Reviews: Crystal Ball, RSJ, We Are Catalyst (Reviews By Stief)

Crystal Ball : Deja Voodoo (Nuclear Blast)

This is the ninth album from this swiss quintet and it's a brilliant slice of melodic hard rock, with doses of power metal thrown in. With great head banging riffs right from the outset, it's obvious the band know exactly what they're doing. Steven Mageney has a great voice, one with a slightly sinister roughness to it, but it only adds to the band's overall sound.

The album has it all, ballads (Home Again & To Be With You Once More), full on power metal (Full Disclosure & Dr Hell No) and the aforementioned hard rock (Reaching Out & Without A Net). The background organs in certain songs, the sound of Mageney's voice and the lyrics mix to create a dark, haunted-house sort of atmosphere, an excellent album, definitely one to consider putting on during a Halloween party. Keep up the great work guys! 9/10

RSJ - Giant Glenn (Copro Records)

The title track of this fourth outing from the York group holds nothing back; a slow, chugging freight train of noise, caving your eardrums in ready for the onslaught of Fuck Off Joe. What follows is a great chunk of metalcore goodness, the band effortlessly changing from heavy-as-f*ck riffing to more subtle atmospheric sounding stuff, often within the same song. There are a few points for breathing room before the band tear into another storm of noise. 

One example is Dear John, which samples Joan Jett's Rock And Roll Hall Of Fame induction speech, in which she talks about music and its effect on politics and the world. Dan Cook's vicious growls, backed up by Matthew Gamblin and 'Guff' Thomas, they are the core of the band's brutal sound with Gamblin's sludgy bass work supported by Greg parsons on drums to create a brutal base for the excellent guitar work of Thomas and Dan Kentley. Overall, it's a brilliant album, and an excellent example of what great metal is. 9/10

We Are The Catalyst - Elevation (Ferocity Records)

This is the second album from this Swedish quartet, and it's a good one. During opening song Delusion, you can tell that lead singer Cat Fey has a great voice, although it seems at points she's pushing it too much, and takes some getting used to. However, throughout the rest of the album, she seems to settle back into a more comfortable vocal range. Fey is supported by Kenny Boufadene who, when clean singing, is a great backup to Fey's dramatic voice.

However, Boufadene's growls leave a lot to be desired, often jarring enough to take you away from the songs. His guitar playing is brilliant however, and he's supported by Håkan Strind on drums, and Joni Kaartinen on bass. The band's overall sound ranges from heavy and hard hitting like in A Million Claws to melodic and soft in songs such as Life Equals Pain. Great album, slightly let down by dodgy vocals in places. 7/10

Reviews: Damian Wilson, Sinnergod, Helstar

Damian Wilson: Built For Fighting (Self Released)

Built For Fighting is the Threshold/Headspace singers newest solo record, his first in over 10 years, many that know him from his day jobs will be pleasantly surprised by this solo outing it has a serious singer/songwriter sound with modern twist. It nods to acts such as Del Amitri with Wilson's amazing vocals being the centre point. Most of the songs take an acoustic turn, the lyrics are personal, introspective, defiant, political and in many places emotive with the songs very strong throughout see the beautiful closer Battlelines which like most of the album deals with the idea that "Life is a fight. A never ending brawl and struggle to find a little peace"

The record starts with it's first single the poppy Thrill Me which is not a love song but a lust song built around a huge chorus hook, it's an opener this record needs, following it is When I Was Young which is a retrospective, folky tune with bubbling synths and jangling guitars. The records first part is a more laid back affair. Impossible and Fire are two ballads where Wilson gives an emotive vocal backed by beautiful strings and piano a theme continued on Fire with yet another piano led piece that builds into a stirring orchestral section.

The songs on this record are unlike his work with Headspace and Threshold as I've said they are more straightforward, radio friendly and I hate to say it poppier but it works so well to hear Damian sing these songs, sometimes you'd think it could be a new James Blunt song (I Won't Blame Life) but this is no bad thing there is something familiar and endearing about this record. Headspace cohorts Lee Pomeroy (bass) and Adam Wakeman (keys) contribute along with Bill Shanley (guitar) and Brian Willoughby (drums) all of whom add their incredible skill to the record. 

There is one cover on the album which is a stripped back version of Depeche Mode's Somebody and leads into the second part of the record which gets a rockier feel, the dirty Sex & Vanilla utilises Wilson's vocal range accompanied by big organ stabs and a harder edge as Can't Heal War has some classic rock posturing from it's driving rhythm while a bluesier What Have You Done has a more soulful sound and an air of Vintage Trouble about it with hand claps, parping brass and backing choirs

This album is simply incredible I genuinely enjoyed every single song, especially Written In Anger which has the records most Del Amitri sounding song, as the storytelling bittersweet lyrics straight out of the Justin Currie songbook. This record has excellent, intelligent sometimes thought provoking lyrics, outstanding musicianship, vocals and arrangements bolstered by Jens Borgen's perfect production. Buy this album it might just be my wild card album of the year. 10/10

Sinnergod: Sinnergod (Self Relased)

Gothic rockers Sinnergod hail from the scary realms of Wigan, this is their second full length album and continues their trademark mix of atmospheric layered guitars and synths working in tandem. Think NIN, Gothic-Era Paradise Lost, and even Depeche Mode and you'd be close. Burn has an industrial stomp to it with the five piece producing dark edged music throughout, this Stands out as one of their heaviest moments. The pounding rhythm of James Dunn (bass), Chris Hampson (drums) and Mark Hampson (rhythm guitar) is one of the bands key elements it gives them the force of Rammstein on the heavier tracks but also adds a thump to the more ethereal compositions.

