance. So, with a big salute to the dogged determination, let me introduce Dark Moor, possibly Madrid’s finest (only?) neoclassical metal outfit, who have been kicking around in various shapes and forms for 22 years. Yes kids, these guys have been plying their trade longer than some of you have been alive. And to be honest that is quite amazing because Project X is one of the weirdest, brilliant and yet awful albums I've ever heard. Symphonic power metal merge to provide swirling synths, soaring guitars, galloping drums and absolutely bewildering songs. If this band were the Spanish entry for Eurovision 2016 I would not be at all surprised. Beyond The Stars is about as Eurovision as it gets; I've never heard anything quite so stomach curling in my life.
The emotive and ‘unique’ vocals of Alfred Romero are quite something whilst the big band sound that permeates some of the tracks is just bizarre; Bon Voyage has shades of Devin Townsend with choral backing, I Want To Believe makes me want to throw up whilst Existence includes just about everything apart from the kitchen sink. I have no idea what to make of this release, which is the band’s tenth. Imperial Earth has some lovely fast riffing courtesy of Enrik Garcia and builds dramatically but I have no clue as to what the band are intending. The riffs give way to some tinkling ivories before crashing back headlong on the charge. It’s all a bit dramatic with laser sound effects and some robotic narrative. Some of it is just rubbish; Gabriel for example is full of pomp and poppy overtures, samples from Close Encounters Of The Third Kind and is cheesier than the Bernabeu filled with Manchego. This is just bat shit crazy: don’t get to the finale, There’s Something In The Skies – it is so triumphant, combing Barry Manilow, Queen and Blind Guardian. I shit you not. It sounds like a horrible rock opera. I bet they are loved in Spain and Germany. They aren’t going to dent the UK shores one iota. I can’t rate it. It lurches violently from 1/10 to 10/10.
Eldritch: Underlying Issues (Scarlet)
So after Madrid’s finest, we also had the opportunity to have a listen to Eldritch, a progressive power metal outfit from Italy who have been plying their trade since 1991. A combination of power and thrash metal, Underlying Issues kicks off in fine style with a rampaging opener, Changing Blood. Powerful drumming, technical guitar work and heavy riffs combined with the accessible vocals of Terence Holler. Danger Zone moves the band more towards the heavier side of Dream Theater, with some understated keyboards adding to the mix and the dual guitar work of Eugene Simone (Lead guitars and Rudj Ginanneschi. The band are anchored and steadied by the steady rhythm section of Raffahell Dridge (Drums) and Alessio Consani (Bass). Underlying Issues is technically consistent throughout; unfortunately it starts to merge into one track, with songs such as The Face I Wear and Bringer Of Hate merging into very similar songs. Holler’s vocals are a little bit marmite, with a little bit of Chester Benington in the mix along with the pomp of James LaBrie and at times it becomes a little too similar. Album closer Slowmotion K Us is a very thrashy number with some excellent playing but overall, the album is just a little repetitive with nothing that really stands out above the whole host of other bands plying their trade. 6/10
Joel Hoekstra’s 13: Dying To Live (Frontiers)
Current Whitesnake and former Night Ranger guitar man Joel Hoekstra’s latest solo album is a mighty slab of melodic rock features the impressive vocal power of Russell Allen (Symphony X) and the well-travelled Jeff Scott Soto (Talisman, Yngwie Malmsteen, Journey). Opener Say Goodbye To The Sun has Allen delivering his best RJD vocals in an up tempo gallop which sets the tone for the rest of the album perfectly. A huge spoon of sugar for many of the tracks, delivered in the best saccharine coated way which you’d expect given the numerous luminaries that Hoekstra has rubbed shoulders with over the years. Scream is absolutely perfect, high pitched harmonies on the chorus, a break down stacked with promise followed by the keyboard vs guitar interplay so beloved of bands like Rainbow. It’s cheese of the highest quality. Dying To Live has more balls, some crunching riffs and even the odd swear word whilst album closer What We Believe is an anthemic if slightly sickly vocal duet which goes on about a minute too long. Overall a high quality Melodic rock album which will undoubtedly go down well with those who like the genre. Not my cup of tea but a decent album nonetheless. 8/10
It never ceases to amaze me how many bands churn out album after album with little if no mainstream recognition. Such is the way the metal media is dominated by those with the big cheque books and high profiles, many bands just don’t stand a chance. So, with a big salute to the dogged determination, let me introduce Dark Moor, possibly Madrid’s finest (only?) neoclassical metal outfit, who have been kicking around in various shapes and forms for 22 years. Yes kids, these guys have been plying their trade longer than some of you have been alive. And to be honest that is quite amazing because Project X is one of the weirdest, brilliant and yet awful albums I've ever heard. Symphonic power metal merge to provide swirling synths, soaring guitars, galloping drums and absolutely bewildering songs. If this band were the Spanish entry for Eurovision 2016 I would not be at all surprised. Beyond The Stars is about as Eurovision as it gets; I've never heard anything quite so stomach curling in my life.
The emotive and ‘unique’ vocals of Alfred Romero are quite something whilst the big band sound that permeates some of the tracks is just bizarre; Bon Voyage has shades of Devin Townsend with choral backing, I Want To Believe makes me want to throw up whilst Existence includes just about everything apart from the kitchen sink. I have no idea what to make of this release, which is the band’s tenth. Imperial Earth has some lovely fast riffing courtesy of Enrik Garcia and builds dramatically but I have no clue as to what the band are intending. The riffs give way to some tinkling ivories before crashing back headlong on the charge. It’s all a bit dramatic with laser sound effects and some robotic narrative. Some of it is just rubbish; Gabriel for example is full of pomp and poppy overtures, samples from Close Encounters Of The Third Kind and is cheesier than the Bernabeu filled with Manchego. This is just bat shit crazy: don’t get to the finale, There’s Something In The Skies – it is so triumphant, combing Barry Manilow, Queen and Blind Guardian. I shit you not. It sounds like a horrible rock opera. I bet they are loved in Spain and Germany. They aren’t going to dent the UK shores one iota. I can’t rate it. It lurches violently from 1/10 to 10/10.
Eldritch: Underlying Issues (Scarlet)
So after Madrid’s finest, we also had the opportunity to have a listen to Eldritch, a progressive power metal outfit from Italy who have been plying their trade since 1991. A combination of power and thrash metal, Underlying Issues kicks off in fine style with a rampaging opener, Changing Blood. Powerful drumming, technical guitar work and heavy riffs combined with the accessible vocals of Terence Holler. Danger Zone moves the band more towards the heavier side of Dream Theater, with some understated keyboards adding to the mix and the dual guitar work of Eugene Simone (Lead guitars and Rudj Ginanneschi. The band are anchored and steadied by the steady rhythm section of Raffahell Dridge (Drums) and Alessio Consani (Bass). Underlying Issues is technically consistent throughout; unfortunately it starts to merge into one track, with songs such as The Face I Wear and Bringer Of Hate merging into very similar songs. Holler’s vocals are a little bit marmite, with a little bit of Chester Benington in the mix along with the pomp of James LaBrie and at times it becomes a little too similar. Album closer Slowmotion K Us is a very thrashy number with some excellent playing but overall, the album is just a little repetitive with nothing that really stands out above the whole host of other bands plying their trade. 6/10
Joel Hoekstra’s 13: Dying To Live (Frontiers)
Current Whitesnake and former Night Ranger guitar man Joel Hoekstra’s latest solo album is a mighty slab of melodic rock features the impressive vocal power of Russell Allen (Symphony X) and the well-travelled Jeff Scott Soto (Talisman, Yngwie Malmsteen, Journey). Opener Say Goodbye To The Sun has Allen delivering his best RJD vocals in an up tempo gallop which sets the tone for the rest of the album perfectly. A huge spoon of sugar for many of the tracks, delivered in the best saccharine coated way which you’d expect given the numerous luminaries that Hoekstra has rubbed shoulders with over the years. Scream is absolutely perfect, high pitched harmonies on the chorus, a break down stacked with promise followed by the keyboard vs guitar interplay so beloved of bands like Rainbow. It’s cheese of the highest quality. Dying To Live has more balls, some crunching riffs and even the odd swear word whilst album closer What We Believe is an anthemic if slightly sickly vocal duet which goes on about a minute too long. Overall a high quality Melodic rock album which will undoubtedly go down well with those who like the genre. Not my cup of tea but a decent album nonetheless. 8/10
Saturday, 31 October 2015
Another Point Of View: Deathcrusher Tour (Review By Paul)
Deathcrusher Tour: Marble Factory, Bristol
Five of the heaviest bands to walk the earth in one place? It was a given that MoM ensured a presence at the Deathcrusher tour; in fact there were several members of the crew present even though we didn’t all connect during the evening. Part of the reason for that was the sheer volume of people crammed into the Marble Factory despite the larger Motion venue being available. Sir Rhod of Moose was already wedged onto the barrier by the time we arrived. Due to logistical issues and the early start we missed the sets from Herod and Voivod but I guess in a review of this tour, you can guess what they sounded like. In fact, we arrived just as Voivod finished and to a pretty impressive reception from the crowd too.
