Joanne Shaw Taylor, The Globe, Cardiff
She’s a bit of a blues phenomenon, has released six albums, gigged with BB King and Joe Bonamassa and is just about 30 years of age. Yes, Joanne Shaw Taylor is a bit special. Her latest tour, for a girl who gigs as hard as she rocks, took in The Globe, probably for the last time as she is surely destined for much larger venues in the future.
Promoting her new release, the excellent Wild, JST hit the stage shortly before 9pm to a rapturous reception. Such is her burgeoning reputation, this gig sold out several weeks in advance of the actual date. The audience was as you’d expect but totally absorbed in the talent of JST and her fabulous backing band who included Oliver Perry on drums and the amazing Luigi Casanova on bass and giant hair stack. Of course, focus was always on JST, her blond locks flowing as she threw her head back and laid down a 14 song set which proved superb entertainment. From the opening Dyin' To Know, to the closing Going Home, this was a brilliantly paced set which kept attention at all times. Five tracks from the new release were strategically placed at the start and finish of the set, with the cover of Wild Is The Wind, known for the Bowie cover but originally recorded by Johnny Mathis particularly impressive.
You’d expect that solos would be in plentiful supply at a gig of this nature, and there were occasions when JST’s dexterity up and down the fretboard was just amazing to observe. However, what is so captivating about JST is the humble simplicity of her songs which are soaked with soul and emotion, whilst retaining a raw edge that provides the necessary grit. Her interaction with the fully appreciative audience was simple and genuine, the crowd responding with huge cheers and applause. Looking around the venue as the crowd streamed out, wide smiles and contented looks were everywhere. No greater endorsement of one of the best young talents in the rock world today. Stunning songs, great musicianship and a level of modesty which makes her appeal even more. This was my first JST experience in the live arena. It won’t be my last. 9/10
Thursday, 20 October 2016
Wednesday, 19 October 2016
Reviews: Kansas, Charred Walls Of The Damned, Plagueship (Reviews By Stief)
Kansas: The Prelude Implicit (Inside Out Music)
The first album in 16 years, it's a pleasant surprise to see Kansas recording again with new lead vocalist Ronnie Platt taking centre stage whilst doubling up on keyboards. Platt has a great set of pipes, and settles right in with the band's sound, which remains as strong as ever. Kansas seem to have veered more towards a more mellow sound with songs such as Refugee and Southern blues tinged The Unsung Heroes making up most of the album's sound. It's not a bad thing to be honest, and the band still have a few songs with that classic rock feel, in Summer and Rhythm In The Spirit. David Ragsdale's Violin soars through many of the songs, sometimes taking front stage such as in the opening of the aforementioned Summer, a song with that classic Kansas sound many know and love, breaking into a delicious solo halfway through. This is all backed up by Kansas Veterans Phil Ehart and Rich WIlliams on drums and guitar respectively, Billy Greer on bass, newcomer Zak Rizvi's rhythm guitar and David Manion backing up Platt on keyboards, with the majority of the band backing up the vocals. Chances are, if you're a fan of Kansas, you're already a fan of the album, and even if you aren't, if you like your classic rock, this is an excellent shout. 9/10
The first album in 16 years, it's a pleasant surprise to see Kansas recording again with new lead vocalist Ronnie Platt taking centre stage whilst doubling up on keyboards. Platt has a great set of pipes, and settles right in with the band's sound, which remains as strong as ever. Kansas seem to have veered more towards a more mellow sound with songs such as Refugee and Southern blues tinged The Unsung Heroes making up most of the album's sound. It's not a bad thing to be honest, and the band still have a few songs with that classic rock feel, in Summer and Rhythm In The Spirit. David Ragsdale's Violin soars through many of the songs, sometimes taking front stage such as in the opening of the aforementioned Summer, a song with that classic Kansas sound many know and love, breaking into a delicious solo halfway through. This is all backed up by Kansas Veterans Phil Ehart and Rich WIlliams on drums and guitar respectively, Billy Greer on bass, newcomer Zak Rizvi's rhythm guitar and David Manion backing up Platt on keyboards, with the majority of the band backing up the vocals. Chances are, if you're a fan of Kansas, you're already a fan of the album, and even if you aren't, if you like your classic rock, this is an excellent shout. 9/10
Charred Walls Of The Damned: Creatures Watching Over The Damned (Metal Blade)
The brainchild of Ex-Iced Earth Drummer Richard Christy, and featuring the vocal talents of Tim "Ripper" Owens, the basswork of Testament's Steve DiGiorgio, and Jason Suecof of Capharnum on guitars, Charred Walls Of The Damned is a brilliant slice of heavy metal supergroup goodness. Ripper Owen's career has seen him fronting Priest and Iced Earth, and his vocal style is well known throughout the metal world. With Charred Walls... it works excellently alongside the brilliant drumming of Christy and Suecof's riffage, DiGiorgio's bass giving every song a meaty foundation on which the band layer their respective sounds. Musically, Charred Walls... seems to takes the best parts of each member's past work with their respective bands and squeezes it into an excellent sound with definite Power metal influences being heard in songs like Lies and Living In The Shadow Of Yesterday. My one criticism of the album is that many of the songs seem a bit too short, and just as you're getting into them, they fade out, or in some circumstances, just end abruptly. This can especially be seen in Lies, where towards the end of the song, Suecof pours out an excellent solo only to finish as it reaches its crescendo. That minor problem aside, the album is an excellent listen. 8/10
Plagueship : Shrykull (Unsigned)
The brainchild of Ex-Iced Earth Drummer Richard Christy, and featuring the vocal talents of Tim "Ripper" Owens, the basswork of Testament's Steve DiGiorgio, and Jason Suecof of Capharnum on guitars, Charred Walls Of The Damned is a brilliant slice of heavy metal supergroup goodness. Ripper Owen's career has seen him fronting Priest and Iced Earth, and his vocal style is well known throughout the metal world. With Charred Walls... it works excellently alongside the brilliant drumming of Christy and Suecof's riffage, DiGiorgio's bass giving every song a meaty foundation on which the band layer their respective sounds. Musically, Charred Walls... seems to takes the best parts of each member's past work with their respective bands and squeezes it into an excellent sound with definite Power metal influences being heard in songs like Lies and Living In The Shadow Of Yesterday. My one criticism of the album is that many of the songs seem a bit too short, and just as you're getting into them, they fade out, or in some circumstances, just end abruptly. This can especially be seen in Lies, where towards the end of the song, Suecof pours out an excellent solo only to finish as it reaches its crescendo. That minor problem aside, the album is an excellent listen. 8/10
Plagueship : Shrykull (Unsigned)
The debut album from the Leeds based Plagueship, it mixes excellent vocal work with tight, progressive guitar work, groove laden bass with death metal guitars. Madness, Escaping is a brilliant example of the technical work the band can do, with great chugging bass from Adam Parkin and soaring riffs from guitarists Alexis Giovoglanian and John Richardson working with the blastbeats of Stephen Wilkinson. Other songs on the album showcase the vocal talents of Jonny Byrne, whose growls are vicious and sinister and sit comfortably on the fence between the guttural sounds of Amon Amarth and the screeches of Cradle Of Filth. An excellent album, and definitely a band to keep an eye on. 9/10
Tuesday, 18 October 2016
Reviews: Eden's Curse, Admiral Sir Cloudesley Shovell, Crystal Breed
Eden's Curse: Cardinal (AFM)
Cardinal is the second record that UK/European melodic metal band Eden's Curse has released since the departure of co-founding frontman Michael Eden. The ship is still steered co-founding members bassist Paul Logue and guitarist Thorsten Kohne, they are still the main creative force behind this band meaning that Eden's Curse still maintain their high gloss metal sound, as well as the penchant for religious and historical imagery in their lyrics and the obligatory beautiful women on the album covers. Eden's replacement Nikola Mijić displayed his skills first on previous record Symphony Of Sin and proved he could handle and even surpass Eden's vocals on the older tracks on their live release Live With The Curse. Once again here he wipes away any naysayers by demonstrating his strong, powerful, Tobias Sammet-esque vocal throughout.
Logue and drummer John Clelland lock in for galloping power metal on Messiah Complex and the pounding, swaggering hard rock The Great Pretender they switch between the two with ease even packing a punch on the slower more emotive songs such as Find My Way and Unconditional (which also features former Leaves Eyes singer Liv Kristine), the band even tackle some funkier influenced rock on Kingdom Of Solitude. Kohne's guitar playing is exhibited across every song riffing like hell and soloing with precision, technique and passion he also duels with the killer keys of Christian "Chrism" Pulkkinen who takes over from Power Quest's Steve Williams who intern took over from Alessandro Del Vecchio (probably because he's in every other band ever). His classy keys are all over the record bolstering the rockers like Prophets Of Doom and giving the AOR touches to Sell Your Soul. Cardinal retains the high level of musical ability and classy songwriting they have always done so well. It's melodic metal at it's finest! 9/10
Admiral Sir Cloudesley Shovell: Keep It Greasy (Rise Above)
In what is now the post Lemmy era it's always very exciting to hear another band that plays sleazy, gritty hard rock unmoved by popularity and fashion. Admiral Sir Cloudesley Shovell are neck deep in the tradition of the spit and sawdust blues based rocking popularised by early Lizzy, The Groundhogs, Stray and Budgie, it's buzz saw proto-metal at it's rawest. Everything about the band gives a defiantly refreshing, couldn't give a shit attitude, the facial hair, the clothes and lyrical content are all decidedly retro. This is music made in dingy pubs and grotty cafes over a plate of bacon, eggs and spam (topped with extra spam) and my does it sound like it, the analogue production adds an air of authenticity to the fuzzy rocking.