On songs like The Endless however the lead guitars of Sam Saint add a rapid melodic line and lead break to the powerful beat, while later on on tracks such as 1000 Sins he does his best guitar hero. The drama of these songs is conveyed by Mark's excellent vocals part Manson/part Gahan which suits the dark electronic Goth rock of Sinnergod's sound. 

The thumping electronic parts are created by the synths, samples and keys of Paul Swindells who on tracks such as I Never Had A Gun is the main ingredient although it does feature a cracking guitar solo too. The band spread their wings a little and add more melodic and alt rock touches than before they even put an 80s style ballad in the mix that sounds like Sixx:AM but it just works breaking from the heavier edges, that return on the classic metal styling of We Don't Have Anything.

The album is dark melancholic piece but with enough hooks to crawl under your skin and beckon you into the world of Sinnergod. There's a distinct 90's sound to the record Gahan and Gore's influence looming large on Supernatural. Having seen this band live I was suitably impressed to be excited about this album and my excitement has paid off, Sinnergod is a great modern Goth rock record that pays dividends to it's influences and wears it's black heart on its sleeve. 8/10

Helstar: Vampiro (Ellefson Music Productions) [Reviews By Paul]

Way back in the halcyon days of the 1980s thrash and power metal bands were emerging in the States like a disturbed nest of ants. There were literally thousands of them. The history of the Bay area scene is well documented but what isn’t always as well known is the story of those who nearly made it. One such outfit is Helstar, who at one point were label mates of Megadeth and Exodus. The band released a couple of albums including fan favourite Nosferatu before combusting. A reunion in 2001 led to the return of founding guitarist Larry Barragan in 2006 and since then the band has produced a number of releases. Sadly, long serving bassist Jerry Abarca had to leave the band due to ill health in 2014

Vampiro is unsurprising. A combination of hard thrash and power metal set firmly in the 1980s. Think Exodus, Metal Church and the speed of Primal Fear. But although it’s unsurprising it’s bloody good stuff. James Rivera’s vocals have echoes of the late David Wayne, with his chilling screams particularly impressive. The double pronged guitar attack allows for killer riffs and some blistering solos, Barragan and Rob Trevin shredding like maniacs. Meanwhile the powerful drumming of Mikey Lewis and the rampaging bass lines of Garrick Smith allow the band to crash along like a runaway race horse.

Thematically Helstar stick close to the traditional metal areas; Blood Lust, Off With His Head and Repent In Fire are pretty blunt. From The Pulpit To The Pit raised hopes of a random Ghost cover but alas it is another heads down thrasher and one of the weaker tunes on the release. However, Vampiro is probably as good a work as the band has ever delivered and the playing is impressive. To Their Death Beds They Fell is a monster whilst instrumental Malediction cannot fail to get your head banging along, if you can keep up with the pace of this bad boy that is. 

In fact, the goodies keep on coming with Repent In Fire maintaining the assault before the two heavyweight pieces on the album arrive. Abolish The Sun is a broody crushing six-minute beast with huge riffs whilst Black Cathedral is the longest track on the album which rages for over seven-minutes. A thrashy beast, Vampiro once again demonstrates that life in the old dogs exists and in many cases still teaches new tricks. 7/10

Reviews: Voodoo Vegas, The Apocalypse Blues Revue, Impavidus

Voodoo Vegas: Freak Show Candy Floss (PHD)

Freak Show Candy Floss is second full length album from Bournemouth rockers Voodoo Vegas, their debut The Rise Of Jimmy Silver was released to a lot of critical acclaim in 2013, it was followed by the EP Hypnotise last year which showed the band were still firing on all cylinders. Freak Show Candy Floss is the first album to feature new drummer Jonno Smyth and new guitarist Jonathan Dawson who add their own touches to the established triumvirate of guitarist Meryl Hamilton, bassist Ash Moulton and vocalist Lawrence Case. Voodoo Vegas expertly blend the classic sounds of the Sunset Strip taking the sounds of Aerosmith, Guns N Roses with the modern rock revival and this second album is the continuing story of their protagonist Jimmy Silver now in charge of freak show circus so the songs all fit within the theme.

Opening track Backstabber is a big power chord driven rocker that welcomes you with a massive chorus and solo, while Long Time Gone has blues shuffle driving it. Things slow for Resolution which sounds a lot like The Answer as it has heavy bass line and an acoustic opening that blows into the spiralling riff. The dual guitars are the ideal compliment to the ballsy rhythm section as Case sneers with his Axl-esque vocals. The band are more accomplished on this record than they have been before they also have wider range of sounds with some blues harp parping on Poison and new heaviness on Killing Joke which has slabs of riffs lined up with lyrics that reference the Clown Prince Of Crime. Freak Show Candy Floss is an impressive second shot from these classic styled rockers, with a relentless gigging schedule Voodoo Vegas have honed their sound to produce another strong record of classy hard rock. 8/10         

The Apocalypse Blues Revue: The Apocalypse Blues Revue (Mascot Records)

Drummer Shannon Larkin and Guitarist Tony Rombola have made their names in American alt metal troupe Godsmack. During some of the studio time for Godsmack Larkin started to lay down grooves on his kit in improvising session with the guitarist and he saw the other side of Rombola as he ripped blues solos that evoked the spirit of Hendrix, Page and SRV. From here they set about creating a new project which has turned into TABR, along the way they have acquired Brian Carpenter on bass and on vocals they have found Ray 'Rafer John' Cerbone who is the dead ringer for Jim Morrison. In fact the whole album oozes the blues based cool of The Doors with a punky attitude, this record is a much darker prospect than many of the current blues crop there is a bit of soul and funk in the album.