They've been around for yonks and really hold a special place in the metal fraternity; Birmingham legends Napalm Death (7) brought their unique brand of grindcore metal to Bristol and kicked the shit out for nigh on 40 minutes which meant about 300 songs! I've never been much of a fan to be honest but watching the band provoke such a faithful reaction, I can fully understand why they do appeal. Championed by the iconic John Peel many moons ago, the band line-up has remained pretty static in recent years with sizeable bassist Shane Embury and hyperactive scream machine Barney Greenway joined by touring guitarist Erik Burke (filling in for Mitch Harris) and the powerhouse drumming of Danny Herrera. Slab after slab of aggressive flat out riffage and absolutely unintelligible vocals pretty much sum up Napalm Death for me. Of course, with many of their songs incredibly short there was plenty to go round with a handful of tracks from their latest album Apex Predator – Easy Meat thrown into the mix alongside many older classics, Suffer The Children from 1990s Harmony Corruption a particular highlight. Inevitably it was still Scum that received the biggest cheer of the evening and incited one of the most ferocious pits seen for a long while. Barney’s chatter between songs is entertaining, astute social commentary aligning the majority of the crowd’s political views if nothing else. Napalm Death continue to do what they do. All power to them.
A short turnaround and then it was time for Florida’s finest death metal merchants Obituary (8) to power through 45 minutes of brutality. Obituary, much like all the bands on the bill don’t give a fuck about anyone else. They have a sound, it pulverises you and then they leave. Opening with Red Neck Stomp, the twin guitars of Trevor Peres and lead axeman Kenny Andrews laid down their groove laden death over the rock solid foundation of Donald Tardy’s drumming and Terry Butler’s hammering bass lines. John Tardy, one of the most distinctive voices in death metal stalked the stage, snarling and spitting out his lines with venom. A couple of relative newbies from their most recent release Inked In Blood were interspersed with older cuts including an absolutely killing Bloodsoaked. Inevitably the set concluded with the anthemic Slowly We Rot, cue mass pit action and some of the best clawing of the sky seen this side of an Immortal gig. You know what you get with Obituary. They always deliver.
A huge bonus on this tour was the opportunity to see another of the bands vigorously supported by Peel, Liverpool’s forefathers of death metal, Carcass (8). An even bigger bonus was to discover that they had pegged their merchandise prices to £15 for a shirt and even better, a mere £10 for the Surgical Steel Complete Edition. Happy days! Once again, you pretty much know what you are getting with Carcass although it was interesting that the crowd had thinned slightly before they hit the stage. 1985, the intro track from Surgical Steel gave way to Unfit For Human Consumption as the combined guitar pile driving of Bill Steer and Ben Ash sliced the air, backed up by the blitz of Jeff Walker’s bass and Dan Wildings non-stop powerhouse drumming. Plenty of movement at the front of the stage as the band crashed through their catalogue, including a pretty gruesome Cadaver Pouch Conveyor System and a crushing The Granulating Dark Satanic Mills.
Walker’s vocal delivery is one of the best in death metal, although I'm never sure if he is just a cantankerous old bastard or incredibly dry with his between song banter. Maybe it’s somewhere in the middle. The set also contained a couple of old school monsters from Necrotism: Descanting The Insalubrious (including Corporal Jigsore Quandary) and a handful from the Heartwork album. An hour of Carcass leave you exhausted, like a really heavy circuit session. As Heartwork brought the curtain down on an evening of brutal intensity, the huge response from the incredibly healthy crowd indicated that despite what Gene Simmons thinks, the metal scene is further away from life support than we might have dared imagine. Death metal in particular appears alive and kicking … mainly right between the legs!
Five of the heaviest bands to walk the earth in one place? It was a given that MoM ensured a presence at the Deathcrusher tour; in fact there were several members of the crew present even though we didn’t all connect during the evening. Part of the reason for that was the sheer volume of people crammed into the Marble Factory despite the larger Motion venue being available. Sir Rhod of Moose was already wedged onto the barrier by the time we arrived. Due to logistical issues and the early start we missed the sets from Herod and Voivod but I guess in a review of this tour, you can guess what they sounded like. In fact, we arrived just as Voivod finished and to a pretty impressive reception from the crowd too.
They've been around for yonks and really hold a special place in the metal fraternity; Birmingham legends Napalm Death (7) brought their unique brand of grindcore metal to Bristol and kicked the shit out for nigh on 40 minutes which meant about 300 songs! I've never been much of a fan to be honest but watching the band provoke such a faithful reaction, I can fully understand why they do appeal. Championed by the iconic John Peel many moons ago, the band line-up has remained pretty static in recent years with sizeable bassist Shane Embury and hyperactive scream machine Barney Greenway joined by touring guitarist Erik Burke (filling in for Mitch Harris) and the powerhouse drumming of Danny Herrera. Slab after slab of aggressive flat out riffage and absolutely unintelligible vocals pretty much sum up Napalm Death for me. Of course, with many of their songs incredibly short there was plenty to go round with a handful of tracks from their latest album Apex Predator – Easy Meat thrown into the mix alongside many older classics, Suffer The Children from 1990s Harmony Corruption a particular highlight. Inevitably it was still Scum that received the biggest cheer of the evening and incited one of the most ferocious pits seen for a long while. Barney’s chatter between songs is entertaining, astute social commentary aligning the majority of the crowd’s political views if nothing else. Napalm Death continue to do what they do. All power to them.
A short turnaround and then it was time for Florida’s finest death metal merchants Obituary (8) to power through 45 minutes of brutality. Obituary, much like all the bands on the bill don’t give a fuck about anyone else. They have a sound, it pulverises you and then they leave. Opening with Red Neck Stomp, the twin guitars of Trevor Peres and lead axeman Kenny Andrews laid down their groove laden death over the rock solid foundation of Donald Tardy’s drumming and Terry Butler’s hammering bass lines. John Tardy, one of the most distinctive voices in death metal stalked the stage, snarling and spitting out his lines with venom. A couple of relative newbies from their most recent release Inked In Blood were interspersed with older cuts including an absolutely killing Bloodsoaked. Inevitably the set concluded with the anthemic Slowly We Rot, cue mass pit action and some of the best clawing of the sky seen this side of an Immortal gig. You know what you get with Obituary. They always deliver.
A huge bonus on this tour was the opportunity to see another of the bands vigorously supported by Peel, Liverpool’s forefathers of death metal, Carcass (8). An even bigger bonus was to discover that they had pegged their merchandise prices to £15 for a shirt and even better, a mere £10 for the Surgical Steel Complete Edition. Happy days! Once again, you pretty much know what you are getting with Carcass although it was interesting that the crowd had thinned slightly before they hit the stage. 1985, the intro track from Surgical Steel gave way to Unfit For Human Consumption as the combined guitar pile driving of Bill Steer and Ben Ash sliced the air, backed up by the blitz of Jeff Walker’s bass and Dan Wildings non-stop powerhouse drumming. Plenty of movement at the front of the stage as the band crashed through their catalogue, including a pretty gruesome Cadaver Pouch Conveyor System and a crushing The Granulating Dark Satanic Mills.