The bands third record doesn't stray too far from those first two with the trio of Bill Darlington on drums, Louis Comfort Wiggett on bass and Johnny Gorilla on guitar and shouting they all attack their instruments with gusto. It's plug in turn up and rock out conjuring the images of long haired oiks in skinny bell bottoms banging their heads while swigging a bottle of Newcastle Brown. Like the famous wood stain this record does exactly what it says on the tin and keeps it greasy from the opening chords dropping in punk, psych, doom and early metal sound. ASCS keep cranking out sweaty riffs played at full volume, long may it continue!! 8/10
Crystal Breed: Barriers (Keymedia)
German heavy prog rockers Crystal Breed's debut record The Place Unknown was somewhat of a revelation, fusing the classic prog sounds with a heavier sound they took cues from acts such as Porcupine Tree, Enchant and Spock's Beard. Their debut was released in 2012 so it's taken four years for this second record to see the light of day, so has that wait been worth it? Well yes it has they pick up where they left off with intelligent, intensely progressive music that skews genres and relies heavily on impressive musicianship. Brain Train starts the album off an a particularly mad note with changing time signatures a bass heavy groove from Nico and vocal harmonies Neal Morse has always done well.
The band have two vocalists shared between guitarist Niklas and keyboardist Corvin and they are also the two members that power most of the songs trading off with their skill at every moment, while Thorsten keeps the tubs thumping and driving songs such as the complicated Barrier Of Ignorance which is the album's longest song and draws from rock, classical, Latin and various other genres in the keyboard heavy middle section that Yes would be proud to call their own. Barriers is another complex album from this German progressive rock band, the songs are long and intricate meaning that it's one for prog fans only. 7/10
Cardinal is the second record that UK/European melodic metal band Eden's Curse has released since the departure of co-founding frontman Michael Eden. The ship is still steered co-founding members bassist Paul Logue and guitarist Thorsten Kohne, they are still the main creative force behind this band meaning that Eden's Curse still maintain their high gloss metal sound, as well as the penchant for religious and historical imagery in their lyrics and the obligatory beautiful women on the album covers. Eden's replacement Nikola Mijić displayed his skills first on previous record Symphony Of Sin and proved he could handle and even surpass Eden's vocals on the older tracks on their live release Live With The Curse. Once again here he wipes away any naysayers by demonstrating his strong, powerful, Tobias Sammet-esque vocal throughout.
Logue and drummer John Clelland lock in for galloping power metal on Messiah Complex and the pounding, swaggering hard rock The Great Pretender they switch between the two with ease even packing a punch on the slower more emotive songs such as Find My Way and Unconditional (which also features former Leaves Eyes singer Liv Kristine), the band even tackle some funkier influenced rock on Kingdom Of Solitude. Kohne's guitar playing is exhibited across every song riffing like hell and soloing with precision, technique and passion he also duels with the killer keys of Christian "Chrism" Pulkkinen who takes over from Power Quest's Steve Williams who intern took over from Alessandro Del Vecchio (probably because he's in every other band ever). His classy keys are all over the record bolstering the rockers like Prophets Of Doom and giving the AOR touches to Sell Your Soul. Cardinal retains the high level of musical ability and classy songwriting they have always done so well. It's melodic metal at it's finest! 9/10
Admiral Sir Cloudesley Shovell: Keep It Greasy (Rise Above)
In what is now the post Lemmy era it's always very exciting to hear another band that plays sleazy, gritty hard rock unmoved by popularity and fashion. Admiral Sir Cloudesley Shovell are neck deep in the tradition of the spit and sawdust blues based rocking popularised by early Lizzy, The Groundhogs, Stray and Budgie, it's buzz saw proto-metal at it's rawest. Everything about the band gives a defiantly refreshing, couldn't give a shit attitude, the facial hair, the clothes and lyrical content are all decidedly retro. This is music made in dingy pubs and grotty cafes over a plate of bacon, eggs and spam (topped with extra spam) and my does it sound like it, the analogue production adds an air of authenticity to the fuzzy rocking.
The bands third record doesn't stray too far from those first two with the trio of Bill Darlington on drums, Louis Comfort Wiggett on bass and Johnny Gorilla on guitar and shouting they all attack their instruments with gusto. It's plug in turn up and rock out conjuring the images of long haired oiks in skinny bell bottoms banging their heads while swigging a bottle of Newcastle Brown. Like the famous wood stain this record does exactly what it says on the tin and keeps it greasy from the opening chords dropping in punk, psych, doom and early metal sound. ASCS keep cranking out sweaty riffs played at full volume, long may it continue!! 8/10
Crystal Breed: Barriers (Keymedia)
German heavy prog rockers Crystal Breed's debut record The Place Unknown was somewhat of a revelation, fusing the classic prog sounds with a heavier sound they took cues from acts such as Porcupine Tree, Enchant and Spock's Beard. Their debut was released in 2012 so it's taken four years for this second record to see the light of day, so has that wait been worth it? Well yes it has they pick up where they left off with intelligent, intensely progressive music that skews genres and relies heavily on impressive musicianship. Brain Train starts the album off an a particularly mad note with changing time signatures a bass heavy groove from Nico and vocal harmonies Neal Morse has always done well.
The band have two vocalists shared between guitarist Niklas and keyboardist Corvin and they are also the two members that power most of the songs trading off with their skill at every moment, while Thorsten keeps the tubs thumping and driving songs such as the complicated Barrier Of Ignorance which is the album's longest song and draws from rock, classical, Latin and various other genres in the keyboard heavy middle section that Yes would be proud to call their own. Barriers is another complex album from this German progressive rock band, the songs are long and intricate meaning that it's one for prog fans only. 7/10
Monday, 17 October 2016
Reviews: Cry Of Dawn, Blind Ego, Exist Immortal
Cry Of Dawn Feat Goran Edman: Cry Of Dawn (Frontiers)
Goran Edman has a pretty good case for being THE voice of AOR, especially in the Scandinavian realm. Cry Of Dawn is his current project and features Michael Palace (who's own debut record was reviewed recently) handling guitars and bass, Sören Kronqvist on keys and Daniel Flores (Mind's Eye, Murder Of My Sweet) tackling the skins and twiddling the knobs allowing everything to get the shine it needed.
Goran Edman's vocals are as usual spot on clear, soulful and he has a supreme range scaling the highs and crooning with attitude on songs like Tell It To My Heart. Palace's talents lay with his guitar playing clearly as he is the ideal foil for Edman's vocal prowess cutting into the layers of keys with virtuostic solos that Steven Lynch (Autograph) would have plied his trade with. Cry Of Dawn is yet another feather in the cap of one of AORs premier performers and reinforces why Scandinavia is the best breeding ground for it. 7/10
Goran Edman has a pretty good case for being THE voice of AOR, especially in the Scandinavian realm. Cry Of Dawn is his current project and features Michael Palace (who's own debut record was reviewed recently) handling guitars and bass, Sören Kronqvist on keys and Daniel Flores (Mind's Eye, Murder Of My Sweet) tackling the skins and twiddling the knobs allowing everything to get the shine it needed.
Goran Edman's vocals are as usual spot on clear, soulful and he has a supreme range scaling the highs and crooning with attitude on songs like Tell It To My Heart. Palace's talents lay with his guitar playing clearly as he is the ideal foil for Edman's vocal prowess cutting into the layers of keys with virtuostic solos that Steven Lynch (Autograph) would have plied his trade with. Cry Of Dawn is yet another feather in the cap of one of AORs premier performers and reinforces why Scandinavia is the best breeding ground for it. 7/10
Blind Ego: Liquid (Gentle Art Of Music)
Solo album from the RPWL guitarist Kalle Wallner, bringing the same kind of progressive bluster that he brings in his day job. As you'd expect it's very guitar heavy and perfect for six string nerds but it is also full of great songwriting even the instrumental Quiet Anger is an interesting song that keeps the attention. This record has a fluid nature drawing from various influences similar to Roger Waters/Steven Wilson guitarist Dave Kilminster's solo output. Just listen to the first two tracks A Place In The Sun and Blackened and you will get an ideas of the duality of this record A Place... is a driving prog rocker with intense double tapped guitar solo, whereas Blackened is an acoustically laced more emotive track.