It's an atmospheric, simmering, fuzzed up release that sees Larkin and Carpenter locked in with dirty rhythm as Rombola slices through with wailing, soulful virtuosic guitar playing. I've mentioned that the band sound a lot like The Doors, they even go as far as cover When The Music's Over as the final song on the album, as far as the rest of the album goes we get heavy wah-wah infected rock on The Devil Plays A Strat (with a nod to Charlie Daniels), the Southern stomp of Evil Is As Evil Does, pure Johnson-style blues on the tragic Junkie Hell. The aim of this band is just to plug in and play and it works, stripped back electric blues that takes blues music back to it's early days played by a group of musicians who though not associated with the genre seem to have an affinity to it, a damn good start for TABR. 8/10         

Impavidus: Impavidus (Self Released)

Manchester's Impavidus have risen from the ashes of My Wooden Pillow, a band who impressed me with their death/groove metal sound. Well MWP's frontwoman Michelle, bassist Patrick and drummer Chris met up with guitarist Gav with the sole intention of creating more very heavy metal. This four track EP immediately reminded me of the unrelenting death metal of Arch Enemy and Carcass with metallic scything riffs from Gav riffing away wildly as Patrick and Chris hammering away in the back room with ferocious blast beats and powerful groove laden bass work.

With the discordant battery going on from the music standpoint they merge it with the varied vocals of Michelle who can soar melodically but more impressively roar better than many of her counterparts, as she bellows over the heaviness. The four tracks on this record are all strong from the hard and heavy Heaven's Gate and the thrashier Excapulate, through the bass heavy Black Mirror and the final technically impressive Scourge, they encapsulate many of the sounds of death/groove metal and deliver them with a percussive force. Keep an eye out for Impavidus as on the basis of their EP they are ready to make a statement in a venue near you soon. 7/10  

Another Point Of View: Barenaked Ladies (Review By Paul)

Barenaked Ladies Tramshed, Cardiff

Sometimes it’s good to have a change from the metal. Back in 1999 I was blown away by the sheer humour and talent of Canadian outfit Barenaked Ladies when they supported The Beautiful South at the Cardiff International Arena. In fact, they were the highlight of the evening by a country mile. Their acclaimed album Stunt exposed the band on an international basis and they became a staple in the car stereo, one of those albums that offended no-one despite the clever and meaningful lyrics. However, due to a number of reasons, and the fact that the band never came to Cardiff again my enjoyment in the live arena was left at that fleeting encounter in a former life.

18 years on and the band finally make a welcome return to Cardiff’s newest music venue, The Tramshed. Now I’ve been full of praise for this place and in particular for the security who are most excellent but heat wise, it was disgusting. Sure, it was one of the most humid days on record but if you can keep the toilets at a very cool temperature you really need to do something about the main hall. It was dripping and there wasn’t a lot of crowd movement. Moist was most definitely the word.

Opening up for the BNL was regular touring partner and stand up comedian Boothby Graffoe (8) whose surreal sense of humour fits with the BNL like a zany jigsaw. No wonder he has been a staple of the band’s touring itinerary for so many years. Joined by Jim Creegan and Kevin Hearn for a couple of numbers, Graffoe did a magnificent job of loosening the crowd up for the main event with much chortling around the venue.

A relatively quick turnover allowed time to grab a quick Butcombe Gold (always a pleasure to find a venue that sells more than Carling!) and just after 9:00pm the Barenaked Ladies (10) entered the stage in their usual unassuming style. What followed was just superb. At just under two hours the value for money was top notch. Musically, BNL range from alt rock to rap to reggae through to lounge room all served up with a huge side of ironic observations and humour. The band, led by the charismatic Ed Robertson on vocals and guitar, are exceptional musicians. Hearne for example, has no difficulty switching from guitar to keyboards whilst delivering a Gene Wilder tribute. Bassist Jim Creeggan’s enigmatic style is contagious as he switched from double bass to bass guitar whilst adding some fine harmonies. And all of this anchored by the powerhouse on the drums, the fantastic Tyler Stewart who contributes immensely, from timekeeping to backing vocals to wisecrack  quips throughout the evening.

As sets go, this one had it all. Tracks from many of their eclectic releases mixed with their unique “Cardiff Rap” which name checked the Welsh Capital and delighted the audience, by now close to drowning in their own sweat and perspiration and the very special Prince tribute complete with anecdote that linked-in Sir Tom Jones and Glastonbury. To top it all, the band made several mistakes which were laughed off as “Cardiff starts” and which enhanced and magnified the sheer humility of such a great band. Highlights had to include the three old school songs from Gordon, Brian Wilson, Hello City and the ever brilliant If I Had A $1,000,000, The Old Apartment and of course the duo from Stunt, Light Up My Room and One Week which had everyone singing along. My particular favourites also included the lovely duo from Maroon, Falling For The First Time and Pinch Me.