Walker’s vocal delivery is one of the best in death metal, although I'm never sure if he is just a cantankerous old bastard or incredibly dry with his between song banter. Maybe it’s somewhere in the middle. The set also contained a couple of old school monsters from Necrotism: Descanting The Insalubrious (including Corporal Jigsore Quandary) and a handful from the Heartwork album. An hour of Carcass leave you exhausted, like a really heavy circuit session. As Heartwork brought the curtain down on an evening of brutal intensity, the huge response from the incredibly healthy crowd indicated that despite what Gene Simmons thinks, the metal scene is further away from life support than we might have dared imagine. Death metal in particular appears alive and kicking … mainly right between the legs!
Friday, 30 October 2015
Reviews: Antimatter, Sadist, Lion Shepherd (Reviews By Paul)
Antimatter: The Judas Table (Prophecy Productions)
Melancholic moods, gothic atmosphere and delicate themes feature heavily in the sixth release by Liverpool’s Antimatter, the long term project of singer/Songwriter Mick Moss who has used a revolving door of musicians throughout the years. According to the band’s website, The Judas Table is a ‘concept album exploring the residual bad energy left in the psyche after falling in and out of a relationship with a toxic personality’ as well as examining the ‘driving force behind betrayal, lies and manipulation …’ So there you are then. No songs about Satan or hot dogs (What?-Ed)on this album.
It is a fantastic album, beautifully constructed with complex sounds, drum beats and haunting piano/keyboards underpinning Moss’s excellent song writing skills. The Roxy Music infused Killer is one of the standout tracks, along with the gentle Comrades which features a background string section and a sole acoustic guitar before slowly increasing the tempo ever so slightly. In fact, every track is crafted to the highest quality, with the musicianship superb, instruments connecting almost symbiotically. Hole is stunning, emotional and powerful but so simple in composition. The title track The Judas Table would sit comfortably on any of Anathema's recent works (and I really apologise for this as I know the Anathema connection haunts Antimatter thanks to former member Duncan Patterson’s tenure with both). The Judas Table is an album that demands repeated listens, and is clever and complex yet is also accessible at first listen. The Judas Table is another excellent release from one of rock music’s most intriguing and gifted artists. 9/10
Sadist: Hyena (Scarlet Records)
Technical death metal? Progressive metal? Yes, both of these genres pulse through the veins of Hyena, the latest release from Genoa’s death merchants Sadist. Formed in 1991, they split in 2000 and reformed in 2005. Hyena is their seventh album and it’s a pretty crazy ride. Flutes, keyboards, blast beats and death growls combine with more traditional crunching guitar riffage and 100mph pace. All kinds of influences thread through Hyena, from the Jethro Tull/Opeth fusion of opener The Lonely Mountain to the eccentric and chaotic Dream Theater on steroids track The Devil Riding the Evil Steed, complete with what sounds like Arabic narrative in the middle. Every track waxes and wanes, changing direction numerous times during each song. Gadawan Kura is a mellow, gentle instrumental, sandwiched between the much more aggressive Scavenger and the Thief And Eternal Enemies before the manic African Devourers throws jazz and avant-garde breakdowns into the mix.
There is more than a dash of nu-metal thrown into the Sadist mix, providing yet another element to an already crowded and increasingly randomly constructed release. Closing with the lovingly entitled Genital Mask, complete with African drums, I've come to the conclusion that Sadist are exactly that; torturing my ears with some of the most complex, eccentric and eclectic metal I've heard for a long time. Do I like it? Well, Tommy’s vocals are an acquired taste and do little for me but I like Steve Souza and Bobby Ellsworth’s styles and this isn't a million miles away from that. The ethnic influences that run throughout the album make it quite unique and the transfers from all out death to progressive rock work quite well. An interesting release. 7/10
Lion Shepherd: Hiraeth (Self Released)
One of the great joys about live music is the odd occasion where you manage to catch a support band that absolutely demands your attention. This happened at Riverside’s recent turn at The Marble Factory where the opening band Lion Shepherd delivered an impressive set, sufficient to persuade me to purchase Hiraeth. I wasn't disappointed. Lion Shepherd is a project by Kamil Haidar and Mateusz Owczarek and their debut release contains some quite beautiful music. An eclectic mix of ethnic fused rock, Hiraeth delivers a range of tracks that take in progressive rock, trance, blues, metal and several Eastern and world music influences. Think Orphaned Land but throw in Klone, Messenger, and even Depeche Mode, all with an Iranian twist, courtesy of guest musicians Rasm Al Mashan and Jahair Azim Irani amongst others.
Highlights include the controlled aggression of Brave New World and Smell Of War, the excitement and promise of opener Fly On, and two of my favourite tracks, the Eastern sounds of Music Box Ballerina and Lights Out. Haidar's vocals are superb, whilst the acoustic and electric guitar work of Owczarek provides exactly the right shade of light and shade for each song. The percussion of Slawek Berny and the subtle bass work of Wojciech Rucinski provide a foundation which truly allows the album to develop, captivating and transporting the listener far away. For me, Lion Shepherd and Hiraeth is the discovery of 2015; inspirational and innovative. In a year when some absolutely great pieces of work have been produced, this stands proudly alongside them. 9/10
Melancholic moods, gothic atmosphere and delicate themes feature heavily in the sixth release by Liverpool’s Antimatter, the long term project of singer/Songwriter Mick Moss who has used a revolving door of musicians throughout the years. According to the band’s website, The Judas Table is a ‘concept album exploring the residual bad energy left in the psyche after falling in and out of a relationship with a toxic personality’ as well as examining the ‘driving force behind betrayal, lies and manipulation …’ So there you are then. No songs about Satan or hot dogs (What?-Ed)on this album.
It is a fantastic album, beautifully constructed with complex sounds, drum beats and haunting piano/keyboards underpinning Moss’s excellent song writing skills. The Roxy Music infused Killer is one of the standout tracks, along with the gentle Comrades which features a background string section and a sole acoustic guitar before slowly increasing the tempo ever so slightly. In fact, every track is crafted to the highest quality, with the musicianship superb, instruments connecting almost symbiotically. Hole is stunning, emotional and powerful but so simple in composition. The title track The Judas Table would sit comfortably on any of Anathema's recent works (and I really apologise for this as I know the Anathema connection haunts Antimatter thanks to former member Duncan Patterson’s tenure with both). The Judas Table is an album that demands repeated listens, and is clever and complex yet is also accessible at first listen. The Judas Table is another excellent release from one of rock music’s most intriguing and gifted artists. 9/10
Sadist: Hyena (Scarlet Records)
Technical death metal? Progressive metal? Yes, both of these genres pulse through the veins of Hyena, the latest release from Genoa’s death merchants Sadist. Formed in 1991, they split in 2000 and reformed in 2005. Hyena is their seventh album and it’s a pretty crazy ride. Flutes, keyboards, blast beats and death growls combine with more traditional crunching guitar riffage and 100mph pace. All kinds of influences thread through Hyena, from the Jethro Tull/Opeth fusion of opener The Lonely Mountain to the eccentric and chaotic Dream Theater on steroids track The Devil Riding the Evil Steed, complete with what sounds like Arabic narrative in the middle. Every track waxes and wanes, changing direction numerous times during each song. Gadawan Kura is a mellow, gentle instrumental, sandwiched between the much more aggressive Scavenger and the Thief And Eternal Enemies before the manic African Devourers throws jazz and avant-garde breakdowns into the mix.
There is more than a dash of nu-metal thrown into the Sadist mix, providing yet another element to an already crowded and increasingly randomly constructed release. Closing with the lovingly entitled Genital Mask, complete with African drums, I've come to the conclusion that Sadist are exactly that; torturing my ears with some of the most complex, eccentric and eclectic metal I've heard for a long time. Do I like it? Well, Tommy’s vocals are an acquired taste and do little for me but I like Steve Souza and Bobby Ellsworth’s styles and this isn't a million miles away from that. The ethnic influences that run throughout the album make it quite unique and the transfers from all out death to progressive rock work quite well. An interesting release. 7/10
Lion Shepherd: Hiraeth (Self Released)
One of the great joys about live music is the odd occasion where you manage to catch a support band that absolutely demands your attention. This happened at Riverside’s recent turn at The Marble Factory where the opening band Lion Shepherd delivered an impressive set, sufficient to persuade me to purchase Hiraeth. I wasn't disappointed. Lion Shepherd is a project by Kamil Haidar and Mateusz Owczarek and their debut release contains some quite beautiful music. An eclectic mix of ethnic fused rock, Hiraeth delivers a range of tracks that take in progressive rock, trance, blues, metal and several Eastern and world music influences. Think Orphaned Land but throw in Klone, Messenger, and even Depeche Mode, all with an Iranian twist, courtesy of guest musicians Rasm Al Mashan and Jahair Azim Irani amongst others.