It seems almost perfunctory to talk about the guitars on this record but they are amazing, displaying that when Wallner is away from the German Pink Floyd mothership of RPWL he confirms how versatile a player he is. Wallner has assembled a great group of musicians too taking his pick from three different bassists and vocalists while the only constant are the drums of Micheal Schwager formerly of Dreamscape. The album marries the sounds of his two previous records melding glistening melodic melancholy with thumping hard rock. Kalle Wallner's third solo record is yet another impressive slice of experimental yet engaging rock music. 8/10
Solo album from the RPWL guitarist Kalle Wallner, bringing the same kind of progressive bluster that he brings in his day job. As you'd expect it's very guitar heavy and perfect for six string nerds but it is also full of great songwriting even the instrumental Quiet Anger is an interesting song that keeps the attention. This record has a fluid nature drawing from various influences similar to Roger Waters/Steven Wilson guitarist Dave Kilminster's solo output. Just listen to the first two tracks A Place In The Sun and Blackened and you will get an ideas of the duality of this record A Place... is a driving prog rocker with intense double tapped guitar solo, whereas Blackened is an acoustically laced more emotive track.
It seems almost perfunctory to talk about the guitars on this record but they are amazing, displaying that when Wallner is away from the German Pink Floyd mothership of RPWL he confirms how versatile a player he is. Wallner has assembled a great group of musicians too taking his pick from three different bassists and vocalists while the only constant are the drums of Micheal Schwager formerly of Dreamscape. The album marries the sounds of his two previous records melding glistening melodic melancholy with thumping hard rock. Kalle Wallner's third solo record is yet another impressive slice of experimental yet engaging rock music. 8/10
Exist Immortal: Breathe (Primordial Records)
Heaviness at it's fullest is the order of the day from the London five piece Exist Immortal, stomping palm muted riffs teamed with clean, melodic guitar lines. Think bands such as Fallujah and you'd be in the right playing field. The drums and bass power the heavy grooves, with the drumming especially impressive on Invisible Lines which also highlights Exist Immortal's use of clean and harsh vocals that are a major part of the current metal scene.
This can be considered to be djent but it has a wider remit too, still the crunchy, mechanical groove laden riffs work well with the much cleaner guitar playing that soars along with the excellent clean vocals and they spread their wings a little on Follow Alone which stands out as one of the best on the record. It's not rocket science but it works well, there's enough guts to bang your head too, lashings of technicality but also actual songwriting which is where a lot of the more djenty acts fall down. Breathe should be the opening into the wider consciousness Exist Immortal need to drag them out of the underground, ready to beat down anyone that listens. 7/10
Heaviness at it's fullest is the order of the day from the London five piece Exist Immortal, stomping palm muted riffs teamed with clean, melodic guitar lines. Think bands such as Fallujah and you'd be in the right playing field. The drums and bass power the heavy grooves, with the drumming especially impressive on Invisible Lines which also highlights Exist Immortal's use of clean and harsh vocals that are a major part of the current metal scene.
This can be considered to be djent but it has a wider remit too, still the crunchy, mechanical groove laden riffs work well with the much cleaner guitar playing that soars along with the excellent clean vocals and they spread their wings a little on Follow Alone which stands out as one of the best on the record. It's not rocket science but it works well, there's enough guts to bang your head too, lashings of technicality but also actual songwriting which is where a lot of the more djenty acts fall down. Breathe should be the opening into the wider consciousness Exist Immortal need to drag them out of the underground, ready to beat down anyone that listens. 7/10
Sunday, 16 October 2016
Reviews: Hardline, As Lions, Hieroglyph
Hardline: Human Nature (Frontiers)
Hardline have always had a hard time (rhyming is cool - Poetry Ed) trying to follow in the footsteps of their monumental debut record Double Eclipse. All of their records since them have struggled to live up to it and has seen them shed their hard rock edge faster than they shed members. Frontman Johnny Gioeli is the only original member remaining from that period but along with producer/writer/keyboardist/guitarist extraordinaire Alessandro Del Vecchio he has put together another set of musicians and once again returned with another iteration of what is really Gioeli's band. Unlike previous elements however Human Nature is the closest thing they have made to the debut, the opening two tracks (Where Will We Go From Here and Nobody's Fool) have hard rock stomp to them as Gioeli's vocals soar over the excellent guitars of Josh Ramos.
He can shred like a maniac but also is perfect on the slower ballads such as Human Nature where he just adds an explosive solo to the orchestral piece, Del Vecchio at his saccharine best. On Double Nature Johnny's brother and Neal Schon (of Journey) handled the guitars and Ramos does a fine job here playing a style that is familiar but not repetitive. The rest of the band too are excellent bassist Anna Portalupi and drummer Francesco Jovino both provide a sturdy rocking backbone to the propulsive Running On Empty to the groovy numbers such as bluesy Trapped In Muddy Waters. This is the band's classic sound updated for the modern day, it focusses on rockers rather than ballads with Gioeli giving a tremendous performance, it's a grittier harder edged sound reinforced by Del Vecchio's always perfect production. For those that still long for that Rhythm From A Red Car Hardline's new record Human Nature will be a blast from the past brought into modern day. 8/10
As Lions: Aftermath (Better Noise)
As Lions are the new band from Austin Dickinson and one that shows a different style to his previous band Rise To Remain. It's a far more melodic effort displaying a much more mature sound than before. The guitars and drums are joined by electronic touches which lends an emotive note to the title track. It's actually heartening to here Dickinson use his clean delivery and move away from the metal core screaming he started with, that train pulled out of the station a long time ago, so much like bands such as Bring Me The Horizon, As Lions have added alt-metal elements, with impassioned vocals and driving rock that has thumping electronics infecting it making it highly radio repeatable. Songs like Deathless walk the heavy/accessible tightrope very well and all four songs on this record are well written, played and skillfully produced, step forward David Bendeth (BMTH, Paramore) and Kane Churko (FFDP, Disturbed). On the evidence of this EP As Lions could be a much more superior outfit for Dickinson and co, this band follow their own path on their own terms. I'm personally waiting for the full length with baited breath. 7/10
Hieroglyph: Ouroboros (Self Released)
Leeds/London bruisers Hieroglyph have an excellent sound that yes is in the djent style with down tuned/palm muted riffs, odd rhythms and time signature changes but they add atmospheric synths and electronics to the songs to broaden the sound, they also define themselves as something a bit new and different with the female/male vocal interplay Valentina Soricaro soars while Mark Howes roars so we have a duality to all of the songs with the melodic Soricaro being matched by the lead guitar on opening number Solar (The Fool) it's a great way to open the album with all of the bands elements togetehr in one song, The chunky, techincal Samsara (The Wheel Of Fortune) follows and yet again is driven by Valentina's clean vocals, she can sing very well having a voice not to dissimilar to Christina Scabbia of Lacuna Coil.
Mark's screams too though need to be mentioned as they too are a key element. Underneath the two vocalists the band are seriously talented the rhythm section of Helen Tytherleigh (bass) and Bradi Nixon (drums) pack a meaty punch with heavyweight riffs the order of the day while guitarists Sam Butterfield and Richard Barnes play intricate guitar riffs that cleanly glide over the thumping rhythms as a juxtaposition Rise And Fall (Strength) and also as a contributing factor. The release is a concept album, based around the story of a rise to consciousness and higher thinking that is encoded into the first 11 Tarot cards, the Major Arcana. Each song corresponds with a different card and takes you on a journey through the story. This is a very good album of modern heavy music that maintains the hallmarks of Djent but adds their own spin to it. 7/10
Hardline have always had a hard time (rhyming is cool - Poetry Ed) trying to follow in the footsteps of their monumental debut record Double Eclipse. All of their records since them have struggled to live up to it and has seen them shed their hard rock edge faster than they shed members. Frontman Johnny Gioeli is the only original member remaining from that period but along with producer/writer/keyboardist/guitarist extraordinaire Alessandro Del Vecchio he has put together another set of musicians and once again returned with another iteration of what is really Gioeli's band. Unlike previous elements however Human Nature is the closest thing they have made to the debut, the opening two tracks (Where Will We Go From Here and Nobody's Fool) have hard rock stomp to them as Gioeli's vocals soar over the excellent guitars of Josh Ramos.