What also makes BNL so much fun is their observations on life and Ed Robertson’s hilarious narratives about the number of coffee shops in Cardiff and the biggest dog turd he had ever seen on the top of Taff Embankment couldn’t fail to make you laugh. The band have the confident swagger of true musicians at the top of their game, without any of the arrogance you might expect. As the heat increased still further, Ed Robertson dryly remarked that the Welsh for Tramshed was “hot black box” which was pretty accurate. As the clock clawed its way to 11:00pm, the band finished with their traditional medley led by Tyler Stewart on the vocals, allowing Ed Robertson to finish the evening behind the kit. A medley which included Bieber, Celine Dion, The Ramones and finally Led Zeppelin brought the house down. For four such unassuming guys BNL are just totally absorbing whilst on stage. A fantastic evening all round. I’m still drying out mind.

Reviews: Meat Loaf

Meat Loaf: Braver Than We Are (429 Records)

Those of you that have been following this blog for a while probably read my dismay and sadness about the last Meat Loaf album Hell In A Handbasket, as a lifelong Meat fan it seemed to me to be a bit depressing and lackluster. I bemoaned that it might be the final record and suggested that the only true way to finish the career on a high would be to reunite with Jim Steinman. Well obviously he listened to me as shortly after the album's release he announced just that a new album with every song written by Steinman. There were a few setbacks along the way as both men succumbed to the perils of age but have come out fighting after it and nearly 40 years after Bat Out Of Hell stormed into the public consciousness the two men were back once again.

Yes there has been disagreements and fights and legal issues but never have two artists been made for each other Steinman writes huge songs that need a certain type of singer and Meat Loaf is that kind of singer. The album kicks off with Who Needs The Young a Vaudeville styled first song where the character that this album revolves rallies against the faults of youth. It's the movie Cabaret with more New Orleans jazz and a tongue in cheek delivery as Meat grumbles in his lower tone backed by the swaying horns. It's a slightly odd opening track I will admit but works as a welcome back to the rock n roll theatre of Jim Steinman's writing.

The first full force Steinman track is Going All The Way Is Just The Start (A Song In 6 Movements) which is an over top uber-piece that features the trademark piano runs heard on I Would Do Anything For Love, starting slow it's evident that Meat doesn't possess the range or power he once had but much of his appeal to me is the way he delivers the lyrics and that remains it's overwrought and emotional so happily when bolstered by the female vocalists it sounds like the Bat years.

The Neverland Express led by guitarist Paul Crook power through an 11 minute plus epic as the second song. The vocal partners here will be familiar to Meat Loaf lovers and I will admit I did get a little too excited when I heard the song featured Meat's old school vocal partners Karla DeVito and Ellen Foley. Ellen sang Paradise By The Dashboard Light the spiritual predecessor to this song, on the record and Karla part of the original touring band doing the part live. It's familiar and impressive Meat and Jim at their finest.

Two songs into the album and already I've forgotten all about Hell In A Handbasket, both the men who are so suited to each other's sound back together in harmony, Speaking Tongues is slower soulful ballad featuring Stacy Michelle and just needs an acoustic guitar, a piano and a choir to make it's mark. Loving You's A Dirty Job continues the tradition of duets as a couple (Meat and Stacy Michelle) reminisce on their relationship and come to the conclusion given by the tracks title, oddly with modern backing (synths and programming) Meat's fractured age-hued vocals are in juxtaposition well.

The Neverland Express are all on top form the working Steinman's songs into the arrangements you hear here, musically spreading their wings a little with the sax-filled blues of Souvenirs which has nods to the past with the line "You've been cold to me so long, I'm crying icicles instead of tears" and actually has a lot in common musically with The Boss. Shaking things up again with buzzing loops and synths on the heavy More which takes it's cues from Bat III, Godz is one of the few weak parts but it segues into Skull Of Your Country which is chest beating rock ballad complete with the "Turn around bright eyes" refrain and packed with guitar solos.

Paul Crook's production is a lacks a little of the bombast but still it's the sheer musical force of the record that's at it's core as the album ends with the 80's tastic Train Of Love (slide guitar solo by Rickey Medlocke). It's a stupendous return to form for Meat, his best most concise record for a long time with only really one lull the rest of it displays the synchronicity between writer and performer. If this is the last dance then it's a filthy, flirty, fist throwing, defiant blast of opulence that Jim and Meat built their legacies with. 8/10

(If you can seek out the Tesco/Target deluxe edition which features a cover of Buffalo Springfield's For What It's Worth with Stephen Stills, the excellent Prize Fight Lover and an orchestral version of IWDAFL with Imelda May) 



           

Reviews: Almah, 2 Headed Dogs, Exekuter

Almah: E.V.O (King Records)