Highlights include the controlled aggression of Brave New World and Smell Of War, the excitement and promise of opener Fly On, and two of my favourite tracks, the Eastern sounds of Music Box Ballerina and Lights Out. Haidar's vocals are superb, whilst the acoustic and electric guitar work of Owczarek provides exactly the right shade of light and shade for each song. The percussion of Slawek Berny and the subtle bass work of Wojciech Rucinski provide a foundation which truly allows the album to develop, captivating and transporting the listener far away. For me, Lion Shepherd and Hiraeth is the discovery of 2015; inspirational and innovative. In a year when some absolutely great pieces of work have been produced, this stands proudly alongside them. 9/10
Wednesday, 28 October 2015
Reviews: Spock's Beard, With The Dead, Satan
Spock's Beard: The Oblivion Particle (InsideOut)
American progressive merchants Spock's Beard are now into their 20th year and after all these years the band are still going strong with their third singer, Enchant frontman Ted Leonard, who replaced long term singer/drummer Nick D'Virgillio, who himself replaced founder Neal Morse. Leonard has been on board since 2013's Brief Nocturnes And Dreamless Sleep and he fits into the band perfectly, Enchant themselves have the same kind of classic progressive rock sound as Spock's Beard so he was the natural choice. On this album he once again shows off his powerful almost pop-friendly vocals that croon above the intensely technical but beautifully luscious soundscapes created by founder members Alan Morse's guitar, Ryo Okumoto's huge keys, Dave Meros' dexterous bass playing and new boy Jimmy Keegan's percussion. The album deals with the a science fiction narrative based around time travel and freedom from tyranny both funky Tides Of Time and the Yes-like Minion (which is not about those yellow buggers) deal with these issues the best, using the time signature changes of of the rhythm driven by Meros' bass to keep your interested piqued, while Morse stabs heaviness and floats above deftly as Okumoto's organs over arch everything. The Yes theme continues on the acoustic pastoral Hell's Not Enough which is a lilting ballad that builds into the fantastic Bennett Built A Time Machine which is one of my favourites on this record built upon a mandolin riff with lyrics about going back in time to change your past for a better future, this track initially sounds like a throwaway but it draws you in with it's whimsical narrative. As the album progresses the final parts get longer and heavier with trio of the atmospheric A Better Way To Fly, the jaunty classically influenced The Center Line and the guitar driven To Be Free all clocking in at over 6 minutes showing off this band's obvious talent. You don't me to tell you how good this twelfth album is, if you are a fan of 'proper' progressive rock the you' will love, those who aren't will avoid it like the plague luckily I'm in the former and I'm going to play it again! 9/10
With The Dead: With The Dead (Rise Above Records)
With The Dead are the new project from original Electric Wizard rhythm section Tim Bagshaw and Mark Greening, now that really tells you all you need to know about this EP as the British Doom legends are imprinted all over this record. Bagshaw provides the fuzzy, hissing distorted guitars and droning, buzzing bass that supply the thick as syrup riffs that boom as Greening pounds through the discord crashing cymbals and thumping the drums bringing the crushing ominous rhythm that Electric Wizard have always relied upon. The six songs on this album are blood-curdling, formidable and heavy as hell with the record building from the percussive and rumbling Crown Of Burning Stars through the Sabbath-like bounce of The Cross, the atmospheric stoner metal of Nephthys which sounds a lot like Orange Goblin at their most doom laden, before ending with the double header of the woozy I Am The Virus and the leviathan final track Screams From My Own Grave. As I've said the band features two former members of Electric Wizard but they are not the only veterans in this band as the satanic vocals are supplied by former Cathedral man (and Rise Above boss) Lee Dorrian who once again wakes the dead with his roars on Living With The Dead, which has trademark snippets of old movies to throw you off guard as the riff smashes you in the head. Yes the band sound a lot like Electric Wizard, and indeed Cathedral in moments, however can you accuse a band of plagiarism if the members have been in said band? As you mull this put on With The Dead I'm sure it'll help you think, or spin you out into a drug induced binge, but with music like this either is good! 8/10
Satan: Atom By Atom (Listenable)
After their comeback in 2013 with Life Sentence NWOBHM also-rans Satan have been in demand at festivals and have toured more than ever, they have also got around to writing and recording their fourth, yes fourth, record. Atom By Atom builds on the comeback yet again combining razor sharp proto-thrash riffs, stomping rhythms and Brain Ross's shrieking vocals, which are the first things you hear on Farewell Evolution before the shredding guitars blast along as Sean Taylors drums gallop with aplomb. Where as Life Sentence saw the band coming back after 26 years to blow away any doubts that they were doomed to languish in the what if? pile by creating a strong, accomplished record that was as modern as it was retro. On Atom By Atom the band have cemented this idea by crafting 10 strong tracks of British heavy metal, that move and twist like those dark figures Bruce sang about brining to mind fellow NWOBHM resurgents HELL, the songs are not linear pliling as many riffs as they can into every track as Steve Ramsey and Russ Tippins duelling with every melodic passage, lead break and crunchy rhythm, tracks like Fallen Saviour, The Devil's Infantry are the real neck snappers forcing you to band your head and will cause pits in the live setting, Graeme English's bass gets highlighted on the very old school Ruination and the title track does have a whiff of Anvil about it. Still this is quality British metal at it's core with superior tracks like Ahriman excellent The Fall Of Persephone being two of the best on the record. Put it on and turn it up Satan are here to stay! 8/10
American progressive merchants Spock's Beard are now into their 20th year and after all these years the band are still going strong with their third singer, Enchant frontman Ted Leonard, who replaced long term singer/drummer Nick D'Virgillio, who himself replaced founder Neal Morse. Leonard has been on board since 2013's Brief Nocturnes And Dreamless Sleep and he fits into the band perfectly, Enchant themselves have the same kind of classic progressive rock sound as Spock's Beard so he was the natural choice. On this album he once again shows off his powerful almost pop-friendly vocals that croon above the intensely technical but beautifully luscious soundscapes created by founder members Alan Morse's guitar, Ryo Okumoto's huge keys, Dave Meros' dexterous bass playing and new boy Jimmy Keegan's percussion. The album deals with the a science fiction narrative based around time travel and freedom from tyranny both funky Tides Of Time and the Yes-like Minion (which is not about those yellow buggers) deal with these issues the best, using the time signature changes of of the rhythm driven by Meros' bass to keep your interested piqued, while Morse stabs heaviness and floats above deftly as Okumoto's organs over arch everything. The Yes theme continues on the acoustic pastoral Hell's Not Enough which is a lilting ballad that builds into the fantastic Bennett Built A Time Machine which is one of my favourites on this record built upon a mandolin riff with lyrics about going back in time to change your past for a better future, this track initially sounds like a throwaway but it draws you in with it's whimsical narrative. As the album progresses the final parts get longer and heavier with trio of the atmospheric A Better Way To Fly, the jaunty classically influenced The Center Line and the guitar driven To Be Free all clocking in at over 6 minutes showing off this band's obvious talent. You don't me to tell you how good this twelfth album is, if you are a fan of 'proper' progressive rock the you' will love, those who aren't will avoid it like the plague luckily I'm in the former and I'm going to play it again! 9/10
With The Dead: With The Dead (Rise Above Records)