He can shred like a maniac but also is perfect on the slower ballads such as Human Nature where he just adds an explosive solo to the orchestral piece, Del Vecchio at his saccharine best. On Double Nature Johnny's brother and Neal Schon (of Journey) handled the guitars and Ramos does a fine job here playing a style that is familiar but not repetitive. The rest of the band too are excellent bassist Anna Portalupi and drummer Francesco Jovino both provide a sturdy rocking backbone to the propulsive Running On Empty to the groovy numbers such as bluesy Trapped In Muddy Waters. This is the band's classic sound updated for the modern day, it focusses on rockers rather than ballads with Gioeli giving a tremendous performance, it's a grittier harder edged sound reinforced by Del Vecchio's always perfect production. For those that still long for that Rhythm From A Red Car Hardline's new record Human Nature will be a blast from the past brought into modern day. 8/10
As Lions: Aftermath (Better Noise)
As Lions are the new band from Austin Dickinson and one that shows a different style to his previous band Rise To Remain. It's a far more melodic effort displaying a much more mature sound than before. The guitars and drums are joined by electronic touches which lends an emotive note to the title track. It's actually heartening to here Dickinson use his clean delivery and move away from the metal core screaming he started with, that train pulled out of the station a long time ago, so much like bands such as Bring Me The Horizon, As Lions have added alt-metal elements, with impassioned vocals and driving rock that has thumping electronics infecting it making it highly radio repeatable. Songs like Deathless walk the heavy/accessible tightrope very well and all four songs on this record are well written, played and skillfully produced, step forward David Bendeth (BMTH, Paramore) and Kane Churko (FFDP, Disturbed). On the evidence of this EP As Lions could be a much more superior outfit for Dickinson and co, this band follow their own path on their own terms. I'm personally waiting for the full length with baited breath. 7/10
Hieroglyph: Ouroboros (Self Released)
Leeds/London bruisers Hieroglyph have an excellent sound that yes is in the djent style with down tuned/palm muted riffs, odd rhythms and time signature changes but they add atmospheric synths and electronics to the songs to broaden the sound, they also define themselves as something a bit new and different with the female/male vocal interplay Valentina Soricaro soars while Mark Howes roars so we have a duality to all of the songs with the melodic Soricaro being matched by the lead guitar on opening number Solar (The Fool) it's a great way to open the album with all of the bands elements togetehr in one song, The chunky, techincal Samsara (The Wheel Of Fortune) follows and yet again is driven by Valentina's clean vocals, she can sing very well having a voice not to dissimilar to Christina Scabbia of Lacuna Coil.
Mark's screams too though need to be mentioned as they too are a key element. Underneath the two vocalists the band are seriously talented the rhythm section of Helen Tytherleigh (bass) and Bradi Nixon (drums) pack a meaty punch with heavyweight riffs the order of the day while guitarists Sam Butterfield and Richard Barnes play intricate guitar riffs that cleanly glide over the thumping rhythms as a juxtaposition Rise And Fall (Strength) and also as a contributing factor. The release is a concept album, based around the story of a rise to consciousness and higher thinking that is encoded into the first 11 Tarot cards, the Major Arcana. Each song corresponds with a different card and takes you on a journey through the story. This is a very good album of modern heavy music that maintains the hallmarks of Djent but adds their own spin to it. 7/10
Saturday, 15 October 2016
Reviews: Verbal Delirium, Spellbound, Fliptop Box
I've consolidated albums from three Greek bands here, first is a prog rock band Verbal Delirium, second is melodic death metal band Spellbound and third is the modern alt/rock of Fliptop Box.
Verbal Delirium: The Imprisoned Words Of Fear (Bad Elephant Music)
First up then are Verbal Delirium from Piraeus in Athens, they are a progressive rock band that ply their trade with complex melodies, virtuosic musicianship and nods to the classics of Floyd, Jethro Tull, Van Der Graaf Generator and King Crimson but also more modern acts such as Opeth and Steven Wilson. Words is a piano led haunting opening that sees vocalist Jargon floating above his keys/synths and the piano adding the stabs of emotion underneath.
It is the prelude to Close To You which has the Opeth-like riffs cutting into the pastoral flute of Nikolas Nikolopoulo who also gives s stunning sax performance as the track builds from it's jazz leaning start to the heavier middle section that menaces with crunchy guitars and bass from George 'K' and George 'La Trappe' it's hell of a lot to fit into 6 minutes but they manage to pull it off and make it look easy in the process.
The songs on this record are all very musically dense layering many instruments on top of one another and having the confidence of bands like King Crimson to not be restricted to just one genre. Misleading Path again takes from jazz especially the bass but it also has swirling synths and marries it to the trippy psychedelia of The Beatles especially due to the incredible use of sax once again. Images From A Grey World brings the heavy allowing drummer Stellios 'Primordial' to really blast a bit, this is one for the Dream Theater fans and actually with Jargon's huge organs it could easily appear on Arjen's Ayreon projects with George K soloing like a master.
It's also the last track to be under 10 minutes so strap in folks when you get to this point, as even the sub 10 minute songs are intensely progressive so when The Decayed Reflection (A Verbal Delirium) starts off you expect progressive fireworks and my my do you get them, taking you through a kaleidoscope of colours and time signature changes relying on the bass and piano which is also contributed by Nikos Terzis, it's an exciting piece in the old school prog tradition.
Fear the record's longest song, kicks off slowly with acoustic guitars and just Jargon's impressive vocal styling along with yet more piano and deft drumming. It's a very relaxed song compared to the rest of the album but after about 6 minutes the guitars kick in and it gets much rockier augmented by an orchestral arrangement, it's a massive piece that may put off some of the less hardcore proggers but stick with it and you will be rewarded it is followed by yet another massive piece in the shape of In Memory which takes a left turn as the album closes by using electronics and samples giving a darker more melancholic tone. The Imprisoned Words Of Fear is a very difficult album in places, it's incredibly progressive and gloriously rewarding after repeated listens. If you like intelligent musically intense prog music then Verbal Delirium rank highly. 9/10
Spellbound: Among Death's Shadow (Self Released)
Not to be confused with the NINE other Spellbounds that are out there, one of which being from Athens, this Spellbound are from Thessaloniki and play rapid fire melodic black metal that's all about harsh, snarling vocals, machine gun kick drums, speedy keyboard runs and more shredding than a large office Fellows (A type of paper shredder - Admin Ed). Spellbound start as they mean to go on battering your senses with lightning quick guitars and drumming, they slow a bit and stomp for the closing moments of Sleepy Hollow but Hate Embraced speeds everything back up and also has a church organ, which reappeares on the galloping Blood Ain't Last. This is the band's debut record and at times it is a little disjointed as if they are trying to pack a few too many riffs and changes into the songs, the production too is a little sparse but at times it can add to the sound meaning giving you a a Burton-like bass thump but a rather tinny top end. Still it's a promising debut from this Northern Greek five piece. 7/10
Fliptop Box: Catch22 (Self Released)
Athens rockers Fliptop Box play a modern style of hard rock that has touches of prog in it too. They style themselves as a Greek version of Therapy?, Volbeat and on the opening noise of Blast and Promises To Stay you can hear the influence of Andy Cairns with vocalist/guitarist John P. sounding like an amalgamation of Cairns and Michael Poulsen but with a Greek accent. Blast is the start to this aggressive record that brings 8 rallying cries together in one place there's a alt rock sound throughout the record bolstered by touches of grunge and punk metal of bands such as Danzig on the dark and ominous Class Of Underdogs.
Behind John P he has The Cptain Frikis on drums,vocals, Kostas M on bass, Stavros Gulielmo guitars and Christina contributing the backing vocals and all of them add to this record they are the backbone behind tracks such as Borderline which is chunky riff mixed with a solo fest. There is a mid-90's feel to this record it's born out of the grunge and married itself to the post-punk. Catch22 is the sort of album that dresses itself in black and stands in the corner cursing under it's breath, full of attitude, darkness and discord. For fans of grungy alt metal Fliptop Box are a treat. 7/10
Verbal Delirium: The Imprisoned Words Of Fear (Bad Elephant Music)
First up then are Verbal Delirium from Piraeus in Athens, they are a progressive rock band that ply their trade with complex melodies, virtuosic musicianship and nods to the classics of Floyd, Jethro Tull, Van Der Graaf Generator and King Crimson but also more modern acts such as Opeth and Steven Wilson. Words is a piano led haunting opening that sees vocalist Jargon floating above his keys/synths and the piano adding the stabs of emotion underneath.
It is the prelude to Close To You which has the Opeth-like riffs cutting into the pastoral flute of Nikolas Nikolopoulo who also gives s stunning sax performance as the track builds from it's jazz leaning start to the heavier middle section that menaces with crunchy guitars and bass from George 'K' and George 'La Trappe' it's hell of a lot to fit into 6 minutes but they manage to pull it off and make it look easy in the process.
The songs on this record are all very musically dense layering many instruments on top of one another and having the confidence of bands like King Crimson to not be restricted to just one genre. Misleading Path again takes from jazz especially the bass but it also has swirling synths and marries it to the trippy psychedelia of The Beatles especially due to the incredible use of sax once again. Images From A Grey World brings the heavy allowing drummer Stellios 'Primordial' to really blast a bit, this is one for the Dream Theater fans and actually with Jargon's huge organs it could easily appear on Arjen's Ayreon projects with George K soloing like a master.
It's also the last track to be under 10 minutes so strap in folks when you get to this point, as even the sub 10 minute songs are intensely progressive so when The Decayed Reflection (A Verbal Delirium) starts off you expect progressive fireworks and my my do you get them, taking you through a kaleidoscope of colours and time signature changes relying on the bass and piano which is also contributed by Nikos Terzis, it's an exciting piece in the old school prog tradition.