Almah are a Brazilian power metal band formed by vocalist/guitarist/keyboardist Edu Falaschi, the band started as a Falaschi's solo project but has steadily evolved into a fully formed band. Their history has been a little potted due to Falaschi's tenure in the other Brazilian power metal heavyweights Angra, however in a marked difference to Angra, Almah have a much more melodic sound sometimes bordering on AOR in contrast to Angra who have always been a lot more progressive, that said stylistically there is a lot of the Angra sound to this record meaning that it is almost a audible twin to Rebirth (Falaschi's debut Angra outing) adding the occasional progressive touch, especially on the title track. E.V.O is the band's fifth album and it once again is filled with soaring melodic power metal, it is a concept album based on the evolution of people’s mind and soul during the forthcoming Age Of Aquarius. Speranza is brings in the AOR with the swathes of synth and emotive lyrics which continues on the big ballad The Brotherhood which takes things to Magnum territory, Falaschi's vocals are reminiscent of Geoff Tate and suit the heavier tracks such as Pleased To Meet You and Final Warning that litter this record. E.V.O is a powerful return from the Brazilian band. 8/10   

2 Headed Dogs: 2 Headed Dogs (Self Released)

I've said in previous review about the Greeks love of stoner metal, so I'm not going in to too much detail here but needless to say if it's sludgy, bluesy and cloaked in a thick fug of herbal leaves the Greeks will probably lap it up. So then when I pressed play on 2 Headed Dogs (not to be associated with the Aussie band Two Headed Dog) the big riff of Space Time is your starter for ten with the mind altering spirit of Dave Wyndorf at the forefront. The band clearly recorded this record while flying in the clouds but that's what you want from a stoner rock band, fuzzy riffs and analogue hiss and everything reverbed to hell and back, they break out of their fug for the punky Start Rolling and Josh Homme would be proud of Dreamy Ride and the 7 minute Desert rocker Line Of The Stars. 2 Headed Dogs is a killer stoner rock record for those that like their blunts fat and their sounds amped up, crack a beer and turn it up!! 7/10  

Exekuter: The Obscene Ones (EBM Music)

Yet another band from Greece, but unlike their countrymen above Exekuter play harsher more aggressive type of music, as their name probably alludes to they ply their trade in razor sharp thrash riffs delivered with vitriol and snarl, the riffs as pointed as the Jackson Flying V's the band play. As the record starts No Morals explodes out of the speakers it's the furious Slayer style riffs that hook you from the first moment, the scarred vocals bark the lyrics at pace, they even have the stop start soloing of the Bay Area natives. The songs come fast, as the drums blast away like a cannon barrage, the bass playing gives the songs their guts and the guitars shred and shred and shred, they are not all about speed though the songs are paced well turning into a meaty stomp when they slow. This record sounds like Slayer in their Black Magic period, raw, primal and full of hostility, other than than the songwriting this stripped back sound carries through to the production which sounds analogue with a hiss present on every song. The Obscene Ones looks back to the heroes such as Slayer and Exodus but there is enough modernity to give the band their own take. 7/10

Reviews: Marillion

Marillion: F.E.A.R (earMusic)

Eighteen albums into their storied career and British prog giants show no sign of compromise, their sound has adapted throughout the years but it has always retained an element that identifies them above their peers. There have been numerous pieces detailing the history of the band so I'm not going  to go into that here but whether you still yearn for Fish to return to the band, you can't discredit Steve Hogarth's contribution to the band, we could argue until the cows come home about who's better but that is just personal preference, the fact that H has been in the band for fourteen albums says all you need to know.

Though they have rarely reached the charts since Fish left the band have gained a more discerning, loyal fanbase because of it, the fair weather fans seen at Fish's recent Misplaced Childhood shows would want nothing to do with the current incarnation of Marillion as they do not pander to anyone with their post-millennial material, it's darker, more emotional and far more politically and culturally aware than not only their early days but also many other bands around today that claim to be political and 'with it', maybe it's their experience or maybe it's that they actually care. They produce and play music on their own terms, spearheading and pioneering the Pledge movement in the process but also crafting music that carries a message but is not preachy in its delivery. (Take note Coldplay and Bono)

F.E.A.R is of course and acronym and in this iteration it means Fuck Everything And Run a title not written in protest or anger but in sadness and resignation of the state of the world, still as uncompromising as ever the band have done what many would consider to be risky, they have produced an album that only has five tracks but is over 70 minutes long, three songs fly past the 10 minute mark but this is a musical journey, not a record built for the iPod generation, it's meant to be taken in in one sitting, but it's best over the course of many sittings it's sprawling soundscapes opening up with each play.

The record opens with El Dorado like the other larger songs on this record it's split into parts, here it is five. It starts as a pastoral lament, then changes tack as the glittering synths of Mark Kelly give way to the main passage of the song (Part II The Gold) which is driven by bass of Pete Trewavas and is kept in pace by the less is more style of drumming synonymous with Ian Mosley. It also lets H work through his range quite impressively from a soft croak to the sweeping higher register he has always, Steve Rothery contributes mainly acoustics to the first part of this track but gets an impressive solo at around six minutes.

It's from here the track gets darker (Part IV FEAR) dealing with it's theme of political entitlement with a sting in its tale creating an ominous attack where H's vocals get more frenzied as it builds and builds on a jangling guitar part that gets heavier and heavier then crashes back down to earth with the dreamy last section. Starting and album with a 16 minute song is brave but the band have got it right as it's followed by the shorter Living In Fear which continues the bittersweet lyrical narrative of the record, it's clarion call of "We're not free, we're just present" resonating as the song wraps up repeating the phrase "What a waste of time" in a gospel style. Living In Fear serves as a direct older sounding Marillion track before it moves into the album's most complex and longest track

The Leavers kicks off with a repeating synth coda which gives way to pulsing electronics, this is where Mosley is at his best, he makes this track, thumping home the song's portrayal of "the impact of a transient life on the road" it's a song for "those constantly waving goodbye" take heed as this song was written long before Brexit and the Remain/Leave campaign addressing the issues of those that have no choice to keep moving to escape hardship, it even serves as metaphor for bands on tour too. At a colossal 19 minutes The Leavers is once again a song in five parts and sees Steve Rothery give one of his most fluid guitar playing the two solos setting the track alight and giving David Gilmour a run for his money.