With The Dead are the new project from original Electric Wizard rhythm section Tim Bagshaw and Mark Greening, now that really tells you all you need to know about this EP as the British Doom legends are imprinted all over this record. Bagshaw provides the fuzzy, hissing distorted guitars and droning, buzzing bass that supply the thick as syrup riffs that boom as Greening pounds through the discord crashing cymbals and thumping the drums bringing the crushing ominous rhythm that Electric Wizard have always relied upon. The six songs on this album are blood-curdling, formidable and heavy as hell with the record building from the percussive and rumbling Crown Of Burning Stars through the Sabbath-like bounce of The Cross, the atmospheric stoner metal of Nephthys which sounds a lot like Orange Goblin at their most doom laden, before ending with the double header of the woozy I Am The Virus and the leviathan final track Screams From My Own Grave. As I've said the band features two former members of Electric Wizard but they are not the only veterans in this band as the satanic vocals are supplied by former Cathedral man (and Rise Above boss) Lee Dorrian who once again wakes the dead with his roars on Living With The Dead, which has trademark snippets of old movies to throw you off guard as the riff smashes you in the head. Yes the band sound a lot like Electric Wizard, and indeed Cathedral in moments, however can you accuse a band of plagiarism if the members have been in said band? As you mull this put on With The Dead I'm sure it'll help you think, or spin you out into a drug induced binge, but with music like this either is good! 8/10
Satan: Atom By Atom (Listenable)
After their comeback in 2013 with Life Sentence NWOBHM also-rans Satan have been in demand at festivals and have toured more than ever, they have also got around to writing and recording their fourth, yes fourth, record. Atom By Atom builds on the comeback yet again combining razor sharp proto-thrash riffs, stomping rhythms and Brain Ross's shrieking vocals, which are the first things you hear on Farewell Evolution before the shredding guitars blast along as Sean Taylors drums gallop with aplomb. Where as Life Sentence saw the band coming back after 26 years to blow away any doubts that they were doomed to languish in the what if? pile by creating a strong, accomplished record that was as modern as it was retro. On Atom By Atom the band have cemented this idea by crafting 10 strong tracks of British heavy metal, that move and twist like those dark figures Bruce sang about brining to mind fellow NWOBHM resurgents HELL, the songs are not linear pliling as many riffs as they can into every track as Steve Ramsey and Russ Tippins duelling with every melodic passage, lead break and crunchy rhythm, tracks like Fallen Saviour, The Devil's Infantry are the real neck snappers forcing you to band your head and will cause pits in the live setting, Graeme English's bass gets highlighted on the very old school Ruination and the title track does have a whiff of Anvil about it. Still this is quality British metal at it's core with superior tracks like Ahriman excellent The Fall Of Persephone being two of the best on the record. Put it on and turn it up Satan are here to stay! 8/10
The View From The Back Of The Room: Riverside (Review By Paul)
Riverside: The Marble Factory
Arriving half way through the opening set, we were immediately taken by the sight of a lute at the side of the stage. This later came into play during the latter part of the set. Lion Shepherd (8), Polish associates of the headliners, played with aplomb and panache, their progressive tones fused with lush Oriental and Eastern sounds very appealing. A combination of Orphaned Land, Messenger, Porcupine Tree and many others, Kamil Haidar cuts a fine figure at the front of the stage, with a strong and imposing vocal range, demonstrated in fine style on set closer Smell Of War. Sufficiently impressive to prompt me to purchase their debut release Hiraeth (full review to follow but it is excellent).
The Sixxis (6) are confused. The Atlanta outfit are a confusion of influences although Dream Theater stand head and shoulders above everyone else (add in anything from Muse, Alice in Chains and even a smattering of Rush). They certainly put in the effort but a lot of huff and puff doesn't always work if your songs are a bit disjointed. Vocalist Vladdy Iskhakov combined his lyrical duties with synth work at the front of the stage and at one point comically introduced an electric violin which provided Spinal Tap flashbacks. Unfortunately he isn’t blessed with the most powerful of voices and was often smothered by the guitar riffs of Paul Sorah and Cameron Allen. The band appear unclear which direction they want their sound to develop and as a result their songs suffered somewhat. A reasonable response from the crowd indicated that they hit a few of the right notes but it was noticeable that Lion Shepherd attracted more attention at the merchandise table.
No such problems for Riverside (10). A rapturous welcome greeted the band as they arrived on stage and launched into Lost (Why Should I be Frightened By A Hat?), the opening track from the stunning Love, Fear And The Time Machine. Over the next hour and forty five minutes the Poles delivered a masterclass in progressive music, with a range of tracks six of their albums (heavily based on their last two; LFATTM and Shrine Of New Generation Slaves) and a mix of styles; from the Floyd soaked Escalator Shrine and The Same River to the Depeche Mode/The Cure influences in Saturate Me. Whilst all eyes are rightly fixed on the talents and warmth of Mariusz Duda, frontman, bassist and vocalist, Riverside is truly a band where the whole is greater than the individual parts. Piotr Grudzinski’s stunning guitar work, often understated and intricate was breath taking whilst the Hammond organ and keyboards of Michal Lapaj added layered depth and substance. Underpinning the whole sound was Piotr Kozieradzki on drums. The band cleverly book ended the set with Found (The Unexpected Flow Of Searching), the final track on LFATTM and left the stage to a deserved huge ovation from the small but appreciative audience.
Arriving half way through the opening set, we were immediately taken by the sight of a lute at the side of the stage. This later came into play during the latter part of the set. Lion Shepherd (8), Polish associates of the headliners, played with aplomb and panache, their progressive tones fused with lush Oriental and Eastern sounds very appealing. A combination of Orphaned Land, Messenger, Porcupine Tree and many others, Kamil Haidar cuts a fine figure at the front of the stage, with a strong and imposing vocal range, demonstrated in fine style on set closer Smell Of War. Sufficiently impressive to prompt me to purchase their debut release Hiraeth (full review to follow but it is excellent).
The Sixxis (6) are confused. The Atlanta outfit are a confusion of influences although Dream Theater stand head and shoulders above everyone else (add in anything from Muse, Alice in Chains and even a smattering of Rush). They certainly put in the effort but a lot of huff and puff doesn't always work if your songs are a bit disjointed. Vocalist Vladdy Iskhakov combined his lyrical duties with synth work at the front of the stage and at one point comically introduced an electric violin which provided Spinal Tap flashbacks. Unfortunately he isn’t blessed with the most powerful of voices and was often smothered by the guitar riffs of Paul Sorah and Cameron Allen. The band appear unclear which direction they want their sound to develop and as a result their songs suffered somewhat. A reasonable response from the crowd indicated that they hit a few of the right notes but it was noticeable that Lion Shepherd attracted more attention at the merchandise table.
No such problems for Riverside (10). A rapturous welcome greeted the band as they arrived on stage and launched into Lost (Why Should I be Frightened By A Hat?), the opening track from the stunning Love, Fear And The Time Machine. Over the next hour and forty five minutes the Poles delivered a masterclass in progressive music, with a range of tracks six of their albums (heavily based on their last two; LFATTM and Shrine Of New Generation Slaves) and a mix of styles; from the Floyd soaked Escalator Shrine and The Same River to the Depeche Mode/The Cure influences in Saturate Me. Whilst all eyes are rightly fixed on the talents and warmth of Mariusz Duda, frontman, bassist and vocalist, Riverside is truly a band where the whole is greater than the individual parts. Piotr Grudzinski’s stunning guitar work, often understated and intricate was breath taking whilst the Hammond organ and keyboards of Michal Lapaj added layered depth and substance. Underpinning the whole sound was Piotr Kozieradzki on drums. The band cleverly book ended the set with Found (The Unexpected Flow Of Searching), the final track on LFATTM and left the stage to a deserved huge ovation from the small but appreciative audience.
Monday, 26 October 2015
Reviews: Queensryche, Operation Mindcrime (Reviews By Nick)
Queensryche: Condition Human (Century Media)
Having been a big Queensryche fan for about eight years or so, it was needless to say that when all the hooha and kerfuffle broke out around the band three years back I was both gutted and concerned. Thankfully the band found the perfect replacement in Todd LaTorre, who on first listening live last year, I found him to sound almost exactly like Tate, but with that little more edge. He is easily able to roll off all of the bands greatest hits and quite frankly I was blown away by his voice. However now is the time to see what LaTorre and the gang are really made of with their new offering Condition Human.