Fear the record's longest song, kicks off slowly with acoustic guitars and just Jargon's impressive vocal styling along with yet more piano and deft drumming. It's a very relaxed song compared to the rest of the album but after about 6 minutes the guitars kick in and it gets much rockier augmented by an orchestral arrangement, it's a massive piece that may put off some of the less hardcore proggers but stick with it and you will be rewarded it is followed by yet another massive piece in the shape of In Memory which takes a left turn as the album closes by using electronics and samples giving a darker more melancholic tone. The Imprisoned Words Of Fear is a very difficult album in places, it's incredibly progressive and gloriously rewarding after repeated listens. If you like intelligent musically intense prog music then Verbal Delirium rank highly. 9/10
Spellbound: Among Death's Shadow (Self Released)
Not to be confused with the NINE other Spellbounds that are out there, one of which being from Athens, this Spellbound are from Thessaloniki and play rapid fire melodic black metal that's all about harsh, snarling vocals, machine gun kick drums, speedy keyboard runs and more shredding than a large office Fellows (A type of paper shredder - Admin Ed). Spellbound start as they mean to go on battering your senses with lightning quick guitars and drumming, they slow a bit and stomp for the closing moments of Sleepy Hollow but Hate Embraced speeds everything back up and also has a church organ, which reappeares on the galloping Blood Ain't Last. This is the band's debut record and at times it is a little disjointed as if they are trying to pack a few too many riffs and changes into the songs, the production too is a little sparse but at times it can add to the sound meaning giving you a a Burton-like bass thump but a rather tinny top end. Still it's a promising debut from this Northern Greek five piece. 7/10
Fliptop Box: Catch22 (Self Released)
Athens rockers Fliptop Box play a modern style of hard rock that has touches of prog in it too. They style themselves as a Greek version of Therapy?, Volbeat and on the opening noise of Blast and Promises To Stay you can hear the influence of Andy Cairns with vocalist/guitarist John P. sounding like an amalgamation of Cairns and Michael Poulsen but with a Greek accent. Blast is the start to this aggressive record that brings 8 rallying cries together in one place there's a alt rock sound throughout the record bolstered by touches of grunge and punk metal of bands such as Danzig on the dark and ominous Class Of Underdogs.
Behind John P he has The Cptain Frikis on drums,vocals, Kostas M on bass, Stavros Gulielmo guitars and Christina contributing the backing vocals and all of them add to this record they are the backbone behind tracks such as Borderline which is chunky riff mixed with a solo fest. There is a mid-90's feel to this record it's born out of the grunge and married itself to the post-punk. Catch22 is the sort of album that dresses itself in black and stands in the corner cursing under it's breath, full of attitude, darkness and discord. For fans of grungy alt metal Fliptop Box are a treat. 7/10
Friday, 14 October 2016
Reviews: Suicidal Tendencies, Alcest, Allegaeon (Reviews By Paul)
Suicidal Tendencies: World Gone Mad (Suicidal Records)
World Gone Mad is album no.12 from Mike Muir’s happy band, and possibly the final one if reports are to be believed. If it does come to an end then World Gone Mad is definitely a high on which to finish. A social commentary on the state of US politics at present and in particular the system that can let the indescribable fuck trumpet known as Donald Trump stand for President, World Gone Mad retains the thrashy punk aggression of the classics from yesteryear whilst also heaving in a large slab of melody and hooks.
It's pretty straightforward stuff but also superbly crafted with the instantly recognisable vocals of Mike Muir alongside long serving guitarist Dean Pleasants, newbies Jeff Poga and Ra Diaz (bass) and some blasting drumming from Dave Lombardo. From opener Clap Like Ozzy, One Finger Salute, the anthemic The Struggle Is Real and the calmer poignant album closer This World. Muir and co stand firm to their beliefs, if this is their swan song, it's a pretty damn fine one. 8/10
Alcest: Kodama (Prophecy Productions)
2014’s Shelter moved Alcest to a slightly different feel from previous releases. More accessible whilst still retaining the dreamy shoe gaze which the band has made their own. Shelter was highly acclaimed, meaning album number 5 needed to be something special. Luckily it is totally that, a beautifully constructed album which retains the ethereal delicacy of previous releases whilst adding the thunderous wall of Winterhalter’s drumming and Neige’s powerful guitar.
A concept about the confrontation between the human and natural world, inspired by the film Princess Mononoke by Hayao Miyazaki, Kodama (Japanese for Tree Spirit) is seven gorgeous crafted tracks, the majority of which are substantial in length and complexity. The deluxe album includes the beautiful Notre Sang Et Nos Pensees, well worth the extra couple of pounds. Neige once again writes all of the tracks with Birgir Jon Birgirsson taking care of arrangements, engineering, mixing and production. Haunting, melancholic and quite lovingly crafted, Kodama is a genuine stunning piece of work from a band that get better and better. 9/10
Allegaeon: Proponent For Sentience (Metal Blade)
Fusing themes of science fiction, astrophysics and alien life into a maelstrom of styles, Fort Collins, Colorado's technical death metallers fourth full release certainly provides food for thought. New vocalist Riley McShane does a sterling job, his gruff style fitting the speed and power of the band well. Proponent for Sentience is technical beyond technical, with time changes galore, intricate patterns and huge break downs. Incredibly powerful drumming of Brandon Park underpins the duel guitars of Greg Burgess and Michael Stancel. It's a long beast, clocking in at 72 minutes and with the best will in the world, at times a bit of a challenge.
With a range of styles, from the operatic introduction on Proponent For Sentience I – The Conception to the flamenco guitar intro and lengthy outro on Grey Matter Mechanics, it pushes the listener to the limits. A ragged, industrial/operatic version of Subdivisions by Rush closes the album, a brave take on a massively loved track. McShane sensibly brings the vocal down a few octaves which suits him and the song better although sounding a little like Ivan Moody is unfortunate but. It is nowhere near the worst Rush cover I've ever heard (take a bow, 3 Inches Of Blood). 7/10
World Gone Mad is album no.12 from Mike Muir’s happy band, and possibly the final one if reports are to be believed. If it does come to an end then World Gone Mad is definitely a high on which to finish. A social commentary on the state of US politics at present and in particular the system that can let the indescribable fuck trumpet known as Donald Trump stand for President, World Gone Mad retains the thrashy punk aggression of the classics from yesteryear whilst also heaving in a large slab of melody and hooks.
It's pretty straightforward stuff but also superbly crafted with the instantly recognisable vocals of Mike Muir alongside long serving guitarist Dean Pleasants, newbies Jeff Poga and Ra Diaz (bass) and some blasting drumming from Dave Lombardo. From opener Clap Like Ozzy, One Finger Salute, the anthemic The Struggle Is Real and the calmer poignant album closer This World. Muir and co stand firm to their beliefs, if this is their swan song, it's a pretty damn fine one. 8/10
Alcest: Kodama (Prophecy Productions)
2014’s Shelter moved Alcest to a slightly different feel from previous releases. More accessible whilst still retaining the dreamy shoe gaze which the band has made their own. Shelter was highly acclaimed, meaning album number 5 needed to be something special. Luckily it is totally that, a beautifully constructed album which retains the ethereal delicacy of previous releases whilst adding the thunderous wall of Winterhalter’s drumming and Neige’s powerful guitar.
A concept about the confrontation between the human and natural world, inspired by the film Princess Mononoke by Hayao Miyazaki, Kodama (Japanese for Tree Spirit) is seven gorgeous crafted tracks, the majority of which are substantial in length and complexity. The deluxe album includes the beautiful Notre Sang Et Nos Pensees, well worth the extra couple of pounds. Neige once again writes all of the tracks with Birgir Jon Birgirsson taking care of arrangements, engineering, mixing and production. Haunting, melancholic and quite lovingly crafted, Kodama is a genuine stunning piece of work from a band that get better and better. 9/10
Allegaeon: Proponent For Sentience (Metal Blade)
Fusing themes of science fiction, astrophysics and alien life into a maelstrom of styles, Fort Collins, Colorado's technical death metallers fourth full release certainly provides food for thought. New vocalist Riley McShane does a sterling job, his gruff style fitting the speed and power of the band well. Proponent for Sentience is technical beyond technical, with time changes galore, intricate patterns and huge break downs. Incredibly powerful drumming of Brandon Park underpins the duel guitars of Greg Burgess and Michael Stancel. It's a long beast, clocking in at 72 minutes and with the best will in the world, at times a bit of a challenge.
With a range of styles, from the operatic introduction on Proponent For Sentience I – The Conception to the flamenco guitar intro and lengthy outro on Grey Matter Mechanics, it pushes the listener to the limits. A ragged, industrial/operatic version of Subdivisions by Rush closes the album, a brave take on a massively loved track. McShane sensibly brings the vocal down a few octaves which suits him and the song better although sounding a little like Ivan Moody is unfortunate but. It is nowhere near the worst Rush cover I've ever heard (take a bow, 3 Inches Of Blood). 7/10
Thursday, 13 October 2016
Reviews: Meshuggah, Kyng, Gone Is Gone
Meshuggah: The Violent Sleep Of Reason (Nuclear Blast)
With the recent uprising in Djent over the past few years it's sometimes easy to overlook the bands that inspired the entire movement. Meshuggah are the most definite influence on the entire down-tuned, palm muted riff fests of bands such as Periphery, but as the innovators have they been left behind by the young generation? Far from it in fact The Violent Sleep Of Reason continues to re-establish why Meshuggah are the originators of the genre and why this one of the most highly anticipated releases. The Violent Sleep Of Reason almost deconstruct metal to it's most primal form, it's an aggressive record as you might expect but lyrically the themes are a commentary on terrorism, extremist views on ideals, religious dogma.