The sound of this song is something that encapsulates the neo-prog movement Marillion are seen as progenitors of, it has been emulated by acts such as Porcupine Tree, Anathema and Pineapple Thief but Marillion once again show why they are considered by many to be the definitive article. The middle section gets hazy building into the second solo until the pianos are brought back for H to croon over and it tugs at your heartstrings with a crescendo that is anthemic and unifying

After The Leavers you need a lie down, it's an overwhelming piece but there is more to come, the seven minute White Paper breaks up the monster tracks once again with a plaintive piece driven by yet more Grand Piano, you can just imagine the spotlight on H as he sings it live, it's not entirely a solo piece though it's one of the softer tracks on the record an emotional tale of loss and regret that serves as the warm up for the final song on the record.

The New Kings is the final song on the record and it is 16 minutes of progressive, elaborate musicianship dealing with the geo-political climate of corruption, warmongering and most importantly the key element of fear. It's almost a run through of the rest of the album musically drawing sounds from the rest of it as it ebbs and flows culminating in the most defiant statement of the whole record, one that lingers with you even after it ends. F.E.A.R could quite possibly Marillion's best record, from start to finish it is perfection in it's genre without really conforming to one genre. It's a weighty record but it deserves your time and attention from the opening chords it is that good folks don't fear the unknown embrace it. 10/10 

  

Reviews: Devin Townsend Project, Dante Fox, Sedate Illusion

Devin Townsend Project: Transcendence (InsideOut) [Review By Paul]

If there is anyone in rock who is as prolific and diverse as Steven Wilson it has to be Devin Townsend. With 21 albums stacked up behind him, the seventh album with his band the Devin Townsend Project has arrived with little hullabaloo and after a period of relative quiet from Hevy Devy. Now I don’t claim to be the man’s biggest fan, and I really don’t get all the Ziltoid shit, but his releases with DTP from 2009’s Ki through to 2014’s Sky Blue are pretty consistently fantastic. Transcendence could be the best of the lot. A progressive, rather beautiful album with the most stunningly constructed compositions, there is little that I can criticise. The production is superb, and the band are on top form.

Opening with a re-recording of Truth from his solo work Infinity, the musicianship is quite breath taking, with the keyboard work of Mike St. Jean layering and softening the sounds. Failure and Secret Sciences are immediate stand out tracks with the ever reliable Anneke Van Giersbergen providing the feminine counter balance to Devin’s rougher edged vocals. As with many of DTP’s releases, the sound is massive, swirling and swooping to envelope the listener into another world. Eleven tracks and 64 minutes’ equals pretty decent value too. The nine-minute epic Higher is an ideal fit in the middle of the album whilst the delicate Stars segues perfectly.

With the fusion of heavy guitar work from Devin and Dave Young mixing with St. Jeans’ keys, a hook to die for and the most ethereal harmonies, Stars is one of the most complete compositions I’ve ever heard. The operatic fuelled title track is incredible, with Van Giersbergen’s delicious vocals again enhancing the mix, Ryan Van Poederooyen’s drumming brilliant and the whole band really demonstrating that the more relaxed approach that Devin took during the creation of the album was oh so beneficial.

Live, Hevy Devy and his band are absolutely ball breaking to the extent where sometimes it’s impossible to hear the subtle levels that characterise much of DTP’s work. On record, these levels are more apparent and the emotional From The Heart is a stunning example of the lighter side. It also provides a fine example of the range of styles which DTP and Devin in particular are able to produce, with the high production and uplifting dramatics quietly reducing to a beautifully chilled conclusion which raises the hairs on the neck. It’s a perfect track. A breath taking cover of US alt-rockers Ween’s Transdermal Celebration brings this pretty special release to a spectacular conclusion. As I said at the start, I’m not Devin’s biggest fan but I know good stuff when I hear it and Transcendence is very likely to sit close to the summit of my albums of the year. Absolutely magnificent. 10/10

Dante Fox: Breathless (AOR Heaven)

Dante Fox were part of that small group of AOR groups that made their mark on the early 90's just as grunge was exploding, melodic rock bands such as FM, Ten, Romeo's Daughter, Shy, Heartland added a British grit to the American radio sound wrapping the radio driven songwriting in leather and giving it a cool edge.

Unfortunately as we all know grunge was too all encompassing and many types of rock fell by the wayside, one of those being melodic rock. After the grunge sound gave way to the Millennial bands (Nu-Metal *shudders*) many of the bands that had been active in the early 90's melodic rock scene came back from their self imposed hiatus' and started to write music again. Dante Fox was one such band, having released two albums before 2000 (1996 & 1999) before taking a break, they reconvened in 2007 and since then they have released two album with Breathless being the third since 2007 and their fifth overall, along with doing a hell of a lot of touring including two HRH AOR's.