In this case I'm not going to go through the album track by track as I'm sad to say it would be a bit of waste of time. After a few listens this album has one big downfall, and it’s a damn shame. The majority of the songs served up on Condition Human all have the same theme... Revolution is coming my friends, yup you better believe it. At least eight of the tracks on this twelve song album continue with this theme and no matter how good you are, this just isn't sustainable. I'm pretty sure this theme rings a few bells from previous offerings too? What's more annoying about this album is that the track Just Us offers us a beautiful ballad that pulls together everything that is good about Queensryche old and new, similarly Hourglass in a more rocky manner. This just left me thinking... why can't we have more of this?
Don’t get me wrong, the musicianship on this album is brilliant as always and I'd expect nothing less from such experienced pro's. Throw LaTorre's spine tingly good voice into the mix and if you're not paying too much attention to the foundation of the songs, it sounds just great. Rockenfield's drums at times are simply majestic and Wilton and Lundgren throw out the sharp high pitched riffs we have come to know and love from Queensryche. Ironically this album is the opposite to Tate's new offering with Mindcrime: throw it on in the background and you'll no doubt find yourself walking around the room air banding with a little smile on your face, but, sit down and listen to it properly, and the cracks in the albums foundation are clear to hear. I'm unsure as to the reasoning for this, either the band got a little lazy and were keen to get a release out at the same time as Mindcrime (understandable) or are they hanging on too tightly to the past of Queensryche? Either way, to make your "new project" stand out, something a lot more stronger and dare I say brave was needed here. It’s a good listen, but it could have been so much better 7/10.
Having been a big Queensryche fan for about eight years or so, it was needless to say that when all the hooha and kerfuffle broke out around the band three years back I was both gutted and concerned. Thankfully the band found the perfect replacement in Todd LaTorre, who on first listening live last year, I found him to sound almost exactly like Tate, but with that little more edge. He is easily able to roll off all of the bands greatest hits and quite frankly I was blown away by his voice. However now is the time to see what LaTorre and the gang are really made of with their new offering Condition Human.
In this case I'm not going to go through the album track by track as I'm sad to say it would be a bit of waste of time. After a few listens this album has one big downfall, and it’s a damn shame. The majority of the songs served up on Condition Human all have the same theme... Revolution is coming my friends, yup you better believe it. At least eight of the tracks on this twelve song album continue with this theme and no matter how good you are, this just isn't sustainable. I'm pretty sure this theme rings a few bells from previous offerings too? What's more annoying about this album is that the track Just Us offers us a beautiful ballad that pulls together everything that is good about Queensryche old and new, similarly Hourglass in a more rocky manner. This just left me thinking... why can't we have more of this?
Don’t get me wrong, the musicianship on this album is brilliant as always and I'd expect nothing less from such experienced pro's. Throw LaTorre's spine tingly good voice into the mix and if you're not paying too much attention to the foundation of the songs, it sounds just great. Rockenfield's drums at times are simply majestic and Wilton and Lundgren throw out the sharp high pitched riffs we have come to know and love from Queensryche. Ironically this album is the opposite to Tate's new offering with Mindcrime: throw it on in the background and you'll no doubt find yourself walking around the room air banding with a little smile on your face, but, sit down and listen to it properly, and the cracks in the albums foundation are clear to hear. I'm unsure as to the reasoning for this, either the band got a little lazy and were keen to get a release out at the same time as Mindcrime (understandable) or are they hanging on too tightly to the past of Queensryche? Either way, to make your "new project" stand out, something a lot more stronger and dare I say brave was needed here. It’s a good listen, but it could have been so much better 7/10.
Operation:Mindcrime: The Key (Frontiers Music)
So as you people may or not know, me... I'm a BIG Queensryche fan, and possibly an even bigger Tate fan. For me there are few better voices out there, past present and hopefully future! So, needless to say this album has been eagerly awaited by myself. Since its announcement of production Tate has stated from the off that The Key is to be the first of a trilogy. A concept piece, The Key ushers in work that Tate has been sitting on for a few years now. It will be difficult not to compare this against Tate's outstanding work with Queensryche, but I'll do my best. We'll see if it's all been worth the wait! Without any spoilers the concept of the album in its most basic is; A man discovers "something", realizes that this "thing" could change the world for both good or bad, man wrestles with his conscious to decide if he should destroy said "thing", sell said "thing" or release said thing himself for free. Okay, got it?
Opening track Choices immediately throws back to late 80s/90s Queensryche with an audio cut, reminiscent of album Empires and Mindcrime itself. However what follows is more of an atmospheric narrated opening which sets the scene of the story nicely. The next track and second single Burn again kicks in with another audio cut, which is interrupted by a a heavy thudding grungy riff filled with bass and deep melody. Throughout Burn the tone remains dark and almost melancholic, with very proggy solos thrown in by guitarist Kelly Gray. Reinventing The Future is the first single from The Key and is probably the most anthemic track on the album. Probably the closest thing we get to Queensryche on The Key, this track picks up the pace with a lot bouncier riff and faster paced drums, the prog theme stays firmly put however, with stronger vocals from Tate here and a brief but succulent solo again, supported by a Nick favourite emphasized bass line, kindly donated by Disturbed's John Moyer.
Ready To Fly and Discussions In A Smoke Filled Room return to the slower atmospheric stylings of Choices, the synthesized voice of Tate adds to the futuristic theme that The Key tries to convey. The stand out element during these two tracks however, is the precise and almost dramatic drumming of Simon Wright. At this point the story that Mindecrime are trying to convey is starting to well and truly take shape, that is until track six; Life or Death? which has a very random appearance from Mark Daly (The Voodoos) on vocals. This really threw me initially as his voice, although good, deep and gravely... just doesn't fit into the atmosphere or character of the album, the song itself is also very different to what has been offered thus far in the album. Very rocky, bouncy and lively and upbeat, contrary to the previous five tracks. As a stand alone the track is solid, but it really does halt the charade of the album and stick out like a sore thumb.
The Stranger and Hearing Voice really hit you in the face with more deep bass filled grunge. They are angry emotive songs, both musically and lyrically, also chocked with scurrying tight riffs. Tate is really able to highlight the franticness in the characters decisions across these tracks. The smashing percussion adds another futuristic twist to the story with the industrial edge of its sound, which is immediately halted in its tracks with some sophistication by On Queue and the interlude An Ambush Of Sadness. On Queue builds up beautifully to a great vocal and solo crescendo courtesy of Tate and Gray. Kicking In The Door and The Fall return the album to back where it started musically. Atmospheric proggy music laced with Tate's voice as he brings the first part of his tale to an end. The Fall does this nicely by finishing with a musical wall of sound that builds and builds with well placed layers slowly drowning out Tate's vocals in an almost mystical way, leaving us waiting for the next album to see what becomes of him... it really is a nice touch.
So as you people may or not know, me... I'm a BIG Queensryche fan, and possibly an even bigger Tate fan. For me there are few better voices out there, past present and hopefully future! So, needless to say this album has been eagerly awaited by myself. Since its announcement of production Tate has stated from the off that The Key is to be the first of a trilogy. A concept piece, The Key ushers in work that Tate has been sitting on for a few years now. It will be difficult not to compare this against Tate's outstanding work with Queensryche, but I'll do my best. We'll see if it's all been worth the wait! Without any spoilers the concept of the album in its most basic is; A man discovers "something", realizes that this "thing" could change the world for both good or bad, man wrestles with his conscious to decide if he should destroy said "thing", sell said "thing" or release said thing himself for free. Okay, got it?
Opening track Choices immediately throws back to late 80s/90s Queensryche with an audio cut, reminiscent of album Empires and Mindcrime itself. However what follows is more of an atmospheric narrated opening which sets the scene of the story nicely. The next track and second single Burn again kicks in with another audio cut, which is interrupted by a a heavy thudding grungy riff filled with bass and deep melody. Throughout Burn the tone remains dark and almost melancholic, with very proggy solos thrown in by guitarist Kelly Gray. Reinventing The Future is the first single from The Key and is probably the most anthemic track on the album. Probably the closest thing we get to Queensryche on The Key, this track picks up the pace with a lot bouncier riff and faster paced drums, the prog theme stays firmly put however, with stronger vocals from Tate here and a brief but succulent solo again, supported by a Nick favourite emphasized bass line, kindly donated by Disturbed's John Moyer.