The music reflects the rallying cry of the lyrics with the immediacy of MonstroCity sees Jens Kidman roaring as the chugging riffs come at a flurry the lead guitars shredding over the rhythm on the breakdown middle section. It's very much a case of riff and repeat with Meshuggah, their music is not based upon intricate solos and massive hooks, it's made to bludgeon with technical fury and bludgeon it does. From the 7 minutes opening Clockworks, through the off-kilter By The Ton, the melodic, percussive Nostrum and climaxing with the fuzzy, noisy Into Decay Meshuggah beat you into submission and you keep wanting more. This record isn't going to win anyone over who's not a fan, but what it will do is bring Meshuggah to the generation that may have heard the name but not felt the full force of the Swedes power. 8/10
Kyng: Breathe In The Water (Razor & Tie)
Fresh of a tour with Clutch, stoner trio Kyng unleash their third full length record. At 14 tracks its a bit of a monster and has the stoner sound Kyng do well and the touring between records has obviously been to their benefit as this record is a honed piece that sees the band stretching their remit a bit on the stomping hand clap driven title track, adding some slow burning blues for Show Me Your Love and a Soundgarden edge to Song For A Broken Masque. The three piece are all superb musicians drummer Pepe displaying his dexterity and power on Closer To The End with flailing drum patterns that allow the loud/quiet parts to be more effective, it's a progressive number but the drums maintain the powerful beat.
At the front end of things Tony's bass is the anchor and main exponent of groove while Eddie's guitar is usually fuzzy but at times can be melodic, his vocals are a whiskey hued bonus too preferring the clean sound of Neil Fallon than the rougher stoner metal vocal. What's very evident about Kyng is their professionalism, they sound like they should be on their eighth or ninth record rather than their third. On the evidence of this record Kyng have a bright future, it's the sort of stoner rock music I love and I for one look forward to seeing Kyng on these shores soon. 8/10
Gone Is Gone: S/T (Rise Records)
Another week another supergroup featuring a member of Mastodon, first was Killer Be Killed (Troy Sanders) then more recently Giraffe Tongue Orchestra (Brent Hinds) and now we have Gone Is Gone which once again features Sanders on bass and vocals, along with him are no members of Dillinger Escape Plan (who also seem to have an affinity to supergroups) but instead on guitars is QOTSA's Troy Van Leeuwen, behind the drums is At The Drive-In's (no strangers to supergroups themselves) Tony Hajjar and keyboardist/guitarist/everything else Mike Zarin who along with Hajjar composes video game/movie trailer music. This record started out as another selection of instrumental soundscapes from Hajjar and Zarin but they added Van Leeuwen and Sanders and both have lent their stamp to the record.
It's a much more radio bothering album than the sometimes abrasive works of the members day jobs, this is a softer, darker, morose sound than any of the main bands using reliant more on the synths and keys in the mix than there would be in any of the component parts. This is not a criticism by any means it gives all those that have already got a pedigree a new avenue for their talent, but it does mean that if you enjoy the direct ferocity of any of the bands mentioned earlier you may find this record a bit ponderous. Sanders vocals too may grate slightly, his gruff battle worn throat is given room to sing on this record, but he struggles with the softer pieces. Gone Is Gone lacks that oomph many will expect and due to this the songs do blur into one, one for just a passing interest. 6/10
With the recent uprising in Djent over the past few years it's sometimes easy to overlook the bands that inspired the entire movement. Meshuggah are the most definite influence on the entire down-tuned, palm muted riff fests of bands such as Periphery, but as the innovators have they been left behind by the young generation? Far from it in fact The Violent Sleep Of Reason continues to re-establish why Meshuggah are the originators of the genre and why this one of the most highly anticipated releases. The Violent Sleep Of Reason almost deconstruct metal to it's most primal form, it's an aggressive record as you might expect but lyrically the themes are a commentary on terrorism, extremist views on ideals, religious dogma.
The music reflects the rallying cry of the lyrics with the immediacy of MonstroCity sees Jens Kidman roaring as the chugging riffs come at a flurry the lead guitars shredding over the rhythm on the breakdown middle section. It's very much a case of riff and repeat with Meshuggah, their music is not based upon intricate solos and massive hooks, it's made to bludgeon with technical fury and bludgeon it does. From the 7 minutes opening Clockworks, through the off-kilter By The Ton, the melodic, percussive Nostrum and climaxing with the fuzzy, noisy Into Decay Meshuggah beat you into submission and you keep wanting more. This record isn't going to win anyone over who's not a fan, but what it will do is bring Meshuggah to the generation that may have heard the name but not felt the full force of the Swedes power. 8/10
Kyng: Breathe In The Water (Razor & Tie)
Fresh of a tour with Clutch, stoner trio Kyng unleash their third full length record. At 14 tracks its a bit of a monster and has the stoner sound Kyng do well and the touring between records has obviously been to their benefit as this record is a honed piece that sees the band stretching their remit a bit on the stomping hand clap driven title track, adding some slow burning blues for Show Me Your Love and a Soundgarden edge to Song For A Broken Masque. The three piece are all superb musicians drummer Pepe displaying his dexterity and power on Closer To The End with flailing drum patterns that allow the loud/quiet parts to be more effective, it's a progressive number but the drums maintain the powerful beat.
At the front end of things Tony's bass is the anchor and main exponent of groove while Eddie's guitar is usually fuzzy but at times can be melodic, his vocals are a whiskey hued bonus too preferring the clean sound of Neil Fallon than the rougher stoner metal vocal. What's very evident about Kyng is their professionalism, they sound like they should be on their eighth or ninth record rather than their third. On the evidence of this record Kyng have a bright future, it's the sort of stoner rock music I love and I for one look forward to seeing Kyng on these shores soon. 8/10
Gone Is Gone: S/T (Rise Records)
Another week another supergroup featuring a member of Mastodon, first was Killer Be Killed (Troy Sanders) then more recently Giraffe Tongue Orchestra (Brent Hinds) and now we have Gone Is Gone which once again features Sanders on bass and vocals, along with him are no members of Dillinger Escape Plan (who also seem to have an affinity to supergroups) but instead on guitars is QOTSA's Troy Van Leeuwen, behind the drums is At The Drive-In's (no strangers to supergroups themselves) Tony Hajjar and keyboardist/guitarist/everything else Mike Zarin who along with Hajjar composes video game/movie trailer music. This record started out as another selection of instrumental soundscapes from Hajjar and Zarin but they added Van Leeuwen and Sanders and both have lent their stamp to the record.
It's a much more radio bothering album than the sometimes abrasive works of the members day jobs, this is a softer, darker, morose sound than any of the main bands using reliant more on the synths and keys in the mix than there would be in any of the component parts. This is not a criticism by any means it gives all those that have already got a pedigree a new avenue for their talent, but it does mean that if you enjoy the direct ferocity of any of the bands mentioned earlier you may find this record a bit ponderous. Sanders vocals too may grate slightly, his gruff battle worn throat is given room to sing on this record, but he struggles with the softer pieces. Gone Is Gone lacks that oomph many will expect and due to this the songs do blur into one, one for just a passing interest. 6/10
Wednesday, 12 October 2016
Reviews: Winterfylleth, Sonata Arctica, Giraffe Tongue Orchestra
Winterfylleth: The Dark Hereafter (Candlelight Records) [Review By Paul]
When Winterfylleth, arguably the UK’s most advanced and technically excellent black metal outfit released their masterpiece The Divinity Of Antiquity in 2014, few would have complained if the band had followed in the steps of Bolt Thrower with Those Once Loyal and never recorded another album, such was the quality of that release. Fortunately, the English Heritage metallers moved forward and The Dark Hereafter incredibly tops their previous release. With the usual power and might, the band pursue more anthems focusing on nature, the English countryside and the folly of man’s approach to the natural world. The title track opens the album with incredible pace and gusto, the sheer technicality of the band immediately noticeable. In fact, the technical skills of an already brilliantly competent outfit have improved even more.