Dante Fox is the creation of frontwoman Sue Willetts whose voice is the main element to the music, her vocals are fantastic expressive, clear and powerful no wonder she was voted number 19 in the 50 top female vocalists by Classic Rock Magazine. As always guitarist and co-founding member Tim Manford is the foil for Sue's vocals, his fluid guitar lines dancing on top of Andy Perfect's drums and Alan Mill's bass to make the melodic rock sound Dante Fox have always done so well, worth noting too is the keyboard contribution of Eric Rango who bolstered the sound of the record with his ivory tinkling. This fifth album is a strong return from the Melodic rockers who are a testament to the cyclical nature of rock music, criminally overlooked during their formative years but with the huge resurgence of melodic rock/AOR acts it's time to sit up and take notice of Dante Fox. 8/10

Sedate Illusion: Glass Delusion (Self Released)

This Greek act started as a solo project for multi instrumentalist Vangelis Kakarougkas, over the course of four albums he has relinquished most of the instruments to other players meaning that on this fifth full length he is the keeper of the vocals and keys and Tasos Kibizis, Vagelis Glavinas, Andreas Alamanos are the guitar, bass and drums respectively. Unsurprisingly Sedate Illusion's sound is very keyboard heavy almost like Dream Theater if Jordan Rudress took the lead role, on the other hand the rest of the band hold their own with progressive metal riffs, expansive drumming an technical solos but with the modern prog sound of bands like the Von Hertzen Brothers.

The bands' time as an instrumental project shines through as this record is full of sweeping instrumental passages, with Kakarougkas' vocals cutting into the mix on all of the tracks bar Livid Endless Nation which is the only non vocal number. At just over an hour the record offers a great insight into the bands sound with opener Innocence Within starting things off at over 9 minutes of flowing, time changing prog metal, it's the least sedate track on the record and the one that draws the mind to Dream Theater the most. The sound throughout the record is kept as varied as possible with All Will having a pumping electronica at it's core, this song was originally on the bands' 2012 album and this reissued version is by far better than the original.

Where the band experimentation is at it's finest is on the 10 minute plus title truck which starts with traditional Greek Bouzouki's before adding layers and layers that culminate in a middle section that fuses chunky metal riffs with the authentic Greek musical sound making want to bang your head and stomp your feet as the Bouzoki's, distorted guitars, huge keys and even some grunts all fuse together to make the Glass Delusion perfect centerpiece for album of the same name. Sedate Illusion have really gained my attention with this record it's strong progressive metal with an experimental feel that really benefits the record, the problem is that they are featured in the same review as the master but still they hold their own. 8/10

Reviews: Whiskey Myers, Sodom, Throes Of Dawn

Whiskey Myers: Mud (Thirty Tigers)

Texans Whiskey Myers broke this side of the pond with their previous record Early Morning Shakes and since then they have been graciously welcomed with open arms by the British rock crowd and press, so much so that their second album Firewater was re-released for the British market, since their last album they have supported Cadillac Three on their last UK tour as well as supporting other high profile names, nabbing spots at Ramblin Man Fair and going out on their own headline tour of the UK. With all this focus on the Texan band it can be said that their fourth record Mud is anticipated  and it does live up to the expectation that is certainly surrounding it. Mud is another album crammed with the kind of Country/Southern rock not heard since the likes of Lynyrd Skynyrd, The Allman Brothers,The Marshall Tucker Band, The Doobie Brothers and even The Eagles were in full flight (no pun intended).

As you can see by these comparisons Whiskey Myers lean more towards the the country rock sound than a lot of their peers (The Cadillac Three and Blackberry Smoke excluded) with bubbling organs, parping brass and fiddles adding to their menagerie of sounds on On This River. The album deals with the trappings of the South too paying homage to it's heroes on Hank (a song about Hank Williams) but also how the south is a state of mind, just listen to the fuzzy, guitar laden Frogman which tells the tale of a Navy SEAL longing for his country home, co-written by ex Black Crowe Rich Robinson or Trailer We Call Home which is the sort of blue-collar storytelling that is both believable and for many sympathetic to.

The writing has improved significantly on this fourth record the band have managed to take the intensity of their live sound and translate it to the record, frontman Cody Cannon's lyrics are are in places affecting and others triumphant and the record sounds like it was recorded live in the studio in as few takes as possible, the seven piece band all bringing their distinctive talents to the album.

Take for instance a song like Stone that builds from a piano-led ballad into a Rossington/Collins-like guitar trade off or the heavy title track which just sounds huge with the rhythm section punching hard, these tracks are counterpointed by the smooth Some Of Your Love, the acoustic picking of The Good Ole Days and Lightning, Bugs And Rain which is funky, folky and flirty, however every song just fits and they are deep in the rich vein of the country rock tradition all of the songs clearly display the breadth of sounds within that tradition. Mud is the culmination of a long game for Whiskey Myers and sets them up for bigger things to come. 8/10    

Sodom: Decision Day (SPV) [Review By Paul]