Ready To Fly and Discussions In A Smoke Filled Room return to the slower atmospheric stylings of Choices, the synthesized voice of Tate adds to the futuristic theme that The Key tries to convey. The stand out element during these two tracks however, is the precise and almost dramatic drumming of Simon Wright. At this point the story that Mindecrime are trying to convey is starting to well and truly take shape, that is until track six; Life or Death? which has a very random appearance from Mark Daly (The Voodoos) on vocals. This really threw me initially as his voice, although good, deep and gravely... just doesn't fit into the atmosphere or character of the album, the song itself is also very different to what has been offered thus far in the album. Very rocky, bouncy and lively and upbeat, contrary to the previous five tracks. As a stand alone the track is solid, but it really does halt the charade of the album and stick out like a sore thumb.
The Stranger and Hearing Voice really hit you in the face with more deep bass filled grunge. They are angry emotive songs, both musically and lyrically, also chocked with scurrying tight riffs. Tate is really able to highlight the franticness in the characters decisions across these tracks. The smashing percussion adds another futuristic twist to the story with the industrial edge of its sound, which is immediately halted in its tracks with some sophistication by On Queue and the interlude An Ambush Of Sadness. On Queue builds up beautifully to a great vocal and solo crescendo courtesy of Tate and Gray. Kicking In The Door and The Fall return the album to back where it started musically. Atmospheric proggy music laced with Tate's voice as he brings the first part of his tale to an end. The Fall does this nicely by finishing with a musical wall of sound that builds and builds with well placed layers slowly drowning out Tate's vocals in an almost mystical way, leaving us waiting for the next album to see what becomes of him... it really is a nice touch.
The Key is a very much new direction for Tate and his crew, on one hand, unlike their previous offering this feels as if it has been thought through and some care and love has been put into it. However on the other, the fact that the stand out track is very much that of a Queensryche song suggests that there is probably something missing from The Key that makes this album Mindcrime's own. A concept album, although a concept album, needs an identity musically as well as the story it tries to convey... The Key hops about in its stylings, a little lost at times. After listening a few times, I have come to the decision that I really do like this album, its different, filled with grungy bass and a new sort of prog I've not quite heard before, so I do look forward to the following two parts to accompany it. Hopefully Mindcrime will have found their identity by then. Nonetheless, I feel this is not an album you can just throw on and listen to in the background (unlike Queensryche for instance), it's an album you have to understand and give your time to and work at, which I feel may be difficult to convey live. As a result I can see The Key taking a bit of a hit by critics, probably for all the wrong reasons, which is a shame 8/10
Sunday, 25 October 2015
Another Point Of View: An Evening With Opeth (Review By Paul)
An Evening With Opeth: Theatre Royal, Drury Lane, London
Sunday trips to London for gigs are never particularly enjoyable but when Opeth announced that they would be playing a special 25th anniversary show, combined with a performance of 2005’s masterpiece Ghost Reveries all thoughts of discomfort and lack of sleep were put to one side and tickets were quickly purchased. A last minute change of venue moved the gig from the Palladium to the opulence of the Theatre Royal but tickets arrived in good time and we headed to London filled with expectation, not hope. This is Opeth after all; supreme musicians and consummate professionals. My 12th viewing of the Swedish maestros and very few duds in that list. Following Opeth is an enjoyable experience, and has taken me (and son Ant) across the country; Bristol, Birmingham, Prestatyn, Nottingham, Bloodstock, Sonisphere, Download and the Albert Hall to be precise. Not once have they played in Wales but that is the cross you are happy to carry when it comes to this innovative, classical and heavy as lead band.
We arrived in the Capital with a couple of hours to kill and having smirked at the display of Motörhead dildos proudly displayed outside a ‘private’ shop on Oxford Street, proceeded to get a couple of pre-gig ales and a bit of supper before heading to the venue. Unsurprisingly, given the proximity to Covent Garden, the area was packed and the local pubs full of black t-shirts and long haired metallers. According to the tickets, doors opened at 7:00 pm but disappointingly they appeared to have been opened much earlier and as we studied the scrum around the merchandise table it was clear that we had been far too slow to grab a souvenir t-shirt; only XXL available at 6:55 pm. Obviously the band only carry a limited amount of stock on the road so hopefully the on-line store may stock some at a later date. Never mind. It was the music we had travelled for.
Entering the theatre, one was immediately impressed with the splendour of the venue along with the height of the theatre with three circles rising to the gods, flanked on either side by several boxes. We quickly found our seats, guided by the very helpful theatre staff who were clearly taking the invasion of two thousand mainly beery, hairy white males in their stride. Plenty of leg room and a great view of the stage, although the overhang of the lower circle slightly clipped the sight lines for the top of the three screens which had been positioned at the back of the stage.
The stage was ornately decorated with candelabras and the lighting enhanced the atmosphere, one of death and foreboding and totally in keeping with the atmosphere of the album. The screens eased into life, the ghostly mist of the album cover drifting around flickering candles and the house lights dimmed as Opeth took to the stage. What followed was 90 minutes of sheer breath-taking music as the band played Ghost Reveries from start to finish. Opening with Ghost Of Perdition, a blisteringly heavy track laced with some typical classic Opeth harmonies and quieter parts, the band were clearly hitting their stride as they neared the end of this particular run of shows. The sound was astonishingly clear, possibly the best I’ve ever heard at a gig and this really enhanced the delivery, with the interplay of guitars, bass and keyboards all crystal clear. As Ghost... came to an end it was clear that Mikael was in a good mood, willing to take the time to engage with the audience with his dry wit and coping well with the more boisterous elements heckling incredibly well. (More of this later). Into The Baying Of The Hounds, visceral death vocals, crushingly heavy riffs and pure Opeth brutality; possibly the most evil thing ever heard within the grandiose setting, more used to the sound of Willy Wonka than death metal.
And so it continued as the band eased through the track listing; Beneath The Mire played for the first time on UK soil, the eastern promise of the beautiful Atonement, complete with integrated keyboard and guitar solos which fitted perfectly with the mood of this track and then the more recognisable Reverie/Harlequin Forest ramped the volume back up again. Meanwhile the screens displayed various images which fitted perfectly. Unfortunately, it was as the band began the delicate Hours Of Wealth that a few of the more boorish elements of the audience decided that a “quiet bit” was a good time to a)head for the toilet/bar and b)have a little chat at top volume. Honestly, there were some right fuckwits amongst the audience. As distracting as this was, the band maintained their professionalism and delivered it perfectly, with the interplay between Mikael's guitar work and keyboard player Joakim Svalberg on what is essentially a duet stunning. The demonic and pulverising Grand Conjuration increased the temperature again before a further oafish element heckled once more as a beautiful Isolation Years brought part one of the evening to a close.
After a short interval, and the set stripped back to the basics, Opeth returned to the stage and ripped through the now familiar opening duo from Pale Communion, Eternal Rains Will Come and Cusp Of Eternity. The clarity of the sound was helping to really pick up on the intricate musical interplay and allowed you to establish the different lines of each instrument. The guitar work of Mikael and Frederik Akesson particularly impressive. The Leper Affinity, a staple from Blackwater Park followed, the driving bass of Martin Mendez and the power of Martin ‘Axe’ Axenrot especially impressive. A calmer middle part of the set followed, with some humorous interaction with the crowd. Of course, even an intelligent band like Opeth attract the stupid and the moronic, and as Mikael referred to Damnation, the oafs in front shouted, nay, bellowed for The Moor (which is from Still Life you tools!). A snippet of Face Of Melinda and Closure led to a perfect To Rid The Disease before a rare outing for I Feel The Dark from the much maligned Heritage album.