Dan Capp and Christopher Naughton’s guitar work is exceptional throughout, with the subtle nuances demanding repeated plays for full appreciation. There are two massive tunes on this album. Green Cathedral, a 13 minute epic which considers the relationship of nature and the rural world as a more enriching source of spirituality than any religion. Based on a concept by author Ben Myers, it is a powerful moving piece which demonstrates that whilst the band can slow the pace without losing the charge and it also highlights the impressive changes that Winterfylleth have made to their sound in recent years. Closing track Led Astray In The Forest Dark is the other beast, a faithful cover of Ulver's I Troldskog Faren Vild. The chanting vocals gives the band an almost monastic quality, with the slower pace losing none of the heaviness we associate with the band, thunderous drums from Simon Lucas anchoring the band solidly with Nick Wallwork’s bass lines running riot. The Dark Hereafter is stunning in every aspect. An underrated band who continue to surprise. 10/10
Sonata Arctica: The Ninth Hour (Nuclear Blast)
Sonata Arctica's ninth album (thus the title) continues to reintroduce the wolf theme that seemed to disappear on Unia but has re-emerged since The Days Of The Grays and was especially prevalent on Pariah's Child. The Ninth Hour also deals with the well worn tropes of nature, spirit and also politics the band are seen at their most politically aware on Fairytale which is a damming indictment of the current political culture especially one haystack-haired individual. Musically the band are possibly the grandiose they have ever been, all of the tracks are multi-layered to hell and back taking from Nightwish's and Epica's current mindset of more is more this does mean that sometimes the nuances of the music are lost a little, something not helped by the slightly flat production.
However as ever the songwriting and lyricism of frontman and band talisman Tony Kakko is the bands saviour, the lyrics are striking, stirring and passionate conjuring the emotion to the songs. Elias Viljanen (guitar), Henrik Klingenberg (keys) Pasi Kauppinen (bass) and Tommy Portimo (drums) are the musical backing that moves effortlessly between the progressive power metal sound Sonata have cultivated (Rise A Night) and delves deeper into the classically influenced bombast that they are now more comfortable with. Klingenberg's piano /keys/synths are the key part of this adding the multiple layers to the songs.
As I've said many of the songs deal with human beings being the shepherds of the earth and explicitly pro-nature and talks at length about the humans predisposition to ignore things on We Are What We Are as well as our care for our furry brethren (especially wolves) on Animals and it's slight return On The Faultline (Closer To The Animal). Don't fret though it's not all doom and gloom and neither is it overly preachy, these are informed opinion set to music told in Kakko's unique way with a wry smile and a big heart. Moving away from the thematic tracks we have Among The Shooting Stars, Fly, Navigate, Communicate both of which deal with other issues, Werewolves and flying respectively meanwhile White Pearl, Black Oceans (Part II: By The Grace Of The Ocean) continues the story theme established on Reckoning Night.
The Ninth Hour is probably the strongest album of the post Unia period, it is the culmination of the bands metamorphosis from power metal purveyors to classically influenced dramatic rockers. Sonata Arctica have always been one of my favourite bands and Tony remains one of the most unique voices in metal but with a few tweaks the band could break out of the prog/power scene infect the mainstream charts too. 8/10
Giraffe Tongue Orchestra: Broken Lines (Cooking Vinyl) [Review By Paul]
Supergroups. Pah! Ten a penny these days as artists look for alternative paths to creativity or perhaps the cynical would say look to earn an extra penny or two. On occasion though the collaboration just comes together magnificently to provide something different and exciting, piquing the interest. Killer Be Killed certainly did this and now we have Broken Lines, the maiden release from Giraffe Tongue Orchestra. With the double shred of Brent Hinds of Mastodon and Ben Weinman (Dillinger Escape Plan), William Duvall of Alice In Chains, Thomas Pridgen (The Mars Volta) and drummer Pete Griffin (Dethlok), GTO deliver 40 minutes of jazz fused, biker styled hard rock which constantly changes, intrigues and roars. Blood Moon with its bat shit crazy gore filled video and the politically charged themes of Crucifixion provide plenty of interest. and the metal stomp of Back To The Light with its intricate guitar work scurrying away like rodents is how the Manics would sound if they had the balls to really rock out. The funk flavour tastes delicious. Duvall in particular has really been allowed to unleash, his voice the perfect fit to the massive riffs and cross shredding. This is a fantastic release. Can we have a UK tour please? 9/10
When Winterfylleth, arguably the UK’s most advanced and technically excellent black metal outfit released their masterpiece The Divinity Of Antiquity in 2014, few would have complained if the band had followed in the steps of Bolt Thrower with Those Once Loyal and never recorded another album, such was the quality of that release. Fortunately, the English Heritage metallers moved forward and The Dark Hereafter incredibly tops their previous release. With the usual power and might, the band pursue more anthems focusing on nature, the English countryside and the folly of man’s approach to the natural world. The title track opens the album with incredible pace and gusto, the sheer technicality of the band immediately noticeable. In fact, the technical skills of an already brilliantly competent outfit have improved even more.
Dan Capp and Christopher Naughton’s guitar work is exceptional throughout, with the subtle nuances demanding repeated plays for full appreciation. There are two massive tunes on this album. Green Cathedral, a 13 minute epic which considers the relationship of nature and the rural world as a more enriching source of spirituality than any religion. Based on a concept by author Ben Myers, it is a powerful moving piece which demonstrates that whilst the band can slow the pace without losing the charge and it also highlights the impressive changes that Winterfylleth have made to their sound in recent years. Closing track Led Astray In The Forest Dark is the other beast, a faithful cover of Ulver's I Troldskog Faren Vild. The chanting vocals gives the band an almost monastic quality, with the slower pace losing none of the heaviness we associate with the band, thunderous drums from Simon Lucas anchoring the band solidly with Nick Wallwork’s bass lines running riot. The Dark Hereafter is stunning in every aspect. An underrated band who continue to surprise. 10/10
Sonata Arctica: The Ninth Hour (Nuclear Blast)
Sonata Arctica's ninth album (thus the title) continues to reintroduce the wolf theme that seemed to disappear on Unia but has re-emerged since The Days Of The Grays and was especially prevalent on Pariah's Child. The Ninth Hour also deals with the well worn tropes of nature, spirit and also politics the band are seen at their most politically aware on Fairytale which is a damming indictment of the current political culture especially one haystack-haired individual. Musically the band are possibly the grandiose they have ever been, all of the tracks are multi-layered to hell and back taking from Nightwish's and Epica's current mindset of more is more this does mean that sometimes the nuances of the music are lost a little, something not helped by the slightly flat production.
However as ever the songwriting and lyricism of frontman and band talisman Tony Kakko is the bands saviour, the lyrics are striking, stirring and passionate conjuring the emotion to the songs. Elias Viljanen (guitar), Henrik Klingenberg (keys) Pasi Kauppinen (bass) and Tommy Portimo (drums) are the musical backing that moves effortlessly between the progressive power metal sound Sonata have cultivated (Rise A Night) and delves deeper into the classically influenced bombast that they are now more comfortable with. Klingenberg's piano /keys/synths are the key part of this adding the multiple layers to the songs.
As I've said many of the songs deal with human beings being the shepherds of the earth and explicitly pro-nature and talks at length about the humans predisposition to ignore things on We Are What We Are as well as our care for our furry brethren (especially wolves) on Animals and it's slight return On The Faultline (Closer To The Animal). Don't fret though it's not all doom and gloom and neither is it overly preachy, these are informed opinion set to music told in Kakko's unique way with a wry smile and a big heart. Moving away from the thematic tracks we have Among The Shooting Stars, Fly, Navigate, Communicate both of which deal with other issues, Werewolves and flying respectively meanwhile White Pearl, Black Oceans (Part II: By The Grace Of The Ocean) continues the story theme established on Reckoning Night.
The Ninth Hour is probably the strongest album of the post Unia period, it is the culmination of the bands metamorphosis from power metal purveyors to classically influenced dramatic rockers. Sonata Arctica have always been one of my favourite bands and Tony remains one of the most unique voices in metal but with a few tweaks the band could break out of the prog/power scene infect the mainstream charts too. 8/10
Giraffe Tongue Orchestra: Broken Lines (Cooking Vinyl) [Review By Paul]
Supergroups. Pah! Ten a penny these days as artists look for alternative paths to creativity or perhaps the cynical would say look to earn an extra penny or two. On occasion though the collaboration just comes together magnificently to provide something different and exciting, piquing the interest. Killer Be Killed certainly did this and now we have Broken Lines, the maiden release from Giraffe Tongue Orchestra. With the double shred of Brent Hinds of Mastodon and Ben Weinman (Dillinger Escape Plan), William Duvall of Alice In Chains, Thomas Pridgen (The Mars Volta) and drummer Pete Griffin (Dethlok), GTO deliver 40 minutes of jazz fused, biker styled hard rock which constantly changes, intrigues and roars. Blood Moon with its bat shit crazy gore filled video and the politically charged themes of Crucifixion provide plenty of interest. and the metal stomp of Back To The Light with its intricate guitar work scurrying away like rodents is how the Manics would sound if they had the balls to really rock out. The funk flavour tastes delicious. Duvall in particular has really been allowed to unleash, his voice the perfect fit to the massive riffs and cross shredding. This is a fantastic release. Can we have a UK tour please? 9/10
Monday, 10 October 2016
Reviews: The Mission, Darkthrone, The Brew (Reviews By Paul)
The Mission: Another Fall From Grace (Eyes Wide Shut)
Back in the mid 1980s when I was in high school, metal was my religion. It still is of course but at that time anything without a thumping riff, long hair and tight as hell jeans was of no interest to me whatsoever. This changed when one of my best friends, who had always veered away from the heavier elements of music introduced me to the Sisters Of Mercy. Their debut album First, Last And Always was still very much rock but lent in the opposite direction to the path I was following. Full of sorrow and dark moods, The album was special.