There’s not much to really say about Sodom. Since their formation in 1981, the German thrash machine has continued to grind out high quality no-nonsense metal which does exactly what it says on the tin. Decision Day leaves little to the imagination, 50 minutes of pounding heavy metal which switches speed but little else. Strange Lost World is more traditional heavy metal with crushing riffs and Tom Angelripper’s gritty vocal delivery grabbing you by the throat whilst the more aggressive thrash assault of Rolling Thunder and the uncomfortably titled Vaginal Born Evil leave little to the imagination. Originators of the genre, Sodom are often and rightly talked about as part of the big three in Germany, alongside the might of Kreator and Destruction. Whilst the Bay Area took much of the limelight, it’s pleasing to see and hear the real old school still kicking the shit out of everything with full force. Get Decision Day. Bang your head. Classic. 8/10

Throes Of Dawn: Our Voices Shall Remain (Argonauta Records)

Dark progressive metal band formed by Henri (vocals) and Jani (synths) the mixture of guitars and synths are the major part of TOD's interesting and engaging sound. Obviously the band are not the happiest of chaps as their music is mornful, baleful and at times downright depressing (One Of Us Is Missing) but at the same time the album is imbued with captivating beauty that has the classic sound of Pink Floyd with the guitar playing packing an emotive punch that is increased when coupled with the layers of keys to really hit you in the heart and the guts.

From the repetitive riff of Mezmerized you can clearly hear that TOD have a sonic connection to Anathema and Crippled Black Phoenix as they rely on every instrument coming together to create a soundscape rather than focusing on flights of fancy, that's not to say there aren't any solos though, far from it there are incredible solos throughout but they are there to enhance the music. Take a song like The Understanding which is one of the darker heavier songs but it's peppered with melodic solo lines from Juha's spellbinding lead guitar. Atmosphere is paramount to this band Jani's synths and chunky rhythm guitars work well with Henri's keys to create a mood that Harri and Juusos rhythm section expand upon as frontman Henri's vocals are used as another form of moving expression. All are at there most powerful on final song The Black Wreath Of Mind.

Not since Distant Satellites or Hand Cannot Erase have I been so drawn in by an album, there is a lot going on in this record which brings you back to it for repeated listens allowing the record to grow and release more it's delights with every listen. Yes it's a miserable record but it's beautiful in its misery and that makes it a sure fire contender for my album of the year list. 9/10

Reviews: Bewitcher, Outright Resistance, Odin's Beard

Bewitcher: S/T (Heretic Fire Records) [Review By Paul]

Blackened speed metal. Yes, we all love a bit of this at MoM towers. Welcome not to hell but to Bewitcher, a three piece outfit from Portland, Oregon whose self-titled album leaves nothing to the faint hearted. With the ridiculously named, wait for it, Unholy Weaver of Shadows and Incantations on guitar and vocals, Infernal Magus of Nocturnal Alchemy pounding the bass and best of all, introducing Diabolical Crusher of Hallowed Light on demonic drumming, it's hard to take these fuckers seriously. However, if you like Venom, these guys will be right up your street. It’s unsophisticated but quite brilliant 100mph stuff and with tracks like Speed Til You Bleed, Wild Blasphemy and the mighty Harlots of Hell who am I to argue. It’s fast, it's filthy, demonic and satanic with a vocal delivery reminiscent of Cronos circa 1982. Get down to the coven, sacrifice your goat and get into the fires of hell. I love it. Hail Satan. 8/10

Outright Resistance: Me Vs I (Self Released) [Review By Stief]

Having seen these guys at BOA 2016, it was only right we review their second EP Me vs I. Starting with a bit of spoken word, the title track seems to surround both the internal and external struggles involved in bullying, with the voices goading the main person to 'do it, kill 'em'. Thought provoking stuff before the band starts building up to some brutal heavy metal. Every song is oozing with passion and anger, and you can tell the band's no-nonsense, come-at-us attitude is genuine, heavy riffs from Michael "Grandad" Worsley and Joe Jacobs, Chris Everett laying down some chunky bass and Michael "Nelly" O'Neill blasting the drums. However, it is "Captain" Paige Lee's voice that pushes this band from just another heavy metal band to something special. Having witnessed Paige and the band perform live, it's no different on the tracks, and you can tell she is channelling her passion and anger into every syllable. This band are championing positivity, with Prove Them Wrong pushing for everyone to do just that. It's a brilliant message and I think this is just the start of Outright Resistances career. Definitely a band to keep your eye on in the future, here's to a full album soon! 10/10

Odin's Beard: Anaphylaxis (Self released) [Review By Stief]

Odin's beard and the concept of this album were created at BOA 2015, when a group of friends started to chat about how annoying wasps are, and now a year later, we have Anaphylaxis.
With song titles such as Fuck Off Wasp, Float Like A Butterfly, Sting Like A Wasp and Wasp In My Beer, you can kind of guess the underlying theme of this album. On the surface of it, the album is very amateurish, the production is lacking but the band makes up for it in comedy value, and at the end of the day, it's a group of friends dicking about singing about Wasps. Merv and Tina Harris lead the band, but due to the low production value of the album, you don't seem to get the full effect of their voices, and this feeling carries on into the rest of the band's sound. The album encompasses a good chunk of the metal spectrum, with Wasp in My Beer opening with an almost operatic intro, before moving into some great hard rock riffage. Sting Operation with a NWOBHM riff before turning into a punk song. The album is a mixed bag, even dipping into rap with The Blood, The Sweat, The Talc, a beastie boys style song about 'Betty Swollocks'. Overall, it's a great album, and with better production, Odin's beard could make it into my top comedy metal bands. 6/10