On the home strait, and it was all too much for one punter, who managed to fall over a number of other patrons as he staggered down his row, completely trolleyed. This was the cue for an exchange of pleasantries which included a classic “Why don’t you fuck off and die … and then fuck off and die some more you cock weed” from a particularly unimpressed young lady. Said drunken punter was by now on his hands and knees at the end of the row and crawled to the door where the staff quickly removed him. Meanwhile shouts for old school tracks such as Black Rose Immortal and obviously further calls for The Moor continued. One classic put down came after a cry for Slayer (how original). “Fuck off, we want to play our own songs!” Despite all of this diatribe, Opeth then delivered a superb version of Voice Of Treason, which confused the old school brigade as it is from Pale Communion. Moving back to the Deliverance release, a crushing version of Master's Apprentice brought the set to a close before the band returned for an encore.
Although the second set was a little disjointed one of the highlights of seeing Opeth is always how Mikael deals with the crowd and his humour has become legendary. My favourite heckle of the evening came as he introduced the rest of the band, to which one wag shouted “what’s your name?” One of the few times Mikael Akerfeldt had no response. A protracted opportunity for the audience to shout out requests (which encouraged the dullards once more) was rewarded with A Lynyrd Skynyrd style snippet of Bleak, the first verse of A Fair Judgement, a blast of The Moor and a smidgeon of Credence before the band launched into The Lotus Eater from Watershed to complete a triumphant evening which was brilliant in so many ways.
It defies logic to me that you would pay £40 to see a band in a seated venue, and then spend most of your evening back and fore to the toilet and bar, drinking cans of Budweiser (yuk) and no doubt waking up the following day having no recollection of a spectacular evening of music. If it just me that feels like this, then I’m glad. Opeth 10/10 Certain members of the audience 1/10
Sunday trips to London for gigs are never particularly enjoyable but when Opeth announced that they would be playing a special 25th anniversary show, combined with a performance of 2005’s masterpiece Ghost Reveries all thoughts of discomfort and lack of sleep were put to one side and tickets were quickly purchased. A last minute change of venue moved the gig from the Palladium to the opulence of the Theatre Royal but tickets arrived in good time and we headed to London filled with expectation, not hope. This is Opeth after all; supreme musicians and consummate professionals. My 12th viewing of the Swedish maestros and very few duds in that list. Following Opeth is an enjoyable experience, and has taken me (and son Ant) across the country; Bristol, Birmingham, Prestatyn, Nottingham, Bloodstock, Sonisphere, Download and the Albert Hall to be precise. Not once have they played in Wales but that is the cross you are happy to carry when it comes to this innovative, classical and heavy as lead band.
We arrived in the Capital with a couple of hours to kill and having smirked at the display of Motörhead dildos proudly displayed outside a ‘private’ shop on Oxford Street, proceeded to get a couple of pre-gig ales and a bit of supper before heading to the venue. Unsurprisingly, given the proximity to Covent Garden, the area was packed and the local pubs full of black t-shirts and long haired metallers. According to the tickets, doors opened at 7:00 pm but disappointingly they appeared to have been opened much earlier and as we studied the scrum around the merchandise table it was clear that we had been far too slow to grab a souvenir t-shirt; only XXL available at 6:55 pm. Obviously the band only carry a limited amount of stock on the road so hopefully the on-line store may stock some at a later date. Never mind. It was the music we had travelled for.
Entering the theatre, one was immediately impressed with the splendour of the venue along with the height of the theatre with three circles rising to the gods, flanked on either side by several boxes. We quickly found our seats, guided by the very helpful theatre staff who were clearly taking the invasion of two thousand mainly beery, hairy white males in their stride. Plenty of leg room and a great view of the stage, although the overhang of the lower circle slightly clipped the sight lines for the top of the three screens which had been positioned at the back of the stage.
The stage was ornately decorated with candelabras and the lighting enhanced the atmosphere, one of death and foreboding and totally in keeping with the atmosphere of the album. The screens eased into life, the ghostly mist of the album cover drifting around flickering candles and the house lights dimmed as Opeth took to the stage. What followed was 90 minutes of sheer breath-taking music as the band played Ghost Reveries from start to finish. Opening with Ghost Of Perdition, a blisteringly heavy track laced with some typical classic Opeth harmonies and quieter parts, the band were clearly hitting their stride as they neared the end of this particular run of shows. The sound was astonishingly clear, possibly the best I’ve ever heard at a gig and this really enhanced the delivery, with the interplay of guitars, bass and keyboards all crystal clear. As Ghost... came to an end it was clear that Mikael was in a good mood, willing to take the time to engage with the audience with his dry wit and coping well with the more boisterous elements heckling incredibly well. (More of this later). Into The Baying Of The Hounds, visceral death vocals, crushingly heavy riffs and pure Opeth brutality; possibly the most evil thing ever heard within the grandiose setting, more used to the sound of Willy Wonka than death metal.
And so it continued as the band eased through the track listing; Beneath The Mire played for the first time on UK soil, the eastern promise of the beautiful Atonement, complete with integrated keyboard and guitar solos which fitted perfectly with the mood of this track and then the more recognisable Reverie/Harlequin Forest ramped the volume back up again. Meanwhile the screens displayed various images which fitted perfectly. Unfortunately, it was as the band began the delicate Hours Of Wealth that a few of the more boorish elements of the audience decided that a “quiet bit” was a good time to a)head for the toilet/bar and b)have a little chat at top volume. Honestly, there were some right fuckwits amongst the audience. As distracting as this was, the band maintained their professionalism and delivered it perfectly, with the interplay between Mikael's guitar work and keyboard player Joakim Svalberg on what is essentially a duet stunning. The demonic and pulverising Grand Conjuration increased the temperature again before a further oafish element heckled once more as a beautiful Isolation Years brought part one of the evening to a close.
After a short interval, and the set stripped back to the basics, Opeth returned to the stage and ripped through the now familiar opening duo from Pale Communion, Eternal Rains Will Come and Cusp Of Eternity. The clarity of the sound was helping to really pick up on the intricate musical interplay and allowed you to establish the different lines of each instrument. The guitar work of Mikael and Frederik Akesson particularly impressive. The Leper Affinity, a staple from Blackwater Park followed, the driving bass of Martin Mendez and the power of Martin ‘Axe’ Axenrot especially impressive. A calmer middle part of the set followed, with some humorous interaction with the crowd. Of course, even an intelligent band like Opeth attract the stupid and the moronic, and as Mikael referred to Damnation, the oafs in front shouted, nay, bellowed for The Moor (which is from Still Life you tools!). A snippet of Face Of Melinda and Closure led to a perfect To Rid The Disease before a rare outing for I Feel The Dark from the much maligned Heritage album.
On the home strait, and it was all too much for one punter, who managed to fall over a number of other patrons as he staggered down his row, completely trolleyed. This was the cue for an exchange of pleasantries which included a classic “Why don’t you fuck off and die … and then fuck off and die some more you cock weed” from a particularly unimpressed young lady. Said drunken punter was by now on his hands and knees at the end of the row and crawled to the door where the staff quickly removed him. Meanwhile shouts for old school tracks such as Black Rose Immortal and obviously further calls for The Moor continued. One classic put down came after a cry for Slayer (how original). “Fuck off, we want to play our own songs!” Despite all of this diatribe, Opeth then delivered a superb version of Voice Of Treason, which confused the old school brigade as it is from Pale Communion. Moving back to the Deliverance release, a crushing version of Master's Apprentice brought the set to a close before the band returned for an encore.
Although the second set was a little disjointed one of the highlights of seeing Opeth is always how Mikael deals with the crowd and his humour has become legendary. My favourite heckle of the evening came as he introduced the rest of the band, to which one wag shouted “what’s your name?” One of the few times Mikael Akerfeldt had no response. A protracted opportunity for the audience to shout out requests (which encouraged the dullards once more) was rewarded with A Lynyrd Skynyrd style snippet of Bleak, the first verse of A Fair Judgement, a blast of The Moor and a smidgeon of Credence before the band launched into The Lotus Eater from Watershed to complete a triumphant evening which was brilliant in so many ways.
It defies logic to me that you would pay £40 to see a band in a seated venue, and then spend most of your evening back and fore to the toilet and bar, drinking cans of Budweiser (yuk) and no doubt waking up the following day having no recollection of a spectacular evening of music. If it just me that feels like this, then I’m glad. Opeth 10/10 Certain members of the audience 1/10
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