Wayne Hussey and Craig Adams then left to form The Mission and the classic Gods Own Medicine was soon a regular on the turntable. Hussey's twelve string guitar work and mournful yet melodious voice combined with Adams solid bass lines and Simon Hinkler's hypnotic guitar produced a real monumental piece of work. Wasteland, Blood Brother, Severina, Stay With Me and the beautiful Garden Of Delights all cast their spell and remained etched in the memory. Over the years The Mission have continued to produce high quality music staying true to their Gothic overtures whilst always having more than a nod to the rock world.
Roll forward a mere 30 years and album no.12 Another Fall From Grace provides evidence, if that was ever needed that Hussey, Adams, Hinkler and drummer Mike Kelly are still able to produce the quality that oozed through that first album. Indeed, Hussey has stated that AFFG is “the lost link between First, Last And Always and God’s Own Medicine”. The link is undeniable, from the first stalking bars of the title track through to the haunting Phantom Pain which closes the album. Imperious, confident and overall just pretty special, AFFG is almost the perfect blue print. Hussey retains the mystery and arrogance in his vocals, with stand out tracks Jade and the magnificent Met-A-Morphosis highlights.
The cutting yet delicate guitar sound combines with piano with some panache on Jade whilst the oriental laid back flavour of Bullets And Bayonets hits the mark. The pacier side of the band with its indie guitar sound is prevalent on Can't See The Ocean For The Rain and Met-Amor-Phosis, a track that really returns you to 1986 albeit with a fresh feel. Throw in some heavyweight names on backing vocals (Gary Numan, Martin Gore from Depeche Mode, Him’s Ville Vallo, Julianne Regan from All About Eve and Evi Vine) and this album has it all. 30 years later, The Mission sit comfortably in the legends of Rock column and remain as vital today as they did back in those dark days of the 1980s. 9/10
Darkthrone: Arctic Thunder (Peaceville Records)
Few bands have been as influential in the world of black metal as Norwegian duo Darkthrone. Formed in 1986, and heavily influenced by Bathory and Celtic Frost, Fenriz and Nocturno Culto (real name Ted Skjellum) produced some of the defining black metal albums with their unholy Trinity (A Blaze In The Sky, Under A Funeral Moon and Transilvanian Hunger) hailed as classics. Since 2006 the band has moved away from the traditional black metal style and headed towards more traditional metal sound which primarily features speed and punk influences. Arctic Thunder, the band's 16th release maintains this direction, although there is a massive nod back to those early influences of Thomas Gabriel Warrior and co throughout the album.
It's a pretty reliable slab, thrashy and stomping, with tracks like opener Tundra Leach and Burial Bliss pretty straightforward but also mighty fine. Fenriz’s vocals are reassuringly guttural and gravely, whilst the musicianship of the pair is excellent. Massive riffs and pounding rhythms leave no question about the heaviness of the album. Check out Inbred Vermin for evidence. The album contains more than a passing nod to Venom as well as Celtic Frost along with the induced speed of Motorhead. The album drips with hooks and opportunities to bang that head, with the stomping Deep Lake Trespass possibly the pick of the songs. This is an album well worth checking out, regardless of your tastes in black metal. 8/10
The Brew: Shake The Tree (Jazzhaus Records)
British powerhouse blues rockers The Brew have long been on our radar at the Musipedia. It took several years to finally catch them live, due to a combination of bad luck and cancellations but in 2014 we did finally see them at Hard Rock Hell. Their gritty, earthy blues rock certainly appealed then and their sixth full release, Shake The Tree certainly reinforces our earlier views on them. A straight forward ten track album, Shake The Tree oozes quality from the start with the skilful playing of Tim Smith, Kurtis Smith on drums and lead vocalist/ guitarist Jason Barwick gelling superbly. Barwick’s gritty voice is ideally suited to The Brew’s sound and his guitar sound is excellent. Downright dirty, soulful and bluesy and just all out hard rocking are the key descriptions of an album laden with hooks and melody. Black Hole Soul, Johnny Moore and the title track are fine examples of the band kicking out the jams. If you like your music with a hard rock edge and dripping with melody, this is an essential purchase. 8/10
Back in the mid 1980s when I was in high school, metal was my religion. It still is of course but at that time anything without a thumping riff, long hair and tight as hell jeans was of no interest to me whatsoever. This changed when one of my best friends, who had always veered away from the heavier elements of music introduced me to the Sisters Of Mercy. Their debut album First, Last And Always was still very much rock but lent in the opposite direction to the path I was following. Full of sorrow and dark moods, The album was special.
Wayne Hussey and Craig Adams then left to form The Mission and the classic Gods Own Medicine was soon a regular on the turntable. Hussey's twelve string guitar work and mournful yet melodious voice combined with Adams solid bass lines and Simon Hinkler's hypnotic guitar produced a real monumental piece of work. Wasteland, Blood Brother, Severina, Stay With Me and the beautiful Garden Of Delights all cast their spell and remained etched in the memory. Over the years The Mission have continued to produce high quality music staying true to their Gothic overtures whilst always having more than a nod to the rock world.
Roll forward a mere 30 years and album no.12 Another Fall From Grace provides evidence, if that was ever needed that Hussey, Adams, Hinkler and drummer Mike Kelly are still able to produce the quality that oozed through that first album. Indeed, Hussey has stated that AFFG is “the lost link between First, Last And Always and God’s Own Medicine”. The link is undeniable, from the first stalking bars of the title track through to the haunting Phantom Pain which closes the album. Imperious, confident and overall just pretty special, AFFG is almost the perfect blue print. Hussey retains the mystery and arrogance in his vocals, with stand out tracks Jade and the magnificent Met-A-Morphosis highlights.
The cutting yet delicate guitar sound combines with piano with some panache on Jade whilst the oriental laid back flavour of Bullets And Bayonets hits the mark. The pacier side of the band with its indie guitar sound is prevalent on Can't See The Ocean For The Rain and Met-Amor-Phosis, a track that really returns you to 1986 albeit with a fresh feel. Throw in some heavyweight names on backing vocals (Gary Numan, Martin Gore from Depeche Mode, Him’s Ville Vallo, Julianne Regan from All About Eve and Evi Vine) and this album has it all. 30 years later, The Mission sit comfortably in the legends of Rock column and remain as vital today as they did back in those dark days of the 1980s. 9/10
Darkthrone: Arctic Thunder (Peaceville Records)
Few bands have been as influential in the world of black metal as Norwegian duo Darkthrone. Formed in 1986, and heavily influenced by Bathory and Celtic Frost, Fenriz and Nocturno Culto (real name Ted Skjellum) produced some of the defining black metal albums with their unholy Trinity (A Blaze In The Sky, Under A Funeral Moon and Transilvanian Hunger) hailed as classics. Since 2006 the band has moved away from the traditional black metal style and headed towards more traditional metal sound which primarily features speed and punk influences. Arctic Thunder, the band's 16th release maintains this direction, although there is a massive nod back to those early influences of Thomas Gabriel Warrior and co throughout the album.
It's a pretty reliable slab, thrashy and stomping, with tracks like opener Tundra Leach and Burial Bliss pretty straightforward but also mighty fine. Fenriz’s vocals are reassuringly guttural and gravely, whilst the musicianship of the pair is excellent. Massive riffs and pounding rhythms leave no question about the heaviness of the album. Check out Inbred Vermin for evidence. The album contains more than a passing nod to Venom as well as Celtic Frost along with the induced speed of Motorhead. The album drips with hooks and opportunities to bang that head, with the stomping Deep Lake Trespass possibly the pick of the songs. This is an album well worth checking out, regardless of your tastes in black metal. 8/10
The Brew: Shake The Tree (Jazzhaus Records)
British powerhouse blues rockers The Brew have long been on our radar at the Musipedia. It took several years to finally catch them live, due to a combination of bad luck and cancellations but in 2014 we did finally see them at Hard Rock Hell. Their gritty, earthy blues rock certainly appealed then and their sixth full release, Shake The Tree certainly reinforces our earlier views on them. A straight forward ten track album, Shake The Tree oozes quality from the start with the skilful playing of Tim Smith, Kurtis Smith on drums and lead vocalist/ guitarist Jason Barwick gelling superbly. Barwick’s gritty voice is ideally suited to The Brew’s sound and his guitar sound is excellent. Downright dirty, soulful and bluesy and just all out hard rocking are the key descriptions of an album laden with hooks and melody. Black Hole Soul, Johnny Moore and the title track are fine examples of the band kicking out the jams. If you like your music with a hard rock edge and dripping with melody, this is an essential purchase. 8/10
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